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AN AESTHETIC MOVEMENT BLACK SLATE MANTEL CLOCK, of architectural form with brass columns and balustrade, with patent winding mechanism located behind the bezel, the winding levers inscribed 'Patented 1879' and 'Great Britain', the slate dial marked with carved and gilt Roman numerals, signed 'Haskell, Ipswich' and painted to the centre with a robin, a butterfly and flowers on a gilt ground, a similar painted panel adorns the front of the clock, the movement is stamped 'Etienne Maxant, Paris', with pendulum, height 34cm x width 22cm x depth 15cm (1) (Condition Report: generally ok, losses, damage and repairs to slate case, not currently working, winds and attempts to strike, missing attachment which holds pendulum)

ARCHITECTURAL WALL MIRRORS, a pair, 155cm x 90cm. (2)

ARCHITECTURAL GARDEN WALL MIRRORS, a set of three, aged metal arched frames, 122cm H x 56ckm W. (3)

ARCHITECTURAL GARDEN GATE, wrought metal Regency style, 255cm H x 147cm x 23cm.

ARCHITECTURAL GARDEN MIRRORS, a set of four, regency style arched metal frames in a weathered finish, 60cm H x 36cm. (4)

ARCHITECTURAL GARDEN GATE, Regency style, wrought metal in a verdigris finish, 250cm H x 185cm W x 38cm D.

ARCHITECTURAL WALL MIRRORS, a pair, metal frames, 120cm H x 80cm. (2)

ARCHITECTS - STANFORD WHITE; HORACE TRUMBAUER ETC Comprising; From Palm Beach to Shangri La: The Architecture of Marion Sims Wyeth, Jane S. Day, Rizzoli, 2020 McKim, Mead & White: The Masterworks, Leland Roth, Princeton Architectural Press, 2018 Percier & Fontaine, Charles Percier and Pierre François Léonard Fontaine, Princeton Architectural Press, 2018 Stanford White Architect, Samuel G. White and Elizabeth White, Rizzoli, 2008 American Splendor: The Residential Architecture of Horace Trumbauer, Michael C. Kathrens, Acanthus Press, 2002 Stanford White's New York, David Lowe, Doubleday, 1992 Gilded Mansions: Grand Architecture and High Society, Wayne Craven, W.W. Norton & Company, 2009 Stanford White in Detail, Samuel G. White, Monacelli Press, 2008 (8) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Ca. AD 1450 - 1550 A remarkable bronze lantern, with openwork decoration of scrolling vines and phytomorphic motifs, which is an unusual example of Timurid metalwork. The top is decorated with two vertical dragons in the perfect style of Timurid art. It would originally have been on furniture or the floor. The shape of this piece evokes an architectural feel without directly referencing any specific type of building. The general form is echoed in Ottoman metalwork, an example of which is now in the Metropolitan Museum of Art. Size: 530mm x 135mm; Weight: 1.85kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1000 - 1200 A Timurid glazed terracotta panel element of a lantern featuring a hexagonal pattern. This kind of frieze has intricate decorations and was used throughout Iran before being replaced by glazed tiles. At Nishapur, many fragments of large panels carved with different types of designs provide evidence of yet another form of architectural decoration. For similar see: The Metropolitan Museum of Art, Accession Number 39.40.67. Size: 275mm x 310mm; Weight: 3.6kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. AD 600 A stunning Byzantine gold bracelet. The design features a large ring connected with two wide and flat finials, each embellished with a raised tree of life or stylised Palmetta with curved roots. This imagery is framed by a dotted background and a linear motif on the edges. The palmette has its origins in ancient Mediterranean civilizations, such as Greece and Rome, where it symbolised concepts of fertility, growth, and victory. It was commonly featured in various artworks and architectural elements in the Byzantine period. Size: 75mm x 65mm; Weight: 60gProvenance: Private UK collection, acquired on th US art market; Ex. Fortuna Fine Arts, New York, 1990 (A Golden Past: jewellery from the Ancient World, p. 37, no. 177). This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 750 - 650 BC An Etruscan gold spectacle pendant composed of two coils of wire, which become thick at the centre and linked by a twisted suspension hoop. The spirals held great significance in Etruscan society and were widely incorporated as a prominent decorative motif in various forms of art and artefacts. The Etruscans, who flourished in what is now modern-day Italy from the 8th to the 3rd century BC, extensively utilised spiral motifs in their jewellery, pottery, and architectural elements. For similar see: Prehistoric Metal Artefacts from Italy in the British Museum, n. 274. Size: 46mm x 68mm; Weight: 63g Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 300 BC - AD 100 A South Arabian architectural sculpture with a bull carved in high relief. The head has been carved into a piece of marble with a long groove that ends precisely in the middle of the bull's forehead. It could also serve as a decorative element for a fountain. For similar see: Sotheby's Ancient Sculptures and Works of Art, Part I (7 December 2021), Lot 16. Size: 380mm x 205mm; Weight: 11.91kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

