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A box of assorted mainly football related memorabilia to include 1999 Nottingham Forest V Oldham Athletic League Cup programme, two boxes of miscellaneous books being mainly art and architectural interest

Geoffrey Baxter - Whitefriars - Fifteen clear glass Architectural Slabs, number two, each 17.5cm x 8cm

Geoffrey Baxter - Whitefriars - Fifteen clear glass Architectural Slabs, number six, each 17.5cm x 8cm

Geoffrey Baxter - Whitefriars - Two glass Architectural Slabs, number one, comprising one clear and one in Indigo, each 17.5cm x 8cm

Geoffrey Baxter - Whitefriars - Eight clear glass Architectural Slabs, number four, each approximately 18cm sq

Geoffrey Baxter - Whitefriars - Two Architectural Slabs in Willow, each approximately 18cm sq

Unknown - A pair of architectural relief moulded wall panels, after the original designs for Chicago World's Fair 1933, each panel detailed with a semi-clad female carrying a lot a stylised basket of fruit, each in pewter grey painted finish, height 224cm x width 61cm

A 19th century mahogany pier mirror with an architectural pediment and turned pilasters, 197 x 64 cm CONDITION REPORT: Shrinkage and split to pediment, mirror poor

A VICTORIAN SLATE MANTEL CLOCK of classical architectural form with French movement marked A D Mougin and dial marked with Edinburgh retailer, 21cms high

A VICTORIAN SLATE & MARBLE MANTEL CLOCK of architectural form, decorated with floral etching and having a circular ivorine dial bearing Arabic numerals, 37cms high

Victorian marble cased mantle clock with architectural case and white enamel dial, 30cm

A German carved wood architectural style mantel clock

A 19thC oak cased bracket clock of architectural form with silvered chapter ring and Roman numerals flanked by brass foliate scrolls and raised on a egg and dart base with bracket feet

Two boxes of assorted postcards to include architectural, scenic etc

Two boxes of assorted postcards to include architectural, scenic etc

W.H. ST. JOHN HOPE, WINDSOR CASTLE, AN ARCHITECTURAL HISTORY, VOLUMES I & II Sold together with four volumes from 'The Spring Gardens Sketch Book', Volumes I, II, IV & VI, by A.J.S..

Silver fronted miniature architectural mantel clock, hallmarked J Deakin & Son, Sheffield 1908, fitted at a later date with an old pocket watch dial and fusee movement by A McShane, Portman Sq (not working), overall width 10cm. *See clocks and watches proviso.

Victorian - Early Finely Carved Ivory Barometer, In The Form of An Architectural Sun Dial. The Column with Finely Carved Reeded Decoration which Extends to Bowl and Base with Temps for Blood Heat, Summer Heat, High Freezing etc. Height 7.75 Inches.

*Carriage Clock. A modern brass carriage timepiece by Matthew Norman, with white enamel dial black roman numerals, Swiss made movement no. 1754, architectural brass case with swing handle, 15cm high, including handle with winding key (1)

Cameron (Katharine, 1874-1965). An original watercolour bound into Lachrymæ Musarum and Other Poems, by William Watson, 1st edition, Macmillan, 1892, pen, ink, and watercolour drawing of a young couple in a landscape with a cupid, calligraphic title at head and foot 'So light we parted at eve we knew not that love was born', signed and dated 1897 lower right, image size 15 x 6cm (6 x 2.5ins), bound between F5 and F6, latter with an additional pen, ink, and watercolour head-piece of rose stems and flowers by Katharine Cameron, initialled lower right, half-title signed by the author, bookticket of Roderick Gradidge, Architect, top edges gilt, remainder untrimmed, near contemporary red morocco by Maclehose, Glasgow, signed in front turn-in, gilt lettered spine a trifle darkened and rubbed on joints, gilt fillets on edges and turn-ins, 8vo Scottish artist and book illustrator Katharine Cameron exhibited at the Royal Scottish Academy from 1894 to 1965. Prominent British architect Roderick Gradidge (1929-2000) was an apologist for traditional architecture, an author and architectural historian, and a Master of the Art Workers' Guild. (1)

A carved oak 3 panelled blanket box with architectural decoration on bracket feet, 99cm wide, 37cm deep.

