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[Guevara, Antonio de]. The Golden Boke of Marcus Aurelius Emperour and eloquente oratour, London: [Thomas Berthelet], 1546, title within architectural woodcut border (with date of 1534 within design), numerous decorative woodcut initials, black letter text, inscription to title with name Michaell Clarson and to final leaf of table, manuscript notes to final leaf, some dampstaining at rear, occasional minor marks, few leaves dust-soiled, bookplate of William Wordie, Glasgow (1884-1952) to verso of front free endpapers and front free blank inscribed 'To Alexr. Smith, from his unseen & sincere friend J. Payne Collier', all edges gilt, 19th century gilt panelled calf, red morocco label to spine, small 8vo Pforzheimer 441 (7 copies known), STC 12440.5 and ESTC S117886. This is the fifth edition translation of the French version of Guevaras fictitious account of Marcus Aurelius, first issued in 1528 under title: Libra aureo de Marco Aurelio. The work states it was "Translated oute of Frenche into Englishe by Iohn Bourchier ..." p.[582]. John Payne Collier (1789-1883), was a controversial figure in the history of literary scholarship, being a Shakespearian critic and forger. An influential writer regarding Shakespeare's drama, poetry, and prose, he was also the originator of an array of forgeries and false evidence at the same time. His efforts seriously affected and confused the text and biography of Shakespeare and his contemporaries. (1)

A late 19thC German oak and ebonised wall clock, enamel dial bearing Roman numerals, eight day movement with coil strike, the case of architectural form, 88cm high.

An Edwardian mahogany and boxwood line inlaid mantel clock, of architectural form, dial bearing Arabic numerals, eight day movement with bell and coil strike by the Wm L Gilbert Clock Co, Winsted, Conn, 35.5cm x 13cm x 27cm, (AF),

A George III mahogany bureau cabinet, the outswept pediment above two doors enclosing shelves, and recesses flanking an architectural fronted door and two Corinthian column semi secret drawers, over three further drawers, the bureau flap opening to reveal a serpentine arrangement of drawers and recesses, over two slides, two short and three long graduated drawers, raised on bracket feet, 230cm x 117cm x 58cm.

A Victorian walnut 8 day mantel clock, the brass dial with roman numerals with silvered chapter ring, the architectural case with turned finials, striking on a gong, with pendulum and key, height 41cm.

A mid Victorian walnut and ebonised mantel clock of architectural form with fluted sides, the enamel dial with French movement striking on a bell, 29cm wide

A large Early Victorian style mahogany banquet table, in the style of Gillows, the rectangular top with reeded edge over reeded and turned tapering draw-leaf legs with brass caps and castors, eight extra leaves, one stamped 'styled and designed by Robert Gillow Snr, 1704-1772, created Freeman 1727, reconstructed and polished by John F. Brooks, Architectural consultant and master craftsman, artist draughtsman and maker to Georgian Gillow period 1724'. 597cm long extended, 146cm wide This is a replica 'Patent Imperial' dining table made by John F. Brooks (1915-2015) and completed in 2003, when he was aged 88. It was his last project. Most Imperial dining tables have six legs per end but later versions (c. 1840) are known to have four, as shown on this table.

An Indian or similar bronze god, possibly an architectural fitting, height 16cm

Three boxes of assorted books, including: Portrait of Hampshire; Portrait of Exmoor; Architectural Of Southern England; Animals of Europe; Encyclopaedia Of The Horse; etc.

A 19th century gilt metal and onyx clock garniture, the clock of architectural form, having an Arabic enamelled dial flanked by gilt Corinthian columns, raised on a plinth base, flanked by a pair of architectural porticos mounted with figures of knights.

A French black and rouge royale marble mantel clock, circa 1870, by Japy Freres, the architectural style case surmounted by a bronze sphinx, the eight day movement striking on a bell, 30.5cm wide, with a key.

