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A CHINESE SANDSTONE ARCHITECTURAL CARVING, MING DYNASTY, 1368 – 1644 the rectangular tile carved to the domed centre with a large peony bloom and buds issuing from rockwork, all within a shaped square border, black ink highlights throughout, later marble stand, wear 43cm high excluding stand

19 A framed & glazed architectural engravings

A late Victorian black slate mantel clock of Greek architectural design having pillar ornamentation

A silver rectangular photograph frame of plain architectural form having wooden easel back, Birmingham 1950, Deakin & Francis Ltd240mm high, 170mm wide . 180mm including the feet

Architectural element. From unknown manufacturer. Nicely rendered lion. Dimensions are: 9 1/2" long, 5" wide, 7" tall. All measurements are approximate. Condition: Minor surface wear. A couple of chips to base. Fine.

An Edwardian mahogany cupboard with mahogany dentist's cabinet above, the cabinet with single mirrored door, architectural pediment, and quarter shelves, the separate cupboard below with twin doors and lower shelf, overall 77 by 36 by 182cm high. (2)

A quantity of 20th century doll's house furniture and architectural elements including: a large group of chairs in various styles such as an Orkney chair, faux-bamboo side chair, sabre leg dining chairs etc; a stick stand with cricket bat, tennis racket and brolly; a group of pine including Georgian style fire surround, towel rails, tables, chest of drawers etc; elements of staircases, a boxed period style shop front etc.

Architectural Salvage - a pair of painted street lights removed from a property in Camden Town, lights converted to electricity and later bases, 245cm high

A large Victorian carved wood and gesso architectural overmantel, bold cresting above mirror plates and niches, c.1880

A late Victorian black slate cased mantel clock, of architectural form, having enamelled dial with Arabic numerals and eight day movement, w.36cm

A circa 1900 alabaster mantel clock of architectural outline

MAHOGANY ARCHITECTURAL BAROMETER

A MAHOGANY OCCASIONAL TABLE with a super architectural base & shaped top, 85cms diam

A FRENCH BRASS ENCASED 8 DAY MANTEL CLOCK by Bayard and being of Classical architectural form with campana finial, white dial bearing Arabic numerals, 39cms high

VICTORIAN POLISHED SLATE AND MARBLE MANTLE CLOCK of architectural form, the circular black enamel Roman numeral dial surrounded by an ornate gilt frame and with visible escapement, striking on a bell, 29cms high

A PINK MARBLE CLOCK GARNITURE SET of Classical architectural form with the drum raised over a platform base with four pillars, having Arabic numerals to the white enamel dial, 39cms high

After Johannes Vermeer (Dutch, 1632-1675) An 18th / 19th century dutch school oil on panel painting of an architectural interior scene having seated lady with child playing with pull along wooden cart. The doorway leading to a courtyard / street of possibly Delft. Signed illegible to the corner bottom right. Set in a later frame, coming from the same private vendor as lot 51. Panel measures 20cms x 25 cms

A pair of 18th / 19th century Gothic architectural carved pine wall brackets - mounts. Of flemish design each with s-scroll tops having male and female figures carved. Measures 34cms high

Architecture.- Dietterlin (Wendel) Architectura von Ausstheiling, Symmetria und Proportion der Fünff Seülen, 5 parts in 1, first collected and enlarged edition, 5 etched and engraved titles, 196 plates (3 folding), illustrations, colophon (trimmed and mounted), occasional very faint spotting, occasional faint marginal water-staining, early eighteenth century mottled calf by Amsterdam's 'Elite Bindery', gilt, red morocco spine label, rebacked with original spine laid down, a little rubbed, [Brunet II 706, Berlin Katalog 1942, Fowler 105], folio, Nuremberg, Balthazar Caymox, 1598. ⁂ The Strassburg painter and decorator Wendel Ditterlin (1550-1599) provided a rich source of models for architects, designers, painters, sculptors, and cabinetmakers. His work was instrumental in disseminating Renaissance decorative and architectural forms in Germany. Some of the plates, with their plunging views and simultaneous perspectives, prefigure the impossible realities of the twentieth-century Dutch artist M. C. Escher. This is a composite copy, assembled in the early eighteenth century by a Dutch owner, from two separate copies, one of the first issue and one of the second issue. Provenance: Effaced inscription at head of title. The empty tombstone on plate 170 inscribed and dated 1880 ?Henriette Jentine, Geraldine Feltzer.Please note: Several of the leaves have been expertly window-mounted.

Architecture.- Langley (Batty and Thomas) Gothic Architecture, Improved by Rules and Proportions in many Grand Designs ..., 64 engraved plates, faint spotting to endpapers only, bookplate, contemporary speckled calf, a little rubbed, joints beginning to crack, 4to, 1747.⁂ Batty Langley (1696-1751) was renowned for his garden plans and architecture in the Gothic style, as well as his rebellion against the stiff layouts of John Claudius Loudon and Henry Wise. He wrote over twenty architectural books, many of them intended for builders.

