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Nairn (Ian). Counter-Attack against Subtopia, Architectural Press, [1957], black and white illustrations, mostly from photos, old adhesion marks to turn-ins, original pictorial boards, a little rubbed and soiled, slim 4to, together with Furnival (John), "R.E.M. Period", A Coloured Picture Book, Openings Press, 1968, tinted illustrations, original printed wrappers, browned and slightly soiled, 4to, plus Bailey (David & Evans, Peter), Goodbye Baby & Amen, A Saraband for the Sixties, 1969, black and white illustrations from photos, original cloth, lettered in silver, rubbed and marked, folio, plus other miscellaneous mostly large-format illustrated, art, etc. (2 cartons)

Winterhalder and Hofmeier Architectural Oak Cased 8 Day Pendulum Mantel Clock In Aesthetic Style. c.1880. Marked W & H to Movement. Excellent Condition and Working, Just Been Serviced. 13.25 Inches High, 8.75 Inches Wide & 5.25 Inches Deep.

18th century line-engravings - including framed Westminster Abbey, two architectural plans, largely frameless

Holy Trinity Church, Knightsbridge - four 18th century architectural plans, and another, Temple Church, church consecrated 1829, architect Donaldson, frameless, also to include a framed architectural line engraving, bridge designs across River Thames, 1735 (6)

A Victorian black slate mantel clock, the architectural case with verdigris marble panel and columns enclosing an eight day movement

Quantity of Ordnance Survey maps including 19th century Harrow, later edition of Manchester, etc. together with reproduction London and c/d and a prospect of London and Westminster after the original and a folio including Stanford's Library Map of London, loose sheets, further reproduction maps, reproduction of Charles Booth Descriptive Map of London Poverty 1889, architectural drawing of St Paul's Cathedral, etc.

A 19th Century mahogany and inlaid hanging corner display cabinet:, with an architectural moulded broken pediment centred by an urn and a moulded cornice, the interior with fixed serpentine fronted shelves, enclosed by an astragal glazed panel door decorated with sycamore lines, flanked by canted angles, 68.5cm (2ft 3in) across, 107.5cm (3ft 6 1/4in) high.

A collection of twelve Russian silver spoons, including a silver-gilt and niello work teaspoon, the reverse of the bowl with an architectural scene, plus two others with niello decoration, and others with engraved foliate scroll decoration, approx. weight 8.5oz. (12)

A Russian silver-gilt and niello work caddy spoon, Moscow 1880, maker's mark B.C, shovel form, the reverse of the bowl with a Moscow architectural scene on a silver background, twisted handle, length 9.1cm, approx. weight 0.7oz.

The Nations Pictures, forty six folio albums of assorted prints, folios of English furniture of the 18th century and architectural reviews

A set of four wrought iron architectural style garden mirrors with arched plates

A Chinese carved hardwood stand, a large weight, an architectural slate mounted clock and one other

A small French Architectural Slate Clock the circular dial with Arabic numerals

An 1818 edition of 'Dugdale's History of Saint Paul's Cathedral', printed by Lackington, Hughes, Harding, Mayor and Jones, London.Half calf spine over mottled boards,engraved portrait frontispiece, many architectural plates, Spotting and discolouration to some pages

An unusual Edwardian bird case on stand, in a regency classical architectural style (70cm x 72cm approx, 100cm approx high)

MIRROR, architectural style with domed top in a metal frame, 159cm x 66cm.

An album containing a quantity of vintage postcards to include Royal architectural, biblical interest etc.

HOLLOWAY (E), REYNARD THE FOX, A POEM IN TWELVE CANTOS, xiv + 81pp, steel engraved frontis, title and 34 other plates, 3/4 leather with marbled boards, Payne, Dresden & Leipzig, [1852]; LEAR (E), NONSENSE SONGS & STORIES, 144pp, pictorial brown cloth, 9th edition, Frederick Warne & Co, 1895; (E.B.) SIX MONTHS AT FRESHWATER, frontis plate, gilt red cloth, Griffin & Farran, 1846; THE LATER WORKS OF AUBREY BEARDSLEY, complete with black and white plates, architectural blue cloth, d.j., London John Lane, later edition 1930 (4)

A Victorian glazed mahogany display cabinet, the square top with painted detailing above a glazed door flanked by architectural columns, 82.5cm H x 41cm W x 39.5cm D

A German oak cased inlaid mantle clock, 19th century , of Architectural form inlaid with parquetry detail, white enamel dial with black Roman numerals, movement stamped 'PH & S 78577', 39cm high and an oak cased 1930's mantle clock, 23cm high (2)

A 19TH CENTURY WASH ARCHITECTURAL DRAWING OF TOTTENHAM CHAPEL, WEST END ELEVATION, 55 X 40CM (FRAMED), AN UNFRAMED LARGE 18TH CENTURY FRENCH CONSTRUCTION PRINT AND VARIOUS OTHER UNFRAMED WASH DRAWINGS OF ARCHITECTURAL AND ACADEMIC INTEREST.