Steven Parissien,'Adam Style', published by Phaidon, 1996,'Architectural Antiques',published by Beta-Plus, 2008,Yannick Guejan,'Trompe l'Oeil Panels and Panoramas',published by Thames & Hudson, 2003,Miles Danby,'Moorish Style',published by Phaidon, 2002,Tony Herbert and Kathryn Huggins,'The Decorative Tile in Architecture and Interiors',published by Phaidon, 2000,Emmanuel Gaillard and Marc Walter,'A Taste for the Exotic (Oreintalist Interiors)',published by Thames and Hudson, 2011,Paula Henderson,'The Tudor House and Garden',published by Yale University Press, 2005,Nicholas Cooper,'Houses of the Gentry 1480-1680',published by Yale University Press, 1999,Gail Caskey Winkler,'Capricious Fancy (Draping and Curtaining the Historic Interior 1800-1930),published by the University of Pennsylvania, 2013,Penny Sparke,'Elsie D Wolfe, The Birth of Modern Interior Decoration',published by Acanthus Press, 2005,Mark Snowden and Morris Howard,'Ornament, A Social History

A MAGNIFICENT 19TH CENTURY OAK GUN CABINET WITH ARCHITECTURAL DESIGN with R & J Watkins, 40 Harrington St, Dublin label to the interior. Th interior fully fitted with drawers and gun supports.

A SUPERB EARLY 19TH CENTURY MAHOGANY IRISH DISPLAY CABINET with shell carved base, glazed doors and architectural pediment.

A TWO DOOR GLAZED BOOKCASE with architectural cornice.

AN EARLY 19TH CENTURY MAHOGANY DISPLAY CABINET IN THE IRISH STYLE with twin glazed doors and architectural pediment.

A WONDERFUL 19TH CENTURY MAHOGANY CHURCH NOTICE BOARD with glazed door and architectural pediment.

Walnut cased Vienna wall clock, architectural pediment, enamel dial, spring driven movement, 140cm.

A Victorian oak clock-barometer, side-by-side enamel dials, architectural case with gilt-brass leaf-scroll mounts and Corinthian columns, on brass toes, 14.5in. wide

ART DECO EIGHTEEN CARAT GOLD RUBY AND DIAMOND RINGthe architectural bezel with a central diamond set bridge section, with two wings, each with a row of channel set rubies, in eighteen carat gold, size I-J

An Arts & Crafts copper wall Mirror, the upright rectangular plate within a hammered copper frame of architectural form with embossed crest, 28in (71cm) high.

A large pair of circa 1900 cast iron and steel plated architectural finials, each of three handled elongated urn form, with flaming finials and floral cast detail on later stained wood pedestals, h.78cm

A late 19th century French gilt bronze and black slate mantel clock, of good size, having removable bust of Diana by Jean Goujon, signed to the plinth, the case of architectural form, with laurel cast handles, the 4.5" dial with exposed escapement and signed A Lemarie Paris, striking on a bell, h.63cm

A 19th Century mantel clock by Benjamin Vulliamy, the flame mahogany case in architectural design with tapered top with stepped base on four feet, the silvered dial having black Roman numeral hourly markers with minute track border with moon hands, dial marked Vulliamy, London, fitted with fusee movement, rear backplate of movement marked Vulliamy London 1624, with brass cased bob pendulum with pendulum locking plate, numbered 1624, with workings key and case key, height 31cm.

An Edwardian Inlaid Oak and Satinwood eight day Chiming mantel clockThe architectural case, with scalloped domed pediment, rising from twin Corinthian Columns, the glazed door revealing silvered chapter ring with black Roman numerals, and cast foliate spandrels with two subsidiary dials, the two train movement striking on a gong, with key and pendulum, 46cm high.

A Victorian black slate mantel clockThe architectural case with green variegated marble Corinthian Columns, the glazed dial with white enamelled chapter ring with black Arabic numerals, the eight day movement striking on a gong, 37cm high, 32cm wide, (sold with key and pendulum)

A Victorian black slate mantel clockOf Classical revival form with architectural casing, enclosing glazed dial with gilt chapter ring and black Roman numerals, the eight-day movement striking on a gong (possibly matched movement), 34x40cms (sold with key)

An Impressive Victorian black slate mantel clockThe architectural casing inscribed with gilt scroll designs and spandrels, flanked by gilt classical head terminals, the white enamelled chapter ring with black Arabic numerals, the eight-day movement striking on a gong, 47cm high, 49cms wide.