A late 19th century Black Forest cuckoo clock, 10cm circular dial applied with Roman numerals, pointed architectural case carved and applied with a songbird and stiff leaves, shaped apron, bracket feet, 35cm high, c.1900

A 17th century oak architectural fragment, carved with acanthus, shell cresting, strapwork border, 39.5cm high, 28cm wide, c.1640

A substantial Victorian ivory and ebonised thermometer, in the 17th century Flemish taste, 37.5cm arched register inscribed Chamberlain & Son, 203 High Holborn, London, canted architectural base with a frieze of arches and wavy borders, 52cm high, c.1870

A Napoleonic Prisoner-of-War bone tapered needle or bodkin case, of architectural influence, inlaid with cut steel marquetry spheres, push-cover, 7.5cm long, c.1815

A mahogany rise and fall buffet, three quarter architectural gallery.

A large and highly elaborate Victorian slate and marble mantel clock, of architectural design, the 12cm dia. dial with Roman numerals revealing an 8 day movement, in a fixed pedimented case with scroll supports on a shaped base with gilt highlights on compressed feet, 43cm high.

Bolton (Robert). Mr. Bolton's Last Learned Worke of the Foure last things, Death, Judjement, Hell and Heaven. With an Assise-Sermon, and Notes on Justice Nicolls his Funerall. Together with the Life and Death of the Author, 2 parts in one, 1633, title within architectural woodcut border, woodcut headpiece and initial, errata leaf at end, bookplate, gilt gauffered edges, contemporary panelled vellum gilt, a few light spots, cloth ties, small 4to (1)

Brooke (Ralph). A Catalogue and Succession of the Kings, Princes, Dukes, Marquesses, Earles, and Viscounts of this Realme of England, since the Norman Conquest, to the present yeere 1622, Together with their Armes, Wives, and Children; the times of their Deaths and Burials, with many of their memorable Actions, Collected by Raphe [sic] Brooke, Esquire, Yorke Herauld, and by him inlarged, with amendment of divers faults, committed by the Printer in the time of the Authors sicknesse, [London: printed by William Stansby], 1622, initial blank present, title within decorative architectural woodcut border (cropped to border at fore-edge), numerous woodcut armorials and decorative initials throughout, final contents leaf present at rear, some light browning & toning to margins, contemporary calf, rebacked, extremities rubbed, small folio STC 3833, ESTC S126175. Variant title with authors name incorrectly spelled "Raphe". (1)

Corrado (Sebastiano). Commentarius, in quo M.T. Ciceronis de claris oratoribus liber, qui dicitur Brutus, & loci pene innumerabiles quum aiiorum scriptorum, cum Ciceronis ipsius explicantur, Florence, 1552, title within fine architectural woodcut border, with Medici devices, large woodcut initials, a few marginal water stains, marginal wormtrack towards end and to front endpaper, bookseller description pasted at front, contemporary limp pigskin, some warping and soiling, later ties (one lacking), folio Adams C2682. (1)

Murphy (Bailey Scott). English and Scottish Wrought Ironwork..., Edinburgh, 1904, 68 monochrome plates, some spotting to endpapers, original gilt decorated blue cloth, boards slightly rubbed and marked, folio, together with Bolton (Arthur T.), The Architecture of Robert & James Adains (1758-1794), volumes 1 & 2, Country Life, 1922, numerous monochrome illustrations, uniform original gilt decorated green cloth in dust jackets, covers severely worn with loss, folio, and Ramsey (Stanley C., & Harvey J.D.M.), Small Houses of the Late Georgian Period, volumes 1 & 2, Technical Journals Ltd & The Architectural Press, 1919-23, numerous monochrome plates, some light spotting, uniform original gilt decorated blue cloth, boards slightly marked and rubbed to head and foot, large 8vo, plus other early 20th century and modern architectural reference and related, including Architectural History, Journal of the Society of Architectural Historians of Great Britains, 37 volumes, a broken run, circa 1960-2000, all original cloth, many in dust jackets, G/VG, 8vo/folio (approx. 70)

Gaud (Henri). Cistercian Abbeys, History and Architecture, UK edition, 1998, numerous colour illustrations, original green cloth in dust jacket, 4to, together with Blanca (Oscar Tusquets et al), The Staircase, The Architecture of Ascent, 2013, numerous colour and monochrome illustrations, original black cloth in dust jacket, large 4to, plus other modern architectural, interior design and gardening reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