An early 20th Century French oak and ebonised architectural cased mantel clock

A Pair of Gilt and Patinated Bronze Figural Andirons, in Louis XVI style, as sphinxes on curved architectural bases cast with scroll cartouche and gadroons33cm high

A Meissen Porcelain Figure Group, modelled by Friedrich Rentsch (1836-1899), as Bacchus with fruiting vines in his hair holding a goblet sitting on the back of a roaring leopard, on a rectangular plinth, Incised F Rentsch, crossed swords mark in underglaze blue and incised crossed swords within a triangle 40cm highHaving studied at the Dresden Art Academy, Rentsch became Professor of Ornamental and Figure Drawing at Dresden's Royal Saxon Polytechnic. He produced architectural sculptures for many buildings in Dresden as well as providing templates for wall paintings and designed a small number of models for the near-by Meissen porcelain factory Overall very good condition. No restoration. Gilding with very light wear. Some slight crazing detected under UV lighting only.

Two late 19th century architectural ebonised mantle clocks to/w a 1930s triple train clock (3)

A pair of old weathered square tapering plinths, 46 cm x 46 cm x 26 cm h to/with a large square 'Greek key' cast planter to/w a stout Corinthian style column, broken in two; four cast stone architectural columns and assorted other components

Pair of Victorian design cast stone architectural corbel wall brackets, stepped rectangular top over a scrolled bracket with relief acanthus leaf decoration and rosette motifs to the sideDimensions: Height: 49cm 

Tempus Stet - 'The Corinth Architectural' dining table, rectangular glass top on moulded composite end supports inset with bronzed metal panels, united by metal stretchers Dimensions: Height: 72cm  Length/Width: 240cm  Depth/Diameter: 90cm

Continental School (19th Century): Scene from Mark XV 12-13: 'What will Ye then that I shall do unto Him whom Ye call The King of the Jews?', watercolour of Biblical scene unsigned, in classical style architectural frame 21cm x 27cm, frame 57cm x 53cm

A small 19th Century gilt wood pier mirror with architectural frame, 75cm high

A GEORGE III STYLE DOLLS HOUSE19th century and later, hand-painted with architectural details, opens to the rear with four internal 'rooms', 59cm high (to top of chimneys) x 62cm wide x 48cm deep

ANGELA CONNER (BRITISH B. 1935) SIR JOHN BETJEMAN Bronze Signed and dated 1974 35cm (13¾in.) High exc. base Another cast was acquired in 1984 by the National Portrait Gallery. Provenance: Direct from the artist's studio collection Commissioned by Andrew Cavendish, 11th Duke of Devonshire in 1974, Betjeman was a renowned English poet, writer, and broadcaster whose works celebrated English heritage, architecture, and countryside. His poems often depicted scenes of suburban life, rural landscapes, and his love for England's architectural heritage. He served as the Poet Laureate of the United Kingdom from 1972 until his death in 1984, using his position to promote poetry and celebrate British culture. In addition to his poetry, Betjeman was a passionate advocate for architectural preservation. He campaigned tirelessly to protect historic buildings and landmarks from destruction due to modern development, bringing attention to the importance of preserving England's architectural heritage and helped create public support for conservation efforts.The sitting is recorded as taking nearly 12 hours to be completed.  

