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Lot 801
An unusual French gilt metal miniature minute repeating carriage timepieceCirca 1910, No. 257125The multipiece case of architectural form, with push/repeat above a circular white enamel dial with Arabic numerals, with a pull-out slide to the base with fast/slow adjustment and integral hand adjustment and winder, the Swiss watch movement with lever escapement10cm. high. Illustrated
Lot 263
A modern designer silver pill box of architectural form with applied narrow gold pillars, by Vicki Ambery-Smith, London, 1994, identified on her gallery page as "round box", hinged domed cover, seven arched doors around sides, gilt interior, 3.6 cm. diameter. Vicki Ambery-Smith is a London-based jewellery designer who takes her inspiration from architectural subjects. Her work appears in various institutions including the V & A.In excellent condition apart from a minuscule file mark to edge of cover rim.
Lot 772
Campbel (Colen) Vitruvius Britannicus or The British Architect, 1967, Benjamin Blom, New York, facsimile edition in three folio volumes, plus Blom's 8vo Guide to Vitruvius Britannicus [index], all in the publisher's original pictorial cloth, with original prospectus by B. Weinreb Architectural Books Ltd (London WC1) and his receipt to original subscriber E. Carter (Carter's ownership inscription to f.f.e.p.s); with original cardboard boxes for Vols I and II, and book The Architecture of Colen Campbell [with:] Designs of Inigo Jones (originally published by William Kent), 1967 [&] Paine (James) Plans, Elevations and Sections of Noblemen and Gentlemen's Houses, 1967, Gregg Press, Farnborough, two large folio facsimile reprints, plates, many folding, original cloth, and a smaller, slimmer book reproducing designs by Jones and Kent [plus:] three portfolios of facsimiles of 18th century engravings of Richmond, Twickenham and Westminster (incomplete), and six real c.1750s engraved architectural plates of London buildings (12)
![[ARCHITECTURE] Eberlein, Harold Donaldson, & Ramsdell, Roger Wearne. Small Manor Houses and Farmsteads in France, first edit](https://cdn.globalauctionplatform.com/30eb07cd-8147-4807-82c6-a760009b0b14/2f1f948f-9305-4d76-f891-ce930383b97c/468x382.jpg)
Lot 393
[ARCHITECTURE] Eberlein, Harold Donaldson, & Ramsdell, Roger Wearne. Small Manor Houses and Farmsteads in France, first edition, Lippincott, Philadelphia, 1926, navy blue buckram gilt, top edges gilt, plate illustrations, quarto; Lloyd, Nathaniel. A History of the English House, reprint, The Architectural Press, London, 1949, green buckram, plate illustrations, large quarto; and Ayrton, Maxwell, & Silcock, Arnold. Wrought Iron and its Decorative Use, first edition, Country Life, London, 1929, black buckram-backed grey cloth, plate illustrations, large quarto, (3).
Lot 4
Pair of Late 18th or 19th Century Judaica Silver and Brass Torah Finials on Wooden Mounts. Possibly Moroccan. Octagonal form with repousse work and pierced décor, Persian influenced architectural archways mounted with dangling bells accents, down flowing foliage top with octagonal high standing finial. Hebrew dedicatory inscription on each of the shafts/handles. Stamped with rams head hallmark facing right on shaft/handle and underside. Slight bending to top on one, both needs cleaning. Each measures 11-1/2" H x 3-3/4" W, stand measures 5-3/4" H x 9" W x 6" Depth. Shipping $65.00 (estimate $1000-$2000)
Lot 232
A FINE PTOLEMAIC ARMILLARY SPHERE, PROBABLY ITALIAN, THIRD-QUARTER 18TH CENTURY, the turned wooden earth sphere mounted on an axis with sun and moon orbits within typical armillary universe, mounted on to a finely carved pinewood figure of Atlas, his outstretched hands supporting articulated models of Saturn with five moons and Jupiter with four moons, secured to a carved Corinthian column terminating in square pediment base, sphere -- 13in. (33cm.) diam.; 63in. (160cm.) high (including pedestal), It's possible this was once an architectural pediment within a Palladian villa - similar decor has been noted flanking doors in some buildings; the number of moons depicted is interesting as Saturn was thought to have five moons between 1684 (when Cassini discovered the fifth) and 1789 when Herschel found two more with his powerful new reflecting instrument; Jupiter's four moons were all discovered by Galileo in 1609-10 with no more being found until 1892.