20TH CENTURY SCHOOL, TWO GRISAILLE DRAWINGS OF ARCHITECTURAL SUBJECTS AND THREE FOLIO PRINTS, SOME PENCIL SIGNED. UNFRAMED

AFTER PIRANESI, A FOLIO PRINT OF A FANTASTIC ARCHITECTURAL INTERIOR, 41 X 56CM

A GROUP OF FOUR LARGE ARCHITECTURAL PINE COLUMNS

•RONALD JESTY (1926-2016) SKETCHBOOKS A group of 20 of the artist's sketchbooks, containing studies in pencil, wash, watercolour, fibretip etc, also some of the artist's photographs to aid or inspire composition; principally landscapes (Dorset, Devon, Cornwall, Scotland, Channel Islands, Germany, Norway, Canada etc), figure studies, architectural details, many inscribed with artist's notes, dates, places, compositional measurements etc, 12.5 x 18cm up to 30 x 42cm (20 vols) ++ Generally good condition; well thumbed

A mixed selection of assorted postcards to include scenic, architectural, animals etc

COLLECTION OF GRAND TOUR ARCHITECTURAL BRONZES, 19th century, each modelled as single or group of Corinthian columns including an eight column portico, on marble bases, heights 14cm and smaller (4)

A Victorian repeating carriage clock of architectural form on stepped square base with swing handle

A decorative carved tondo depicting Jesus teaching children with architectural landscape in the background, diameter 12.5cm (af). CONDITION REPORT: There is a crack spreading from the edge approx 6.5cm, also scratches and staining verso and some staining to the front, no major losses.

An Iraqi white metal tapering mug engraved with architectural landscape and masted boat, height 6cm, unmarked, a small white metal and enamel decorated globular trinket box, height 3.5 cm and an eastern rectangular cigarette case (3).

CRISFORD & NORRIS; a pair of Edward VII hallmarked silver cylindrical trinket boxes each engraved with St Andrews architectural motif to detachable covers enclosing gilt washed interior, Birmingham 1902, diameter 3.5cm, approx 1.1ozt.

A near pair of Japanese Meiji period wooden slender panels, rootwood, bone and mother of pearl decorated with architectural landscape, length 93cm.

An early 20th century Chinese porcelain twin handled cup of baluster form painted in underglaze blue with continuous architectural and lake landscape, with gilt fruit finial to the similarly decorated cover, unmarked, height 14cm (af), a Chinese porcelain figure of a seated child, with underglaze blue decoration to the front, unmarked, height 7.5cm (restored), and a Chinese porcelain figure of a kneeling man, his turquoise glazed robe decorated with floral sprays, carrying a double gourd vase on his back, unmarked, height 10cm (3). CONDITION REPORT: One handle is broken off the twin handled cup but present, there is a hairline spreading from the rim and some rubbing to the glazing to the inside of the cover. The figure of the seated child is heavily restored overall. The kneeling man has traces of restoration particularly to the figures head/neck and to the neck of the vase, some small loses and nibbles, also rubbing to paint and residue of restoration materials to the main body.

IS GREENBERG; an George V hallmarked silver square cigarette case with engine turning and vacant Art Deco cartouche, Birmingham 1935, three hallmarked silver Albert chains, two Russian 875 standard silver niello snuff boxes decorated with allover pattern and architectural hinged lids, both possibly Viktor Vasilyevich Savinsky, Moscow 1870, and a hallmarked silver small book front cover with repousse carriage decoration, combined weighable silver approx 9.53ozt (7).

A late 19th Century French brass and champleve enamel bracket clock of architectural form, worn black Arabic numerals, with key and pendulum, height 28.5 cm approx

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.