Italy. Souvenir de Naples et ses Environs [so titled on upper cover], circa 1870s, an album of 72 albumen prints including 5 not from life, mounted as 4s to rectos of 18 stiff card leaves with brief ink captions beneath, mostly architectural views but including 4 ethnographic subjects, 6 x 9.5 cm or the reverse, original cloth with gilt clasp, soiled and some wear, upper cover detached, oblong narrow folio (155 x 315 mm) (1)

*Italy. A group of approximately 60 albumen prints, circa 1880s, mostly architectural views and related in Rome, Florence, Turin, Pompeii, plus some UK interest, approximately 26 x 35 or 16 x 21.5 cm and mounted singly or as pairs to stiff card mount rectos only, a few with details in the negatives (approx. 60)

London. Select Views of London and its Environs; Containing a Collection of Highly-Finished Engravings from Original Paintings and Drawings, Accompanied by Copious Letter-Press Descriptions of such Objects in the Metropolis and the Surrounding Country as are most Remarkable for Antiquity, Architectural Grandeur, or Picturesque Beauty, 2 volumes in one, 1804-05, titles with engraved vignettes, 60 engraved plates, some offsetting and scattered spotting, bookplate, all edges gilt, contemporary green straight-grained morocco gilt, spine faded, a little rubbed and scuffed, 4to (1)

ARCHITECTURAL OAK STEEL DIAL MANTEL CLOCK CIRCA 1900. H46CM M5

An interesting collection of pictures including a gouache study of a chateau interior scene inscribed Chateau Lamorre - The Duke in Darkness by Patrick Hamilton, signed with initials bottom right WJM, (probably for John Masters) 53 x 70cm approx unframed, together with an abstract oil painting of architectural forms in tones of brown, cream and black, signed bottom right F J Owen, dated 73, 87 x 60cm in gilt frame, a gouache study of a flight steps in a of a barn interior setting, an abstract study in tones of red and yellow, signed bottom right T Challinor, dated 65 with label verso, T Challinor, Moving Figure II, 31 x 34cm etc

A small red sandstone architectural and ornamental arch with scrolling pierced foliate detail, 90cm x 45cm approx

A weathered five sided planter the frieze with architectural columns flanking figures in archways, 32 cm high x 48 cm approx at widest part

A reproduction gilt framed wall mirror, the ogee moulded rectangular frame with foliate detail beneath a scrolling architectural pediment, 175 x 105 cm approx

An Edwardian freestanding side cabinet/chiffonier with later painted finish, the raised back with shaped outline, scrolled acanthus, broken architectural pediment and two inset bevelled edge plates over a serpentine front with fretwork frieze over a pair of rectangular glazed panelled doors and shaped supports united by a platform stretcher with serpentine outline

An Edwardian mahogany free standing two sectional corner cabinet with inlaid banding and urn detail, enclosed by two doors, the upper astragel glazed beneath an architectural swan neck pediment

A pair of Old English style architectural wall panels each fitted with five x three rows of linen fold panels, 180 cm tall x 1 metre wide approx (each panel)

A pair of architectural prints titled 'Examples of Building Construction'

WALL MIRRORS, a pair, architectural arched window pane distressed metal frames, 159cm H x 66cm W. (2)