Lot 101
Two William de Morgan tiles of Islamic inspired design, featuring flowers and leaves painted in shades of blue and green, each on Poole Architectural tile blanks (6 inches square). Literature: William de Morgan Tiles, Jon Catleugh, published Richard Dennis, 1983, page 122, figure 165. Condition Report: Minor wear to edges, some losses.Colour fade in places.
![Guillim [Gwillim] (John) A Display of Heraldrie: Manifesting a more easie accesse to the knowledge thereof..., 1611, London,](https://cdn.globalauctionplatform.com/135cbed6-2ea5-4f55-bfb2-a73d00f710c4/7f1602ec-04a1-451c-d2b5-4190bf9d453b/468x382.jpg)
Lot 137
Guillim [Gwillim] (John) A Display of Heraldrie: Manifesting a more easie accesse to the knowledge thereof..., 1611, London, William Hall for R. Mab, First edition (second issue?, colophon dated 1610), folio, architectural engraved title, woodcut plates and more than 500 armorials to text in six sections; [xiv], inconsistent pagination ending p. 284, but complete (inc. e.p.s); title with handling creases and ink splashes, occasional light spotting and staining throughout, tear to fore edge 2N4. Contemporary scuffed and frayed calf, covers stamped in gilt with vignette and initials 'B W', upper joint splitting, lower joint tender. Guillim's was to remain the standard work on English heraldry until the second half of the 18th century, and to this day is regularly consulted by working heralds
Lot 5
A.T. PINE, ARCHITECTURAL DRAUGHTSMAN An archive of 1930s and 1940s original designs, plans and elevations in pencil and pen and ink, some with watercolour wash, in two original portfolios: the larger containing three drawings for a 1934 modernist 'Half-Way House', and designs for almshouses, a small church, two Athenian temples after the 18th century archaeologists Stuart and Revett, a shop front in the City of London, a detached house and Park Shelter; several sheets with L.C.C. School of Building ink stamps to versos, each approx. 510 x 680mm; the smaller portfolio of detailed sectional plans and technical drawings relating to buildings, rooms, architectural features etc., captions, annotations, with some detailed notes. Projects include a proposed extension to the Royal Merchant Navy School at Bearwood, Wokingham, 1947-9 (several sheets); Ricketts Garage Drummond Street London NW1, 1949; and proposed alterations to 289-293 Regent Street for Messrs. Fortes & Co. Ltd, 1949 - all for Matthews & Son and Julian Leathart (F.R.I.B.A.), London WC1. Lot includes an album of black and white location photographs, other photographs from Pine's retirement party, some landscape watercolours signed A.T. Pine, and a poster on board by W. Heath Robinson signed by 'his Friends at T.H.F.' (for Pine's retirement). Some sheets a little tatty at edges and foxed, with the expected marginal soiling and associated signs of handling; the larger, more finished drawings in generally good condition. No significant tears or loss. Some very accomplished examples of architectural draughtsmanship (5) Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 56
Ornsby (Rev. George) Sketches of Durham; being an attempt to indicate to the stranger some of the most prominent Objects of Interest in that place..…Illustrated by Historical, Biographical, and Architectural Notices. 1846, Durham, George Andrews, 8vo, pp. vi, 226, Addenda leaf, four lithographic plates including frontis, text illustrations, author's (unsigned) presentation copy to J.W. Williamson; generally light foxing, original blue cloth with backstrip detached [with:] Phillips (John) The Rivers, Mountains, and Sea-Coast of Yorkshire. With Essays on the Climate, Scenery and Ancient Inhabitants of the County, 1853, John Murray, first, 36 lithographic plates, all but frontis. bound towards rear, pp.16 publisher's list at end dated November 1852; internally good, original bumped green cloth, the frayed spine stained and faded and split at lower joint; previous owner signature, Edmund Backhouse bookplate (2)
Lot 158
VARIOUS TOOL AND ENGINEERING CATALOGUES including 'Architectural Fittings by Gibbons' 1950, 1952, Listers Tools Limited - 'Engineers' Small Tools Mill Furnishers and Sheet Metal workers' 1950, Benn's Hardware Directory 1963, 'Hinges, Locks, Ironfoundry TC/5', Laidlaw & Thomson - 'Ironmongery For Architects', Joseph Parkes & Sons Catalogue No. 57 Padlocks 1927, 'Sherardizing Illustrated' distributed by Zinc Alloy Rust-Proofing Co. Ltd., Wolverhampton etc (13)
Lot 182
A LARGE QUANTITY OF ARCHITECTURAL PLANS AND DRAWINGS FROM THE FIRST HALF OF THE 20TH CENTURY, includes domestic and commercial buildings, many of Staffordshire interest including alterations to Bass Brewery buildings, plans for Kingsley Senior School, designs for bungalows, cafe by the sea 1930s etc and sheets from 'The Builder' 1899