Winterhalder and Hofmeier Architectural Oak Cased 8 Day Pendulum Mantel Clock In Aesthetic Style. c.1880. Marked W & H to Movement. Excellent Condition and Working, Just Been Serviced. 13.25 Inches High, 8.75 Inches Wide & 5.25 Inches Deep.

A box containing architectural items to include many brass door handles, door knocker parts, knobs etc

6 books on various English counties and churches including History of Nottinghamshire by Cornelius Brown 1891, Architectural Notices of the Churches in the Archeology of Northampton 1849, The Story of Some English Shires by Mandell Creighton 1897 etc

Pre-Columbian, Mexico, Guerrero, Mezcala culture (Balsas culture), ca. 700 to 200 BCE. An abstract, carefully carved symmetrical anthropomorphic figure. Stringcut and polished, the grey stone figure appears human through suggestion, with a heavy brow, neck, and legs the most prominent carved areas. Comes with custom stand. Size: 1.55" W x 3.95" H (3.9 cm x 10 cm)Mezcala sculpture makes us think about the individual elements of the human form by abstracting them into basic geometric shapes. Sculptures like this one play with planes and depressions. The type of stone it is made out of is a smooth grey-green andesite, a volcanic rock that, although hard and therefore difficult to carve, was heavily favored by the Mezcala and used to create many of their human form sculptures and some of their architectural models. Provenance: Ex-Private Arizona collection Condition: Wear to surface as shown, with an old accession sticker from a previous owner on the back. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118983

Papua New Guinea, Sepik River, perhaps from Iwam along the May River (East Sepik), mid-20th century CE. A long-faced, hand-carved wooden mask, made not to be worn but to be placed protectively over a doorway or other architectural feature. The face has fine details of nose, mouth, and eyes, with carved and painted features that may suggest ritual tattooing or scarification. The swirling design on the cheeks is similar to other wooden artwork known from Iwam. Size: 5.7" W x 16.25" H (14.5 cm x 41.3 cm) Provenance: Ex-Adeon Gallery, Chicago, IL, acquired prior to 1970. Condition: Dark patina and age wear. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119098

Russia, ca. 15th to 16th century CE. A very old surviving example of a wooden icon showing the Virgin Mary and baby Jesus in the Our Lady of the Spring or Our Lady of the Waters position. She sits underneath a crenelated arch held up by two decorated columns. The arch is surmounted on either curved side by floral motifs. These architectural features were gilded. Size: 10.25" W x 12.25" H (26 cm x 31.1 cm)The depiction of Mary is simple; she has a halo and wears a red robe. Christ, on her lap, is looking up at her; her head is tilted towards him in adoration. At her feet is another child, one of Christ's "brothers", who, in the Orthodox religion, are believed to be the children of another Mary whom Jesus was particularly close to. There is a fine level of detail on the piece, with beautiful painting that is still clearly visible despite age and wear. There is also some writing in the bottom right corner, but unfortunately, it is not possible to decipher it. From the fifteenth century onward, growing prosperity allowed the personal owernship of icons. In the home, they would be placed in the corner of a room or over the headboard of the bed. This icon was made by smoothing a piece of wood with an adze, then covering it with a layer of gesso and polishing that layer (once hardened) to a shiny surface. Using a stencil, the outline was traced onto the board, followed by a background. Then the artist paints the final image using pigments tempered with egg or wax. Afterward, the artist would apply a layer of flax-seed or olive oil to enhance the colors (although this would quickly darken them). The surfaces of old Russian icons were often repainted to enliven the colors, but, ultimately, this made them darker. Provenance: Ex-Sieling collection Condition: Wear to the surface, with wear, darkening, and losses to the paint; loss to the top center as shown. Frame is not original. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118414

Pre-Columbian, Guatemala, Peten Region, Late Classic Maya, ca. 700 to 800 CE. A beautiful cylinder jar with a simple, elegant design. The interior is an earthy red - it flows upward and spills over the rim, terminating in a neat band above a register of step glyphs painted by hand in black on cream. Underneath that, free-floating on on the body of the vessel, are a series of spaced-out black dragonfly motifs on a cream background. Size: 3.75" W x 6.95" H (9.5 cm x 17.7 cm)The step register is an omnipresent motif in Mayan art, which often depicts architectural elements. The dragonflies - shown here as simple round bodies with wings extended, as if viewed face on - and reflect the importance of zoomorphic designs in Mayan art. Residue analysis on similar vessels suggests that this cylinder jar was almost certainly used for the ritual ingestion of a drink made from cacao (chocolate). This was hugely popular amongst Mayan elites. Provenance: Ex-Dr. G. Hermann collection, Denver, CO acquired before 1980 Condition: Repairs on base and around lower body; pigment has slight wear but is in nice condition. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118957