Architecture.- Scamozzi (Vincenzo) L'Idea della Architettura Universale, 2 parts in 1, first edition, engraved titles, illustrations, woodcut head and tail-pieces, bookplate, blind-stamp to title and label to title verso, lacking Registro leaf, contemporary calf, gilt, morocco spine label, a little rubbed, housed in a protective slipcase,[Fowler 292, Cicognara 651, Millard Italian 123], folio, Venice, Giorgio Valentino, 1615.⁂ This was called the "bulkiest architectural treatise written in Italy" (Wittkower) and next to the Quattro Libri of his teacher Palladio, it was the most influential architectural work of the early seventeenth century. Provenance: Bookplate of Nicholas Joseph Foucault (1643-1721), first Marquis de Magny, archaeologist, and royal administrator in the reign of Louis XIV. His library was in part dispersed before his death, several copies acquired by the Earls of Macclesfield. With Foucault's large engraved ex-libris to the front pastedown, and the Earls of Macclesfield's blind-stamp and South Library Macclesfield bookplate to title and title verso. Sold as part of the Macclesfield Library, Sotheby's, October 25, 2005.

Horatius Flaccus (Quintus) Opa. cum quatuor comme[n]tariis, collation: aa6 a-z A-N8, title in red and black and woodcut printer's device within woodcut architectural border, woodcut criblé initials, contemporary and 17th century ink notes to pastedowns, occasional contemporary ink marginalia, r6-8 torn at head with loss and supplied in contemporary ink ms., sig. A misbound, H4&5 loose, some staining or spotting, contemporary blind-stamped calf, spine ends reapird, sorners worn, rubbed, folio (332 x 224mm.), Paris, Badius Ascensius, [1519].⁂ Literature: Adams H865.

Macrobius (Ambrosius Aurelius Theodosius) Macrobius Aurelius integer nitidus suoque decori ab Ioanne Rivio superioribus annis & nunc cura Ascensianorum multo diligentius restitutus, edited by Joannes Rivius, collation: A-M8 N10, title and woodcut printer's device within woodcut architectural border, woodcuts within text, including a world map on f.XXII, and a map of the five climatic zones on f. XX, woodcut criblè initials, final f. blank, occasional early ink marginalia, signature to head of title, [Paris], Badius Ascensius, [November, 1519] bound with Apuleius. Apuleius cum commento Beroaldi: & figuris nouiter additis, commentary by Philippus Beroaldus, woodcuts within text, woodcut decorative initials, [Venice], [Joannis Tacuinis de Tridino], [June, 1516], together 2 works in 1 vol., occasional spotting or staining, contemporary blind-stamped calf, upper cover detached, spine ends and corners worn, rubbed and scuffed, folio (317 x 215mm.). ⁂ Macrobius' commentary on Cicero's Somnium and Saturnaliorum, with a woodcut world map. Includes many incidental remarks on geography, astronomy, physics and mathematics.Provenance: 'Charles Chabroud, Avocat' (engraved bookplate). Literature: I: Adams M74; Sabin 43657. II: Adams A1375; EDIT 16 CNCE 2226.

Fortune-telling.- Marcolini (Francesco) Le Ingeniose Sorti, second edition, collation A-Z4, AA-CC4), large woodcut of il giardino dei Pensieri by Giovanni Porta after Salviati below title, woodcut portrait of Marcolini after Salviati or possibly Titian within full-page woodcut architectural border on verso, 50 woodcut illustrations of abstract qualities, virtues and vices, and 50 of the ancient Greek philosophers, small woodcuts of playing cards throughout, colophon and printer's woodcut device within large woodcut cartouche on last page, occasional light browning and staining, later vellum with new endpapers, folio (309 x 212mm.), Venice, for Fancesco Marcolini, 1550.⁂ Good, complete copy of the second edition of Marcolini's important work on the use of playing cards for fortune-telling and divination, with general as well as gender-specific questions and answers provided (eg, for men, how many women should he have?; for women, should she change lovers?; and, perhaps for either, does the courtesan have syphilis?). The philosophers' answers are provided in terzine format by Lodovico Dolce.