WALTER RICHARD SICKERT (BRITISH 1860-1942) THE RIALTO BRIDGE Oil on canvas Signed (lower left) 65.5 x 49.5cm (25¾ x 19¼ in.)Painted circa 1901. Provenance: Gaston Bernheim, Paris Jacques Rodriguez-Henriques, Paris Sale, Sotheby's, London, 1 May 1991, lot 15 Acquired from the above sale by the present owner Literature: Wendy Baron, Sickert Paintings & Drawings, New Haven and London, 2006, p. 263, no. 165 (illustrated)Sickert first visited Venice in 1894 with his wife Ellen. Although there is no record of him painting during this brief stay, he was known to have referred to it as "the loveliest city in the world" and it undoubtedly enthralled him as he was to return for more extended visits, inspiring him to paint some of his most important and critically acclaimed works.In May 1896 Sickert returned to Venice and took as his studio a flat at 940 Calle dei Frati, keeping it for all his subsequent visits. A few minutes' walk to the Accademia and Grand Canal, just north of the Zattere, Sickert visited and painted the famous buildings and sites of Venice, returning to the same spot on numerous occasions to repeat the process at different times of the day. Indeed, repetition was a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, the Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen Cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter but rather "to disentangle from nature the illumination that brings out most clearly the character of each scene." (W. Sickert, French Pictures, Knoedler's Gallery, Burlington Magazine, July 1923, pp.39-40).Consequently, Sickert's paintings were frequently executed in his studio from drawings and small oil sketches. He showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different emotional responses that these variations provoked.The most important of these were a small number of pictures depicting Venice at nightfall. These are reminiscent of the works of his earlier teacher, James McNeill Whistler, who famously painted London and Venice at night, referring to them as Nocturnes or Symphonies. Whistler used musical terms in the title in order to appeal directly to the viewer's senses without the need for narrative or subject. This synthesis of individual artistic disciplines appealed to a deeper, more visceral emotion than mere aesthetics. Although Sickert does not use the same language as his master the intent is very similar.In the present work Sickert depicts the unmistakable site of the Rialto Bridge from the Grand Canal, however he is not exploring Canalettos's topographical splendour or indeed Monet's fleeting light dancing on the water and reflecting on the Palazzos; he is appealing directly to the viewer's senses. Through the carefully chosen colours and tones, he creates a deep emotional response that transcends the obvious beauty of the subject and in turn impels the viewer to look beyond the subject and reflect on his own personal reaction to the painting.It is not Sickert recording his experience before the subject, but rather it is the experience of standing before the painting itself and it is this that makes this work as contemporary today as it was when it was painted over 100 years ago in "the loveliest city in the world." Condition Report: Examined under ultra violet light there are two spots of retouching to the sky. The canvas has been strip lined in order to secure the canvas edge to the original stretcher. Subject to the above the painting appears to be in excellent condition. Condition Report Disclaimer

ANGELA CONNER (BRITISH B. 1935) REREDOS Bronze 10 x 43cm (3¾ x 16¾ in.) exc. base Provenance: Direct from the artist's studio collection The present work is a study for the altar which was installed at St. Andrews located in the parish of Northaw & Cuffley, commissioned by the Bishop of Saint Albans. The outstretched arms of the reflected figure span across the east wall of the altar at St. Andrews in Cuffley executed in 1967. The sculpture's tent like horizontal form juxtaposes the diagonal smooth lines of the roof's architectural design.    

A late-19th century slate and marble mantel clock in the Egyptian style, of tapering form, the movement striking on a gong, 26cm high, 40cm wide, with pendulum, together with two slate case mantel clocks of architectural form, one striking on a bell, with pendulum, (3).

A composite white painted architectural fragment, in the rococo style decorated with C-scrolls and acanthus leaves26 x 99 x 18cm

Group of antique carved wooden architectural salvage, six pieces to include a pair of column type pieces with detailed carving of figures (approx 117cm tall)

An Edwardian oak cased mantle clock, applied brass decoration, eight day Lenzkirch striking movement, in architectural case, with pendulum but no key, height 35cm. PLEASE VIEW CONDITION REPORT

FOUR ARCHITECTURAL PRINTS, including Casino De Vichy and further, all framed under glassthe largest - 100cm x 80cm Qty: 4

Albert Goodwin, R.W.S., (1845-1932) ?Peterborough Cathedral?,ÿwatercolour, a detailed architectural depiction with multiple figures, approx. 26 x 36cms (10? x 14?), signed and dated 1908, lower right, inscribed lower left, in oak frame. (1) Provenance:ÿOriginally owned by Lady Yarrow (n‚e Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin.