A Victorian black slate mantel clockThe Classical Architectural case, raised on gilt paw feet, with incised gilt scroll detailing, with glazed black dial and black Roman numerals, (lacking part of movement), 26x36cms

An early 20th Century quarter chiming walnut cased mantel clockThe domed architectural case with glazed door, raised on a bevelled base, the door enclosing silvered chapter with brass cast spandrels, 30cms high.

An ornate Edwardian Mahogany Hall Cabinet having brass galleried central glazed cupboard with diamond motif, five heavy bevel plate panes set in leaded framework, opening to reveal velvet lined compartment, flanked either side by brass galleried shelves on architectural style column supports, the ormolu mounted base comprising two shelves, standing on tapering square legs with single slat supports. 27 1/2" wide x 56" high x 17 1/2" deep.

5 Architectural prints

A large black slate architectural mantle clock

A 19th Century Gothic Revival walnut folding book stand of architectural form with intricately pierced tracery, height approx 65cm, width approx 32cm.

An early 20th Century oak mantel clock of architectural form with Arabic silvered dial, 8-day movement, 48cm high, key and pendulum, 48cm high

A 19th Century French mantel clock the blue and pink champlevé enamel dial with black and gilt Roman chapters and Japy drum movement with bell strike. The ormulu architectural case with sky blue and polychrome foliate champlevé panels mounted with putti upon turned feet, 40cm high

A German H. A. C., Hamburg American Clock Company mantel clock with enamel Roman chapter ring, twin train movement with gong strike in a walnut and beech architectural type case, 36cm high

A German mantel clock with Gothic enamel chapter ring, the twin train movement with coiled gong strike within an architectural walnut case with turned finials, 46cm high

French Paris Three Piece Clock Garniture Set, Lacquered Brass Architectural Case Silvered Chapter dial with Roman numerals, matching marble side urns. Backplate Marked HP & Co 15 inches high.

Peter Hubert Desvignes (British, 1804-1883), John Papworth (British, 1775-1847), Sir Charles Barry (British, 1795-1860) and others A portfolio of architectural studies including sketches for the Traveller's Club by Barry, drawings by John Papworth, drawings of Knole in Kent, designs in gouache of interiors at Pompeii and Ercolano pen and ink Some scuffing and creases, some foxing, some staining, all unframed.

A 19TH CENTURY OAK STICK BAROMETER, with chamfered edges, demi lune cistern cover, architectural pediment, vernier sliding scale inscribed West, 41 Strand London, approximately 107cm

GEORGE BARRET RA (1732-1784)View of Tintern Abbey, Co. WexfordOil on canvas, 40 x 53cmProvenance: Purchased from Sabin Galleries, Cork Street, LondonSituated on the west shore of Bannow Bay in Co. Wexford, Tintern Abbey was one of the most powerful Cistercian foundations in the South East until the Dissolution of the Monasteries in 1536. Upon which in 1575 it was granted by Queen Elizabeth to Sir Anthony Colclough of Staffordshire and it remained within the Colclough family until 1959. The family made considerable extensions to the abbey to accommodate its new domestic function. They also demolished some outer buildings and used the stone to erect the neat bridge over the small tidal river, as seen in the background of Barret’s painting, located only short distance from the demesne. This inclusion of recognisable architectural features, common to Barret’s work, marked them out as studied compositions as distinct from arbitrary observations. A degree of order is applied to the ‘view’ in an attempt to enhance rather than fabricate the landscape’s innate qualities. That is not to say the work is without its elements of illusionism with Barret adding a consummate air of intensity through the stark cloud filled sky. Equally the staffage figures in the foreground add a degree of narrative embellishment to the scene. During the second-half of the eighteenth century wild landscapes and medieval ruined buildings came to be seen as fascinating and mysterious. Their echoes of romantic tales attracted tourists to these locations with British and Irish artists increasingly developing an appreciation and stylistic expression for their own environments rather than imitating Italianate or Dutch landscape traditions.