Elyot (Sir Thomas) The Boke named the Governour..., fifth edition, black letter, title with woodcut architectural border dated 1534 in the sill, this copy without colophon on verso of f.216 (blank) and with f.91 correctly numbered and f.103 numbered as 102, woodcut initials, contemporary and near contemporary ink signatures & inscriptions to head & verso of title, verso of final leaf and leaf of printer's waste bound as front free endpaper, including those of John Alyngton & Thomas Cutter and later Francis Winn dated 1686, marginalia in fine contemporary hand, later manuscript index of corrections bound in at rear, title soiled and with short tear to inner margin, free endpapers supplied from 15th century Latin illuminated manuscript on vellum, old calf, a little worn, rebacked and repaired, [STC 7639; cf. Pforzheimer 254 & PMM 61, first edition], 8vo, [?Thomas Berthelet], 1553.⁂ Influential work on moral philosophy and concerning the education of those destined to govern. It was first published in 1531 and there were several further editions throughout the 16th century. This is a curious copy, with the collation conforming to the Thomas Berthelet edition of 1553 but that includes a colophon on the verso of f.216 and f.91 is numbered 19; the variations in this copy are not noted in ESTC.

with architectural back panel and undertray ENCLOSING 2 drawers with brass handles on shaped legs

the architectural mantle clock together with two figural garnitures

Books - antiques and collecting, including 'Chats' series, some architectural interest including churches

An album of mainly sepia photos c1890's including Madrid, Escorial, Toledo, Seville, Ronda, Granada, mainly architectural and street scenes

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018

Colin Middleton RHA RUA MBE (1910-1983)Red Landscape (1962)Oil on canvas, 50 x 76cm (19¾ x 30'')SignedExhibited: Colin Middleton Exhibition, Magee Gallery, Belfast June/July 1962, Cat. No.45.This painting has at some stage been given the title Red Landscape, which had been used by Middleton for a couple of other works exhibited in the early 1960s. It would also seem to date from around this period and does demonstrate the conflation of landscape and figure that was so central to his painting.This period around 1960 is arguably one of the most experimental in Middleton's career, following a period of relative stylistic consistency from the late 1940s through to the second part of the 1950s. While in many landscape and figure paintings of the time Middleton is moving towards a highly abstracted architectural language, there are also a number of works in a manner similar to the free and lyrical style of Red Landscape.The strong use of colour recalls Middleton's expressionist work of the previous decade and is matched by the dynamic line that dominates the painting. Although abstracted in manner we can read the forms of mountains on the horizon, while the spiky, angular shapes in the foreground recall the twisted natural forms in a painting such as Moonlit Hedge, Carnalridge (1960). These could also be read as two loosely constructed, highly linear figures, which are slightly reminiscent of of Middleton's series of paintings of The Family, from 1940 and also of Picasso's work of the 1930s (although Middleton appears to have held mixed feelings about him).The connecting central crescent could be read as a moon or a rock form and its shape is very similar to the sun in the 1962 Red Landscape, tilted on its side and transformed into a pale moon.Dickon Hall

An interesting lot of mainly 1930s American & Canadian Architectural postcards, together with Beseler Lantern slides of North American maps

A LARGE FOUR DRAWER MAP / ARCHITECTURAL STYLE CHEST OF DRAWERS

A quantity of reclaimed square moulded architectural glass bricks

A mahogany floor standing open bookcase with three adjustable shelves flanked by fluted architectural columns, 66cm wide x 124cm, high

Vienna regulator style wall clock, the two train enamel dial with pendulum, weights and architectural case with pilasters

French gilt metal and alabaster architectural mantle clock, the single train dial with Roman numerals, the case with tapered pilasters with gilt two handles, mounted by a twin handled urn, 47cm high

A 19th century black slate mantle clock, the architectural case enclosing an enamelled chapter ring and two train movement, 29cm high

Gilded and metal architectural type enamel faced, two train wall clock by the Ansonia Clock Company, New York, USA, together with a mid 20th Century three train, hat shaped mantel clock. (2)(B.P. 24% incl. VAT)

Box of assorted ephemera to include an album of Mediterranean pictures, album of topographical: Snowdon; landscape in North Wales; Military prints; architectural etc. (B.P. 24% incl. VAT)

George E. Jowett, architectural abstract type study, signed with initials and dated: '63, oils on board, 90 x 59cm. Framed.(B.P. 24% incl. VAT)

A COLLECTION OF COLOURED ARCHITECTURAL PRINTS, PLANS, ELEVATIONS, all framed. TOGETHER with a set of four coloured hunting prints. Modern, after Henry Alken and C. Turner. AND three coloured engravings, depicting various stately homes in England. (13)

A FRENCH ARCHITECTURAL BRASS CASED CARRIAGE CLOCK with gong striking movement, Arabic set dial with gilt centre and surround, 17.5 cms high handle up, with key

AN ARCHITECTURAL BRASS CASED CARRIAGE CLOCK, late 19th Century with later changes, 15.5 cms high handle up, with key

John Player & Sons Architectural Beauties 1937 set L 25/25 VG

EUROPEAN ARCHITECTURAL HERITAGE YEAR 1975 - A LIMITED EDITION CASED SET OF 5 COMMEMORATIVE PROOF COINS

A later Victorian black Belgian marble mantle clock, together with one other black Belgian marble mantle clock of architectural temple form.