JAMES MALTON (1761-1803)A set of twenty-five views of Dublin in hand coloured aquatints ''A Picturesque and Descriptive view of the City of Dublin''Frames 30 x 42.5cmJames Malton is thought to have lived in Dublin during the 1780s with his father Thomas Malton, an architectural draughtsman and teacher. According to the Publius source he was apprenticed to James Gandon, the famous architect, at the age of 17 in 1781. Malton's apprenticeship to Gandon was terminated after three years by mutual consent, after which he moved to London, working from there with frequent visits back to Dublin. Malton engaged on his grand project to produce his ''Picturesque Views of Dublin'', on a scale hitherto unknown even in London. Dublin pre-Act of Union in 1800 was of course an incredibly rich and vibrant city at the zenith of its financial and cultural powers, and so to Malton it must have appeared ripe for acceptance of such a publication to celebrate its status as the city second only to London. The book was published in six parts by subscription, as was the custom starting in 1792. The painting itself was carried out in London The book proved in part to be too great an undertaking for Malton, and he could not have foreseen the exodus which took place in the city after the Act of Union in 1800. He died in 1803 in London at the age of 38 of a brain fever, and undoubtedly did not reap the rewards of his endeavour.James Malton (1761-1803) undertook his ‘Views of Dublin’ project in the 1780s and began to publish his set of twenty-five prints in 1792. Completed as an architecturally accurate depiction of Dublin, these prints served as a visual record for the city. The prints enlightened those living in the latter part of the 18th century as to the nature of Dublin and, to this day, they have maintained their importance as a captivating illustration of the city as it was.In 1796, ‘St. Stephen’s Green, Dublin’ was published, providing a view stretching from the North West corner of the park, near what is now the Grafton Street entrance, towards Leeson Street. This idyllic and civilised portrayal of urban park life acts in direct juxtaposition to the area’s previous history. The area of St. Stephen’s Green was so called on account of St. Stephen’s Church and its accompanying leper house that was founded in the vicinity c.1192. Until 1664, the Green itself consisted of a swampy stretch of land in which the locals could graze their livestock in between public executions and witch burnings. In order to reform this part of Dublin, an area of 27 acres was bordered off by lime trees with the surrounding plots of land being subject to housing development. Only those inhabiting these plots were granted access to the Green.During the next century, the Stephen’s Green area rose in popularity as the opening of Grafton Street (1708) and Dawson Street (1723) piqued the interest of fashionable individuals. As such, the park soon became a promenade of high society, with particular devotion being given to the ‘Beaux Walk’ which ran along its northern edge. It is here that Malton has set his scene, portraying Dublin society at leisure. As ladies and gentleman pause for idle chatter, the viewer is encompassed by the lazy hum of their surroundings, whilst a pointing figure on the right directs our eye across the expanse of green, over a statue of George III by John van Nost and out to the city beyond. Rising in unison, these buildings are a stark reminder of Georgian solidarity and represent the building standards that were put on the Green’s surrounding plots of land. With the passing of an Act of Parliament in 1814, we see St. Stephen’s Green warping slightly from Malton’s depiction. Where once people could walk their dogs, these animals were now banned, along with such acts as running and jumping and any other exertion that might harm the land and the plants on it.This is all changed when, in 1880, Lord Ardilaun officially opened St. Stephen’s Green to the general public. In 1884, he handed possession of the Green over to the Dublin Corporation to hold on behalf of the people. From here, the Green, now under the control of the OPW, has progressed into the area that we know today.Over two hundred years after Malton committed his 18th century park to paper, the Green still holds a resemblance to its past. Whilst certain changes cannot be denied, for example the destruction of van Nost’s statue which once stood proudly in the centre, or the extensive growth of the lime trees bordering the walks, the similarities remain. Visitors to Dublin continue to enjoy the ‘Beau Walk’ and, with a change of costume, Malton’s seen would appear quite at home in the 21st century city.

AFTER CAMPBELL (DELIN) AND H. HULSBERGH (SCULP)Architectural drawings and plans including Cholmondeley Hall, Cheshire; designs by Sir John Vanbrugh and Inigo Jones etc.A set of twelve monochrome engravings, 25.5 x 38cm. (12)

A 19TH CENTURY RUSSIAN SILVER AND NIELLO WORK OBLONG SNUFF BOX, maker's mark of Fyodor Ivanov of Moscow, 84 zolotnik (0.875 standard), in the form of a pouch, engraved with an architectural scene on one side, the other with vacant cartouche, 9.3cm long, 5cm wide, 2cm deep; together with a continental 19th century silver snuff box, of oblong shape with canted corners, decorated with engraved geometric, gilt interior. 9cm long, 4cm wide, 2.5cm high (2)

Quantity of art reference books and catalogues, mostly British School, some profusely illustrated folios and scholarly monographs, including: Rothenstein (Sir John) Paul Nash, 1961, Beaverbrook Newspapers, First Edition, protective covers, pp. 20, b&w and colour plates [&] Keynes (Geoffrey) William Blake's Water-Colour Designs For The Poems Of Thomas Gray [exhibition catalogue], 1971, Trianon Press for the William Blake Trust, pictorial soft card wraps, monochrome and colour plates; in total approx 85 (qty) Provenance: from the collection of architectural historian Derek Linstrum (five boxes)

A brass and cast iron fire insert in the architectural taste

Fifteen hand tinted prints of Greek antiquities, architectural drawings and a silhouette

A 20TH CENTURY CHARLES FRODSHAM BRASS REPEATING CARRIAGE CLOCK, having white enamel dial with Roman numerals, engraved face plate, the case of classical architectural column form, fitted carrying handle, eight day movement, the back plate engraved "C harles Frodsham, London", case 16cm high (excluding handle)

A LATE VICTORIAN BLACK SLATE MANTEL CLOCK of architectural design, the dial inset outside count wheel, Roman numerals, with an eight day American "Ansonia" movement, 31cm high

A late 19th century brass mantel clock, of architectural form, with enamel dial, 26.5cm high.