Pre-Columbian, Bolivia, Tiahuanaco (Tiwanaku), Middle Horizon, ca. 800 to 1100 CE. A wonderful basalt carving of a stylized feline - probably a puma based on similar ones from Tiahuanaco - colored with cinnabar and decorated with incised lines and small round seed-bead-like turquoise insets on its chest and nostrils. The puma stands with his head up, mouth slightly open, with canine teeth clearly carved out. The ears are back and the tail is flat along the back. Size: 5.9" L x 2.3" W x 4.8" H (15 cm x 5.8 cm x 12.2 cm)Tiahuanaco stone carving is often like this, with densely ornate incised designs. This is a style associated with the Middle Horizon in the Andes, a fascinating time period of new urban capitals in the highlands of Peru (the Huari/Wari) and near Lake Titicaca in Bolivia (Tiahuanaco). As the cities grew, this iconography spread. It was first documented by archaeologists at Tiahuanaco (and called Coast Tiahuanaco and Epigonal), but because that city seems to have been the center of a vast empire, the artistic style has since been found far and wide and is more accurately called the SAIS (Southern Andean Iconographic Series). This style is repeated on architectural features, small stone carvings like this puma, pottery, and textiles throughout the Tiahuanaco region of influence, which extended far south from the city into the Atacama of modern day Chile. Part of the definition of empire is the replication of social ideas through material culture (like this stone figure) that spreads from the center to the hinterlands. The reason for spreading this material culture was not just to build an economy in trade objects, but also to share ideas about how the empire would be run, and specifically, who held power. The feline image was used throughout pre-Columbian Mesoamerica, Central America, and South America as a stand in for a deity/ruler who was intimidating, powerful, and could be violent if they chose to be. It also reminds the viewer of the supernatural power of the ruler, by linking them to the supernatural power of an anthropomorphic feline. Particularly in Andean iconography, the feline is also associated with other animals believed to have supernatural powers, the snake and the llama, who are clearly seen in the incised designs on this puma's flanks. This object would have been a symbol of power for the elite rulers of a vast and, to us, who have no written record of it, mysterious empire. Provenance: ex-San Rafael Auction Gallery Condition: Excellent with expected surface wear All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119386

Pre-Columbian, West Mexico, Jalisco, ca. 300 BCE to 300 CE. A large seated pottery figure, holding a massive bowl on his knees, with an expressive face and huge, staring eyes. The elongated form of his skull, capped by a tall headdress, may speak to a practice of skull shaping, known from other parts of the pre-Columbian New World. The figure here wears nothing but armbands, earrings, and his headdress, and has clearly visible genitalia. Size: 10.4" L x 8.25" W x 11.5" H (26.4 cm x 21 cm x 29.2 cm)West Mexican shaft tomb figures like this one derive their names from the central architectural feature that we know of from this culture. These people would build generally rectangular vertical shafts down from the ground level down to narrow horizontal tunnels that led to one or more vaulted or rounded burial chambers. The geomorphology in the area means that these chambers are dug out of tepetate, a type of volcanic tuff material, which give the chambers a rough-edged look. Although the dimensions of the chambers vary considerably - some only large enough to hold a single burial and its offerings, others seem designed to hold entire lineages - the placement of burial goods like this hollow figure was very similar. Grouped with other hollow figures, and alongside clay bowls, and boxes, they were positioned around the body (or bodies), near the skull. Unfortunately, we lack the information we would need to understand what these figures were made for - do they represent everyday people, even individuals? Are they religious? Were they created to mediate between the living and the dead? Whatever their purpose, today they are beautiful artwork and reminders of the mysterious past. Provenance: Ex-Berman collection acquired in the 1970's Condition: One leg has been reattached. There may be a loss to the front of the headdress, but it is not clear if that piece is meant to be flat or there was something broken off of it in the distant past.Some bright pigment remaining, and some manganese staining over the body. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118626