Lot 642
TWO 19TH CENTURY ARCHITECTURAL BLACK SLATE MANTEL CLOCKS to include a malachite inlaid example, the enamel dial with Roman numerals and moon hands, two front winding keyholes, striking on a bell, the backplate stamped 50493, 22cm high, 25.5cm wide; together with another black slate clock (2)
Lot 3
OBVERSE: In field: Armoured bust to right, holding sheathed sword in right hand, with name of the Sasanian ruler Khusraw in Pahlawi to right and gdh apzwt (‘may his glory increase’) to left. In border: bismillah la i- laha illa Allah wa – hdahu Muhammad ra – sul Allah, divided by stars-in-crescents except above the bust, where the star-in-crescent is replaced by a pellet-within-annulet. REVERSE: In field: Arch supported on columns, within which is a vertical barbed spear which has two pennants floating to the left just below the head; to right and left of the columns: khalifat Allah - amir al-mu’minin; to either side of the spear-shaft: nasr – Allah. In border: Four stars-in-crescents, with Pahlawi ap (‘praise’) at one o’clock. WEIGHT: 3.54g. REFERENCES: Treadwell 2005, 2 same dies; Walker p.24, ANS.5, same reverse die = Gaube 2.3.2.4. CONDITION: Very fine to good very fine, excessively rare and a type of considerable historical significance. One of the greatest and most sought-after rarities of the Arab-Sasanian series, the ‘Mihrab and ‘Anaza’ drachm has been rightly described as ‘extraordinary’ (Grabar, O., The Formation of Islamic Art, revised and enlarged edition, Yale, 1987), and ‘a very valuable little archaeological document’ (Miles, ‘Mihrab and ‘Anazah’). Many of the difficulties of interpreting this piece stem from the fact that it lacks both date and mint-name. Most scholars have assumed that it was struck at Damascus. Firstly, the mean weight of extant specimens is about 3.6-3.7g, which is somewhat lighter than the standard maintained at mints in the East but consistent with other Arab-Sasanian issues struck at Damascus in the early-mid 70s. Secondly, Damascus was the Umayyad capital where other experimental drachms were struck, including the Standing Caliph type with which the Mihrab and ‘Anaza drachms have often been compared. This may very well be correct, although it will be suggested below that other possibilities should also be considered. The latest study of this issue is that of Treadwell (2005), who plausibly interprets the imagery on this coin as a reaction to perceived problems with the design of the Standing Caliph drachms, which he argues must have been struck immediately before the Mihrab and ‘Anaza type. On this analysis, the Standing Caliph type was produced to accompany the Standing Caliph dinars and fulus introduced in Syria in the previous year. Treadwell notes that the gold and copper issues conformed to ‘the traditional numismatic formula that located the ruler on the obverse and a religious symbol on the reverse,’ while the ‘Standing Caliph’ drachm ‘contained two conflicting images of rulership…it is the Shahanshah’s imposing bust that dominates the imagery of the coin, not the cramped figure of the caliph on the reverse’ (Treadwell, p.11). The Mihrab and ‘Anaza type rectifies this by changing the design of the Sasanian bust so that it is recognisably the Caliph who appears on the obverse, and by replacing the standing figure on the reverse with an image of the Prophet’s spear mounted within an arch. Unfortunately, while this argument neatly explains the imagery, it clashes awkwardly with the legends. The bust which Treadwell identifies as the caliph himself is in fact labelled in Pahlawi as that of Khusraw, while the spear on the reverse carries the legends khalifat Allah – amir al-mu’minin. It is possible to argue, as Treadwell does, that ‘the Standing Caliph drachm was an unsuccessful hybrid that had been cobbled together at speed [and so] it would not be surprising if its hastily executed substitute were also deficient in some respects.’ But the addition of nasr Allah beside the spear on the reverse shows that the legends were not merely slavishly copied from a preceding type, and it seems hard to imagine that such sophisticated thought should have been given to the imagery only for the legends to have been applied so inappropriately. Furthermore, closer examination reveals that the images on both sides of this type are less straightforward then they may first appear. The figure on the obverse, whom Treadwell identified as being the caliph, wears a peculiar type of headgear, has cross-hatching across his breast to represent a different type of dress from the norm, and rather awkwardly carries a sheathed sword. Treadwell notes that the figure on the reverse of the Standing Caliph drachm, like that on the obverse of the gold and copper Standing Caliph types, similarly carries a sheathed sword, and he therefore suggests that this feature identifies the Mihrab and ‘Anaza bust as that of the caliph also. He has no explanation for the design of the crown or helmet, beyond noting that it is does not look like any other crown seen on the coinage of any Sasanian ruler. As for the cross-hatch pattern on the figure’s breast, Treadwell’s explanation is that this is chiefly an artistic rather than a naturalistic feature, designed to allow the sheathed sword to feature more prominently. Unfortunately, neither the cross-hatching nor the headgear looks even remotely like the dress of the Standing Caliph figure and so, much as with the problematic legends, these features do nothing to support to the suggestion that the Mihrab and ‘Anaza drachm was designed to improve and rectify the Standing Caliph type. The object on the reverse, to which Miles devoted most of his attention, has traditionally been identified as a spear or lance within a mihrab. It was Miles who refined this, specifiying that the spear was the ‘anaza of the Prophet himself, and suggesting rather more cautiously that the mihrab could be identified more precisely as the niche type (mihrab mujawwaf). If so, this coin would be the earliest depiction of this important Islamic architectural feature. Miles’ interpretation of the arch as a mihrab has met with a mixed reception among later scholars. Some have endorsed his view that the feature is indeed a Muslim mihrab rather than any other kind of arch, while others (including Treadwell) have pointed out that arches of this type are found on coins struck by all three Abrahamic religions. Connections with the Christian sacrum in Jerusalem (the arch which stood over the True Cross) have been suggested. In this way, this remarkable coin would have played its part in the so-called ‘war of images’ between the Christians and Muslims during this period. It is perhaps worth remembering, however, that the Mihrab and ‘Anaza type is not so securely tied to Damascus during the mid-70s Hijri as some might imply. Treadwell reports that Miles himself ‘did not consider that the coin, as he had described it, fitted smoothly into the series of Damascus silver coinage of the mid-690s.’ The type is not dated, and while the metrology does argue against these drachms having been struck as part of the main series produced in the East, Damascus was not the only place where lighter Arab-Sasanian drachms were being issued at this time. Drachms struck in Armenia and the North (see lot 1) during the 70s seem to have been struck to a weight standard in the region of 3.3g, and like the Mihrab and ‘Anaza type carry on the obverse a bust which is clearly Sasanian but is obviously different from the familiar Khusraw II type which had become the standard in the East for decades. Another curious feature of the Mihrab and ‘Anaza drachms is the large number of dies used: the seven specimens listed by Treadwell were struck from seven obverse and six reverse dies. Is this consistent with a short-lived, experimental type concocted hastily in Damascus and quickly abandoned, or might this be better explained in the context of a short-lived, specific event such as a military campaign?For the full version of this footnote please see the PDF at www.mortonandeden.com/pdfcats/85.pdf
Lot 466
Paul Braddon (British, 1864-1938), View of "The Biggin", Hitchin, Hertfordshire, 1790, 38 x 53cm and "The Old Priory, Hitchin" 37 x 52cm, signed lower left "Paul Braddon" and lower right "Paul Braddon", pastel watercolour, a pair (2) - Paul Braddon was the pseudonym of James Leslie Crees. He was born in Birmingham on 10 July 1864, and in his early years he created architectural drawings of continental cathedrals and churches. Later he abandoned this style in favour of the watercolours for which he is best known
Lot 614
Victorian mahogany bookcase on cupboard, architectural pediment above two astragal glazed doors covering three adjustable shelves, base with single drawer, turned handles cedar drawer linings, two single panel cupboards covering single adjustable shelf 36cm (34in) wide. 213cm (84in) high. Condition report: Overall good.
Lot 459
D. Fricker, 20th century, "Manchester Exhibition Centre" and "Central Station" as part of conversion to Greater Manchester Exhibition and Event Centre, each signed and dated '82 and '86, architectural drawings, watercolour and pencil, 37 x 61cm.; 14.5 x 24in and 40.5 x 68.5cm.; 16 x 27in (2).
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35023 item(s)/page