CONTINENTAL SCHOOL (20TH CENTURY) ARCHITECTURAL ELEVATIONS Set of five lithographs (late editions), framed Various sizes, average 37cm x 48cm  

A LATE VICTORIAN OAK FUSEE DIAL TIMEPIECE THE DIAL SIGNED FOR HAWKES, ASTON, LATE 19TH CENTURY The four cylindrical pillar single chain fusee back-wound movement with anchor escapement regulated by half-seconds lenticular bob pendulum, the backplate with subsidiary hand setting dial incorporating minute ring and Arabic five-minute annotations, the 12 inch cream painted circular Roman numeral dial inscribed HAWKES, ASTON to centre and with steel spade hands, set behind a hinged glazed brass bezel within turned cushion-moulded wooden surround, secured via pegs onto to a box drop-trunk type case with door to rear and shaped apron over moulded platform base with bun feet (dial refinished). Although the dial has been refinished it most likely replicates the original signature; two makers with the surname Hawkes are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Birmingham at the end of the 19th century; William 1868-1880 and Alfred circa 1880. The presence of the subsidiary setting dial and to the backplate and rear winding would suggest that the present timepiece was probably used in a semi-public environment possibly a bank or factory perhaps set on screen or partition. Condition Report: Movement appears complete and all-original and is in working order; the mechanism is a little dirty/oily hence a sensitive clean/service is advised. As catalogued the dial has been refinished hence presents in fine clean condition. The case is generally very presentable with faults generally limited to age-related bumps, scuffs, scratches minor shrinkage and other age-related blemishes. It is most likely that the apron panel and base board are replacements/additions in order to essentially convert the timepiece form its original form (as an architectural fitting?) to one that can be used in a domestic setting. Timepiece has a case key for the back door (although it struggles to operate the lock) and a winding key. Condition Report Disclaimer

CONTINENTAL SCHOOL (20TH CENTURY) ARCHITECTURAL ELEVATIONS Set of five lithographs (late editions), framed Various sizes, average 37cm x 48cm   

A GROUP OF ARCHITECTURAL DETAILS, FROM THE GALLERY DE VERSAILLES DUPUIS AND OTHERS AFTER LE BRUN, CIRCA 1750 A series of eight line drawings framed approximately 48cm x 30cm    

CONTINENTAL SCHOOL (20TH CENTURY) ARCHITECTURAL ELEVATIONS Set of five lithographs (late editions), framed Various sizes, average 37cm x 48cm  

CONTINENTAL SCHOOL (20TH CENTURY) A SET OF FOUR ARCHITECTURAL ELEVATIONS Lithograph 37 x 48cm (14½ x 18¾ in.); and smaller (4)

CONTINENTAL SCHOOL (20TH CENTURY) ARCHITECTURAL ELEVATIONS Set of five lithographs (late editions), framed Various sizes, average 37cm x 48cm  

A GROUP OF ARCHITECTURAL DESIGNS, FROM THE GALLERY DE VERSAILLES AVELINE AND OTHERS AFTER LE BRUN, CIRCA 1750 Series of eight line engravings Various sizes, the four smaller ones approximately 46.5 x 52cm, the three larger ones approximately 68 x 59cm and the largest one approximately 85 x 50.5cm Framed   