Pre-Columbian, West Mexico, Jalisco, ca. 300 BCE to 300 CE. This is a large pottery figure, covered overall with white slip. She sits with one hand on her lap and another on her knee, holding a bowl. She has a skirt and spooled earrings and nose ring; she wears a round hat. Her face is fairly naturalistic for this style of pottery, with sensitive features. Fine details include the hands, feet, and clothing. Size: 6.25" W x 10.1" H (15.9 cm x 25.7 cm)West Mexican shaft tomb figures like this one derive their names from the central architectural feature that we know of from this culture. These people would build generally rectangular vertical shafts down from the ground level down to narrow horizontal tunnels that led to one or more vaulted or rounded burial chambers. The geomorphology in the area means that these chambers are dug out of tepetate, a type of volcanic tuff material, which give the chambers a rough-edged look. Although the dimensions of the chambers vary considerably - some only large enough to hold a single burial and its offerings, others seem designed to hold entire lineages - the placement of burial goods like this hollow figure was very similar. Grouped with other hollow figures, and alongside clay bowls, and boxes, they were positioned around the body (or bodies), near the skull. Unfortunately, we lack the information we would need to understand what these figures were made for - do they represent everyday people, even individuals? Are they religious? Were they created to mediate between the living and the dead? Whatever their purpose, today they are beautiful artwork and reminders of the mysterious past. Provenance: Ex-private Scollard collection, acquired before 1990 Condition: Loss to some of the white slip, else intact and generally excellent All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #116259

Western Europe, probably France, ca. 16th century CE. A beautiful small casket, an obviously treasured personal item. It is made of bronze, with a design of panels showing two figures in various scenes. Size: 2.35" L x 5.05" W x 2.05" H (6 cm x 12.8 cm x 5.2 cm)A wide panel where the latch connects on the front of the casket shows both figures kneeling; based on clothing, they may be a man and woman and possibly a married couple. The lid shows four panels, all taking place underneath an ornate architectural arch of the Gothic style with a low-relief fleur-de-lis at its capstone. Gilt bronze caskets - made of individual cast plaquettes - often had scenes from woodcuts that told stories - some Biblical, some from classical mythology, some from history. See the Victoria & Albert Museum for similar examples. Provenance: Ex-M. Jones private Collection, United Kingdom. Condition: Wear to design; one end appears to have been kept too close to something warm and it has damaged the artwork. Patina overall. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119180

An early 20th century continental clock, burrwood architectural case, original fittings for battery light, 5½"

A late Victorian slate mantel clock, of architectural form with domed top and columns, the twin train movement striking on a gong, 41cm wide, 40cm high

An Edwardian Ansonia walnut cased mantel clock, with architectural pediment, the twin train movement striking on a gong, 38cm high

A painted wooden console table in the 18th century style along with an architectural wood effect bracket finished in a distresed paint finish.

MODEL BLACKSMITH'S SHOP.A late 19th/early 20th century model blacksmith shop with various miniature tools etc., glazed architectural case. 23x32xmax.34cm.

BOOKS: TRAVEL, TOPOGRAPHY ETC. A quantity of books on travel & topography etc. including 'The Forest & Deer Parks of the County of Somerset' Greswell 1905, limited edition No.48/150; 'A Perambulation of the Antient(sic) & Royal Forest of Dartmoor', Rowe 1848; 'Through Ten English Counties', Hissey 1894; 'Architectural History of Exeter Cathedral', Freeman 1873 etc. (18) IMPORTANT: Please ask for a condition report on this lot before bidding.

VICTORIAN CLOCK.A large architectural, Victorian slate & marble mantle clock with mercury filled regulator pendulum. Height 47cm.

A boxed plaster cast of Woburn Abbey's frontage including hounds either side of front door, by Timothy Richards, (architectural modeller) (Model 29)

Early 20th C French black and green marble mantel timepiece, drum movement, black chapter ring with Roman numerals, spade hands, the architectural case with stepped rectangular base, 33cm h (lacking pendulum)

A blue and white Ironstone style foot bath / planter with Italian architectural designs, 48cm max. w.

A RUSSIAN LARGE NIELLOWORK VESTA CASE with an architectural figural monument on one side & a vacant cartouche on the other, gilt interior, maker's mark "GK" & state marks for Moscow 1896-1908; 2.75" (7 cms) long; 1.6 oz

GARDEN MIRRORS, a set of four, Architectural style verdigris metal with an arched top, 49cm W x 77cm H. (4)

MIRRORS, a pair, architectural style with arched top in a painted metal frame, 122cm x 78cm. (2)