A Vienna style wall clock, Roman enamel dial, twin brass movement, architectural pediment with finial in the form of a horse

A GEORGE III MAHOGANY LONGCASE CLOCK WITH RARE BATTERSEA ENAMEL DIAL the flamed mahogany case with architectural pediment above an ogee moulded glazed door on long slim trunk with reeded quarter columns and canted box base.  The 12.5" square Battersea enamel dial with Roman and Arabic chapter ring and rose coloured foliate decoration and four exotic bird painted spandrels, the centre with subsidiary seconds dial, fronting a weight driven eight-day movement striking the hours on a bell 228.5cm high.

THOMAS JONES, 62 CHARING CROSS, LONDON. A GEORGE III MAHOGANY STICK BAROMETER with architectural pediment above a hinged glazed door on feather veneered body and spherical cistern cover, silvered engraved calibrated dial signed above an exposed mercury tube to the front 96cm overall

AN UNUSUAL SMALL EARLY 18TH CENTURY OAK BUREAU BOOKCASE with architectural shaped top section having a rounded glazed top door flanked by stepped opening columns, revealing a fitted interior. Above an angled hinged fall with fitted interior above two small and two long graduated drawers fitted with original engraved brass handles, moulding plinth base and shaped moulded feet.ConditionIn good original condition, the top and base belong together. It has original handles and feet. The glazed door could have been mirrored originally.

JOSEPH VEDUSSY & Co. MANCHESTER. A GEORGE III MAHOGANY STICK BAROMETER with architectural pediment above hinged door and slim mahogany body having double strung boxwood inlay and mounted mercury filled tube, silvered engraved calibrated dial with thermometer 97cm overall

Mahogany double fusee bracket clock, the 8" cream rounded arched dial signed Hancock, London, the movement with adjustable locking pendulum and striking on a bell, within an architectural pillared case with foliate carved pointed arched cornice, 22" high (pendulum and keys)

German walnut two train ting-tang mantel clock, the Lenzkirch movement inscribed 1 million no. 118810 striking on two gongs, the 6" square dial with silvered chapter ring enclosing a matted centre, within an architectural pillared stepped case with scrolling pediment, 15.5" high (pendulum and key)

John Davidson's Patent automatic memorandum clock, the hinged top retaining the original 'Directions for Management...' instructions and numbered 6402, opening to reveal a brass drum fitted with time slots to receive memorandum tablets which drop at the appointed hour into a small brass box located beneath the dial, the 4" white enamel dial enclosing a recessed centre and within an architectural pillared carved case, 13.5" high *See Alan & Rita Shenton - Collectable Clocks (1840-1940), pages 261 and 262 where this Patent clock is illustrated and described

Peter Lik: 'Accents of New York' boxed set of four black and white photographic reproductions iconic architectural views, all mounted, 25cm x 25cm

Maitland (William) and Entick (The Rev. John), The History of London From Its Foundation to the Prefent (sic) Times [...], Including The feveral (sic) Parishes in Westminster, Middlesex, Southwark, &c., within the Bills of Mortality [...], Illustrated [...], volume I only, J. Wilkie [...], London 1772, viii, 710pp (lacking sub-title page only [2]), Continuation 148pp, illustrated with 15 full-page engraved plates, plans and architectural elevations, contemporary calf spine and papered boards (split, disbound), early 19th century ink MS acquisition and ownership inscription to endpaper, folio (faults)

A German architectural mantel timepiece, made in Wurttemberg, swan neck pediment, number 1413, 23cm; a French mahogany mantel clock, white enamel dial, Roman numerals, pendulum, 18.5cm (2)

An Indian hardwood architectural fragment, the central panel carved with a deity and attendants, scrolling leaf border, 53.5cm high, 19th century

A late 19th-century mahogany longcase regulator by Batty & Sons, Manchester, the architectural case has canted corners to the hood and trunk, the rectangular glazed door shows of the zinc/steel temperature-compensated pendulum, the rectangular plinth stands on a single plinth, the 13.5-inch silvered regulator dial is signed on applied plates, the substantial movement has A-framed plates united by heavy screwed pillars and is fixed to a wooden seatboard with two large hand screws, the six-spoked wheels are screwed to their collets and mesh with high count pinions, the dead-beat escapement has adjustable jewelled pallet nibs that are held in a brass frame, the pendulum is suspended from a cast-iron bracket on the backboard and follows Thomas Buckney's (1838-1890) design, which incorporates steel and zinc tubes to compensate for the expansion and contraction of metal in hot and cold temperatures, the brass-cased weight has an integral pulley and is positioned so that it descends down the side of the case6ft 7in (201cm) high.