Thomas Wordley Ltd, a gentleman's 18ct gold half hunter pocket watch, C1905, signed white dial with Roman numerals, blued steel hands, outer minute marker and subsidiary seconds dial, signed movement, stem wind, casemaker JR and Birmingham hallmarks for 1905, engraved with inscription to interior: 'Presented to the Revd C.S.Ward by the Parishioners of Wootton St Lawrence Nov 1907' and engraved to the inside case ' To his Grandson Rex Whistler' 'To his brother Laurence Whistler', outer case engraved with initials CSW, width 5cm, on a metal chainProvenance:Reverend Charles Slegg Ward, given to his grandson, Rex Whistler, given to his brother, Laurence Whistler, and thence by direct descent to the current owners.The Reverend Charles Slegg Ward (1840 - 1913), vicar of Wootton St Lawrence, near Basingstoke for 30 years, was presented with the watch by his grateful parishioners when he retired in 1907. His wife, Jessy Storr, was the granddaughter of the silversmith, Paul Storr. Their daughter, Helen, married a local builder and estate agent, Harry Whistler, and together they had four children, Jessy, Denis (who died young) Rex and Laurence.Rex Whistler (1905 – 1944) was a precocious draftsman who trained at The Slade, well-known for his murals and society portraits, he was a diverse and popular artist of the interwar years in England, creating theatre designs, illustrations and comic advertisements playing on his wit and humour. His patrons included Edith Sitwell, Cecil Beaton and Edwina Mountbatten. He designed entire rooms full of murals as well as creating architectural improvements and book illustrations. He was killed on the battlefield in Normandy on his first day in action in 1944. The Times received more letters about Rex than about any other victim of that War.Laurence Whistler (1912 - 2000) was devoted to Rex, who taught him much about drawing and architecture. They shared a passion for neo-classical buildings. Having intended to be an architect, Laurence became instead a celebrated glass-engraver, architectural historian, biographer, poet and designer. He was knighted for services to the Arts shortly before his death.Salisbury played a special part in both Rex and Laurence’s lives. Before the war, Rex took lease of the Walton Canonry in the Cathedral Close as a peaceful home for his elderly parents, hoping to join them in a few years. From there, Laurence married the actress, Jill Furse, in the Cathedral just after war was declared in 1939. Salisbury Cathedral’s spire appears in a number of Laurence’s engraved works, including the glass prism in the Cathedral that acknowledges his lifelong debt to his much-loved elder brother.Salisbury Museum is currently hosting the exhibition: Rex Whistler: The Artist and His Patrons (27th May – 29th September 2024) and this watch will be included in the exhibition until 5th July 2024.

ATTRIBUTED TO GIOVACCHINO FORTINI (SETTIGNANO 1671-1736 FLORENCE) A MARBLE FIGURE OF A STANDING ECCLESIASTICAL FIGURE ITALIAN, CIRCA 1700 Possibly a depiction of St Pietro I Orseolo (928-987), a former Doge of Venice who left that office to become a Benedictine monk 77cm high, 26.5cm wide, 22cm deep Traditionally this figure was known as Saint Norbert, holding a bishop's mitre and scroll, however it has been suggested that what has been taken to be a mitre is in fact the Doge's cap, and he wears a Benedictine habit. Giovacchino Fortini was one of the most respected Tuscan sculptors of the 18th Century. He is best known for his work in the sculptural and architectural decoration of the Complex of San Firenze, where he was responsible for the interior architecture of the Church of the Filippini. His patrons included Anna Maris Luisa de'Medici, the last daughter of Grand Duke Cosimo III de Medici. Provenance: Heim Gallery, London, 1984. Mr and Mrs David Wheeler Bought in these rooms, Sale 14390, Dreweatts Fine Furniture, Sculpture, Ceramics and Works of Art, 1 December 2021, lot 16 Literature: G. Pratesi, ed., Repertorio della Scultura Fiorentina del Seicento e Settecento, Turin, 1993, II, fig. 252. Condition Report: Some minor losses and wear to the edges of the cloak. The end of one finger is missing. There is a noticeable join line around the neck, indicating the head has been previously re-affixed. Overall, minor surface discolouration and wear. Age related wear to the base.Condition Report Disclaimer

STANLEY LLOYD (1881-1954) A small quantity of figural and architectural studies including illustrations for periodicals such as The London Magazine, oils and works on paper, all unframed, together with some clippings of the artist's work (9).Stanley Lloyd was an artist and illustrator probably best known for his illustrations for Enid Blyton's 'Malory Towers' series, for which he did all the first edition illustrations."

An Edwardian Wall Hanging Combination Mirror with Barometer and Brushes of Architectural Form, 36cm wide

A stained wood architectural  model of a spiral staircase, 20th c, double revolution and balustrade handrail, possibly an apprentice workpiece, 56cm h Very good condition

° ° Langley, Batty & Thomas - Gothic Architecture, Improved by Rules and Proportions in many Grand Designs of column, doors, windows, chimney – pieces, arcaded, colonades, porticos, umbrellos, temples, and pavilions & c. With plans, elevations, and profiles: geometrically explained…To which is added an historical dissertation on Gothic Architecture, 3rd edition, 4to, calf rebacked, with engraved title (4cm. closed tear to lower right margin) and 64 engraved plates, printed for I & J. Taylor at the Architectural Library, circa 1793.