Daniel Adderley,Eastgate Shopping Centre, Gloucester,signed and dated '66,architect's watercolour prior to regeneration for Shingler Risdon Associates, London,40 x 60 cm, framed and glazed,together with two other architectural watercolours of Gloucester CONDITION REPORT: Prints appear to be in good condition. The frames have some paint chipped off them

AN ITALIAN EBONY PIETRA DURA AND GILT METAL CABINET, the upper section with a central architectural arched panel decorated with a pietra dura panel of a parrot amongst fruit and foliage, flanked by two gilt metal capped columns and an arrangement of pietra dura simulated drawers within ripple moulding, the front opening in two parts to reveal a shelved interior, the lower section with a central panel with further parrots, on tapering fluted legs with wavy "X"-form stretcher with central gilt metal basket, on ball feet, 19th century, 62.25" high x 46" wide. See illustration Provenance: This cabinet appears to have been lot 293 in the 1949 auction of the contents at Wentworth Woodhouse, the sale by order of Earl Fitzwilliam's Wentworth Estate Company conducted by Henry Spencer & Sons of Retford.

JOHN THOMAS (1813-1862) UNDER THE DIRECTION OF SIR CHARLES BARRY (1795-1860) AN ANSTON STONE STATUE OF QUEEN VICTORIA holding an orb, the reverse with a bronze fixing and inscribed "Southwick", 68" high. See illustration Provenance: The Houses of Parliament The Gladstone Family at Moortown House, Ringwood, Hampshire. Private collection, Hampshire. John Thomas (1813-1862) was Superintendent of Stone-Carving at the Houses of Parliament (cf. MH Port: "The Houses of Parliament", published for the Paul Mellon Centre for Studies in British Art 1976, pg. 243, pl. 164. for a reproduction of the wash drawing for the statue of Queen Victoria by John Thomas). It was under his supervision that the Gothic-style statues for the exterior of the building were supplied by the Thames Bank Workshop. On pg. 245 of the same volume, Port states: "It is impossible to make out individual contributors to the architectural sculpture", but from this inscribed example it would appear that Southwick was one of them. John Thomas was born in Gloucestershire and his earliest employment in that locality was restoring the lettering and sometimes the sculptural decoration of gravestones, which gave him experience in an important area of Perpendicular Churches. A visit to Oxford focused his attention more specifically on drawing architectural details correctly and developing skill and knowledge as a carver. Then at Birmingham, where his brother was an architect, he worked on a number of large buildings including Barry's King Edward VI Grammar School and it was as a result of his competence in Gothic detailing that he came to Barry's notice. Although Thomas was not officially appointed Superintendent of Stone-Carving at Westminster until 1846, Barry probably engaged him soon after the completion of the Birmingham school and on 13th May 1841 the Office of Works approved Barry's arrangement with Thomas for the stone-carving. Barry's own contribution to the design of the sculptural programme cannot be in much doubt. He would undoubtedly have drawn up the overall plan subsequently delegating certain specific areas to qualified specialists. Precise dating for the various elements of the sculptural programme is not easy. Specific contemporary references to the sculpture are rare and often incidental, but it is possible to propose an outline chronology. Ryde's "Illustrations" of 1849 shows this statue flanked by Justice and Mercy and writes of the sculpture of the porch as if it were in situ. In an illustration of the State Opening of Parliament in 1852 the figures are shown in position.

TWO CARVED OAK ARCHITECTURAL OR CORBEL FRAGMENTS with leaf and scroll carving, possibly 17th/18th century, 11" x 8" (2)

A 19TH CENTURY FRENCH GILT METAL CLOCK GARNITURE, the clock with enamel dial signed "Gasnier, Paris", with a two train movement, the architectural column form case surmounted by a cherub, 14" high, flanked by two conforming two branch candelabra

AN EASTERN SILK CARPET worked with an architectural design of arched top columns for a floral and foliate pattern against a deep ground, within a narrow border, with fringed ends, 77" x 50"