After Campbell, Architectural plans for Horse Heath Hall in Cambridge; together with Ascensione di L. Piana, two modern reproduction prints.(2)

LATE VICTORIAN BLACK SLATE MANTLE CLOCK, the 6" arabic dial with matted gilt centre, powered by an 8 day spring driven movement and housed in an architectural case with variegated marble trim and fore corners, 14" (35.6cm) high

A pair of carved wooden Eastern architectural elements

A late Victorian brass mantle clock, having white enamel dial in architectural brass case with eight day movement

A large pair of ecclesiastical metal candlesticks in the Gothic revival style, each with triform bases surmounted by architectural tracery decoration, the lobed stems with a Gothic style knop, reportedly from Clearwell Castle, 93cm high

VICTORIAN BLACK SLATE MANTEL CLOCK OF ARCHITECTURAL STYLE WITH GILT BRASS MOUNTS, 13" WIDE

Two architectural ink and wash of Compton Wynyates and Compton Castle by Bob Widgery.

An oak cased mantel clock, 19th century, W&H and Sons, of architectural form, the domed top above brass dial with spandrel frieze and corners, the movement striking on a single gong, a/f case loose, 28 by 20 by 40cm.

David Marshall (b.1942) contemporary sculptural clockModelled in the form of an arched arm in gilt with a shaped steel finished clock face, embossed makers mark to base, height 56cmNB: David Marshall more than fifty years ago, attracted by the climate, light and magnificent scenery David Marshall left his native Scotland, settled in southern Spain and commenced his artistic career. Inspired by the mountainous surroundings and all the detritus of nature - with workshops in Benahavis, and now Benaojan near Ronda.David has developed a thriving design business working with institutional and private clients worldwide. Interacting with local artisans and foundries, and with his daughter Kristi managing The Eponious Gallery in Benahavis, David provides professional solutions to architectural and industrial challenges - staircases, murals, signage, company gifts, trophies, interior design and a long etcetera.He also continues to exhibit his highly individual sculptures at galleries and shows in Europe and the United States where he has established a studio in the Rockies of Colorado.

David Marshall (b.1942) eighteen pieces of contemporary table accessories To include six large plate trays of rectangular form, 27x39cm, eight coasters of square form, 10.5x10cm, four coasters of hexagonal form, 9.5x11cm, each decorated with gilt stylised motifs on a steel ground, each signed or monogrammedNB: David Marshall left his native Scotland, settled in southern Spain and commenced his artistic career. Inspired by the mountainous surroundings and all the detritus of nature - with workshops in Benahavis, and now Benaojan near Ronda.David has developed a thriving design business working with institutional and private clients worldwide. Interacting with local artisans and foundries, and with his daughter Kristi managing The Eponious Gallery in Benahavis, David provides professional solutions to architectural and industrial challenges - staircases, murals, signage, company gifts, trophies, interior design and a long etcetera.He also continues to exhibit his highly individual sculptures at galleries and shows in Europe and the United States where he has established a studio in the Rockies of Colorado.

Jan Wenczka (b.1946) - 'Architectural Study'Acrylic on canvas, signed, approx 70x90cm, framed.

EDWARD SEAGO, RWS, RBA (1910-1974) - A mural study depicting a knight in armour on horseback, pencil drawing circa 1935, framed, 13.5cm x 19cm also one other sketch for a mural and two architectural studies by the same hand (4) Provenance: the estate of the artist's brother John Seago

A Victorian ornate silverplate candlestick of classical Architectural form, 19cm tall

Architectural /Salvage : A set of four Bistro chairs with folding metal frames and painted wooden seats , 32" high when opened. (4) CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.

Architectural / Salvage : a set of 19thC four tier steps, standing 32 1/2" high x 21 34" wide. CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.

Architectural Salvage : a black painted wrought iron Fleur De Lys ( in the Gothic manner), 17 3/4" high. CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.

Architectural /Salvage : Am Arts and Crafts copper Fire fender with copper stud and brass ring decoration , internal measurements 12 x 48" , 6" high CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.

Architectural / Salvage : Stained glass Art Nouveau panel and another within a hardwood surround , the panel 15 5/8 x 19 3/4" CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.