° ° Lloyd, Nathaniel - A History of English Brickwork With Examples and Notes of the Architectural Use and Manipulation of Brick from Medieval Times to the end of the Georgian Period, large 4to, green pictorial gilt cloth, London, 1925 - a pencil note to first front fly leaf advises - ‘’This copy is from the library at Prawles [Court], Ewhurst, E. Sussex, a house restored and enlarged 1924-26 by the author’’.

° ° ° [The Workes of Geffray Chaucer newly printed with dyvers workes which were never in print before....prynted by John Reynes....1542]. ie. lacks title - supplied in facsimile. The second edition of the editor, William Thynne (the first being 1532). These were the original editions of Chaucer's collected works - earlier printings (from Caxton 1475 onwards) being mainly of only The Canterbury Tales. Added here, for this 1542 edition, was 'The Plowman's Tale'. The 3 'architectural' part titles are present for The Caunterbury (sic) Tales, The Romaut of the Rose and Boetius (sic) De Consalatione Philosophie; 20 woodcut illus. (of the Canterbury pilgrims) from the original blocks of Caxton's second (1483) edition, decorated initial letters, black letter in double column. Present are folios (x) and 1-366 (? ex382); signatures A4, B-Z6, Aa-Yy6, Aa-Ss6. Canterbury Tales part title with 4 line 1610 (?) ownership note at foot - (?) Richard Byrkhard; a few early marginal notes also present. Late 19th cent. calf backed marbled boards, blind decorated panelled spine, gilt lettered direct, folio. Provenance: From the private collection of the late Terry Jones (1942-2020), known for his roles as a writer, comedian, and member of the Monty Python comedy troupe.Note: Geoffrey Chaucer, the father of English literature, and the first great English poet – establishing English as a major literary language. For these (Thynne’s) editions - The first major contribution to the existence of a widely recognised Chaucer canon (despite the inclusion of a number of apocryphal works). This edition not in Pforzheimer.

A BASKET AND ONE BOX OF MISCELLANEOUS SUNDRIES, to include a French Duverdrey & Bloquel eight day carriage clock, a Smiths brass carriage clock, a boxed set of early 20th century children's wooden architectural building blocks, a 1942 U.S Military compass M2, a brass gong, a Victorian carriage lantern (glass cracked), two 'The Good Companion' 400 piece jigsaw puzzles Comets over Africa and Dockland, a Schmidt & Haensch Isis D.R.P draftsman's instrument, two large sea shells, etc. (s.d) (1 box + basket)

An album of vintage postcards, to include topographical and architectural examples

A Bertil Vallien for Kosta Boda 'Metropolis' glass vase, of square stepped architectural form, the clear and slate grey ground decorated with white strip overlay, with label, inscribed signature to the base edge 'Kosta Boda, B Vallien, 40027' and original factory label to side, 8 by 30cm high.

A 19th Century French Belge noir architectural cased mantel clock

Italien, 19. Jh., Armband mit Pietra Dura Einlegearbeiten: 7 Mikromosaik Architekturszenen auf blauem Glas, u.a. Kolosseum und Tempel des Portunos in Rom, Silber vergoldet, Elemente 3,3 x 2,2 cm und 1 x 3,3 x 2,8 cm, teils Altersspuren, Gesamtlänge ca 18,5 cm, in Originalschachtel, rückseitig Hinweis auf ehemalige Eigentümerin Eleanor Smart (1789 - 1865). Italy, 19th century, bracelet with pietra dura inlays: 7 micromosaic architectural scenes on blue glass, including the Colosseum and the Temple of Portuno in Rome, silver-gilt, elements 3.3 x 2.2 cm and 1 x 3.3 x 2.8 cm, some signs of age, total length approx. 18.5 cm, in original case, on the back: This bracelet belonged to my Aunt Eleanor Smart. B.1789.D.1865.

A fine four leaf Russian folding cast brass travelling Icon (tetraptych), 18th - 19th c., typically with scenes from the life of Christ and an elaborate architectural scene to the cover, 7 1.8'' high x 16 1/4'' fully open.

A book of architectural sketches by Richard Norman Shaw, in distressed state.

A Metal architectural lamp

Attributed to the workshop of Joost van Herzeele (act. c. 1575-1590) an impressive 'Grotesques' TapestryC.1580, Antwerp, The Netherlands, probably after a design by Cornelis FlorisWoven in wools and silks, depicting an architectural setting with three arcades showing landscapes, flanked and divided by putti and grotesques, on red ground, probably depicting Balthazar's banquet, to the distant landscape there are various buildings and luscious gardenscapes, the inner border designed with simulated egg-and-dart pattern, the outer border with the four elements, water, earth fire and air of Philip II design,378cm x 292cm Footnotes:Herzeele emigrated from Brussels to Antwerp in 1580, where he established a sizeable workshop. He kept a relationship with Brussels, even signing a petition in 1586 with the title 'master in the tapestry-making craft of Brussels'. During this period the Brussels tapestry guild tried to distance itself from tapestry manufacturers that worked outside the city. Shortly thereafter Herzeele emigrated to Hamburg where he died in 1589. This tapestry can be compared to a grotesque tapestry in the Rijksmuseum that has a yellow ground and illustrates a scene from The Story of Nebuchadnezzar. This example, like the present lot, has an egg-and-dart inner border. A similar egg-and-dart border can be found a tapestry depicting The Festivities of Balthazar which is at château d'Azay-le-Rideau. It is probably that the present lot is a representation of Balthazar's banquet. Few known examples of sixteenth century Antwerp-woven tapestries survive. The precursor to all of these tapestries is, however, a series depicting Triumphs of the Gods after designs by Giovanni Francesco Penni and Giovanni da Udine of 1517 - 1520. It was first woven for Leo X while the earliest surviving example is that which was probably woven by the Dermoyen workshop in circa 1540 for Henry VIII. The 'zoological' border is based on an example ordered by Philip II of Spain, for a specific set of tapestries -depicting the life of Noah. These borders, depicting the four elements and various exotic animals, recur again and again in individual pieces and sets from the 16th century. A first set of these 'Noah Tapestries,' had been lost in a shipwreck in 1559 and the second (manufactured in 1563 and after) was made with borders where the four elements were depicted. The weaver, Willem de Pannemaker (ca.1510-1581), raised objection to this border, saying it was too hard to weave. Unluckily for him -it was a border that would be used for another fifty years. King Philip had bought the original cartoons, these were fiercely guarded in Brussels, so much so that the officials responsible for them did not let Pannemaker use them again when Margaret of Parma asked for a new edition of the set herself.LiteratureA.M.L.E. Mulder-Erkelens, Wandtapijten 2, Renaissance, Manierisme en Barok, Amsterdam, 1971, fig. 15G. Delmarcel, Flemish Tapestry, Tielt, 1999, p.177J. Coural, Le XVIe Siècle Européen, Tapisseries, Paris Mobilier National, exhibition catalogue, Paris, 1965, cat. 32T. Campbell, Tapestry in the Renaissance, exhibition catalogue, New York, 2002, cat. 26, p.246 - 252This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A charming Brussels mythological tapestry fragmentC.1580Woven in wools and silks, depicting Juno, the crowned Goddess with her attribute of a peacock to her left, beneath a swag-adorned architectural canopy, the plaque beneath her plinth reading IVNO,127cm x 66cmThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Dorset.- Large scrap album with over 280 items of Dorset interest, including engravings, drawings, maps and ephemera, including an uncoloured John Speed Map of Dorsetshyre, Bassett & Chiswell, Kip views, and numerous engravings of sites of architectural and archaeological interest, all neatly tipped onto album leaves, many missing, some items loose, surface dirt and nicks throughout, half calf, upper cover gilt 'Views of Dorsetshire', elephant folio, 19th century

Dorset.- Large collection of prints, maps and ephemera relating to the environs of Dorset, including original drawings and watercolours, lithographs and engravings of Weymouth, numerous architectural prints, numerous 19th century landscape studies in ink and watercolour, by various hands, various sizes, all unframed and presented in wooden solander box, 19th century (Sm. qty.)