We found 35023 price guide item(s) matching your search

ARCHITECTURAL SALVAGE: A COLLECTION OF ANTIQUE WOODEN CURTAIN POLE STOPS AND OTHER ELEMENTS (QTY),Largest 32cm L

ARCHITECTURAL SALVAGE: MISCELLANEOUS INCLUDING DOOR HANDLES (QTY)

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS (QTY)Longest 25cm L

ARCHITECTURAL SALVAGE: THREE PAIRS OF GILT WOOD AND SILVER WOOD FINIALS (6)Largest 32cm x 20cm

ARCHITECTURAL SALVAGE: A COLLECTION OF GILTWOOD AND WOOD TIE BACKS, FINIALS, ARCHITECTURAL ELEMENTS (27)Largest 22cm x 16cm

ARCHITECTURAL SALVAGE: SIX PAIRS OF CURTAIN POLE SUPPORTS / BRACKETS ALONG WITH ONE SINGLE GILT BRONZE EXAMPLE IN THE ROCOCCO MANNER, PROBABLY FRENCH WITH PUTTI MASK, Largest 42cm L

ARCHITECTURAL SALVAGE: THREE ANTIQUE FRENCH CURTAIN PELMETS, Longest 195cm L

A LATE 18TH CENTURY INK AND WATERCOLOUR ARCHITECTURAL DRAWING DEPICTING LAVENHAM CHURCH IN SUFFOLK, Given to Reverend James Buck from his obedient servant James Scales in 1792 James Buck was the Reverend of the Parish of the chronologically important rich tudor town of Lavenham. Edward Dewing of the Archaeological Institute has given a precise account of the importance and significance of the church and town to the present day. 51cm x 32cm

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF MOSTLY ANTIQUE BRASS CURTAIN POLE RINGS (QTY)

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS (QTY)To include a pair of Napoleon III ormolu examples. Largest 22cm L

ARCHITECTURAL SALVAGE: A COLLECTION FRENCH ROCOCCO CURTAIN TIE BACKS, Longest 40cm

ARCHITECTURAL SALVAGE: A PAIR OF MARBLE CORBELS AND DOOR HANDLES (4),Corbels 20cm x 13cm x 8cm

ARCHITECTURAL SALVAGE:Largest 56cm L

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF PAIRS OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS, Largest 42cm L

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF ANTIQUE WOODEN CURTAIN POLE STOPS, ANTIQUE DOOR HANDLES AND OTHER ELEMENTS (FIRST TWO PHOTOS SHOW COLLECTION, OTHER PHOTOS CLOSE UPS)

ARCHITECTURAL SALVAGE: SIX PAIRS OF ANTIQUE CURTAIN POLE SUPPORTS PROBABLY FRENCH ROCOCCO, WINGED GRIFFIN, RIBBON DESIGNS (12)Largest 45cm

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF PAIRS OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS, Over 25 pairs. Largest 30cm L

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF ORIGINAL BRASS AND BRONZE DOOR HANDLES (QTY)

SET OF FOUR ARCHITECTURAL STUDIES (5)charcoal each 78 x 58cm together with; English School, 19th Century, A cottage by the coast, watercolour, 19.5 x 34cm (5)

Merit - Model Scene - Walthers - Others - A boxed and bagged group of model railway layout accessories, scenic equipment, mats and parts. Lot includes LocoRepair #003 Station #1 architectural background; Showcase Miniatures #2005 Kik'n Jack Saloon; Hornby Skale Scenics R8820 Gravel; Suydam Model RR Car Kit (part built) and similar. Boxed items appear Good - mainly Excellent - Mint. Packaging appears Fair - Excellent with general storage wear. All items are unchecked for completeness. (This does not constitute a guarantee) (K)

Architectural Review 1948-9 and Decoration 1936-39

THREE BOXES OF MISCELLANEOUS ITEMS, including dolls house wooden parts and instructions, Christmas vintage looking toy train, selection of postcards approximately three hundred, subjects include places, architectural buildings, wildlife, animals, trains, etc. (3)

FIVE BOXES AND LOOSE, LAMPS, LIGHT FIXTURES AND FITTINGS, including Victorian style oil lamp with brass column, wooden base and glass shade, brass ceiling lights, architectural corbel antique rail support, a variety of glass shades varies sizes and colours etc. lamps not tested, (sd), (5 + loose).

ONE BOX OF BOOKS, A FRAMED INDENTURE AND FRAMED PRINTS, comprising a mortgage document dated 1878 securing a £500 loan for the repair of the Bolebridge, a framed engraving of 18th/19th century view of Lichfield, a framed engraving of Tamworth engraved by W.Radclyffe, drawn by D.Harding, four smaller architectural engravings and approximately sixty assorted books, subjects include the local history of Derby, Midlands, Tamworth, Nuneaton, Birmingham, etc. (s.d) (1 box + loose)

Ansonia, USA a late-Victorian black slate mantel clock the eight-day duration movement striking on a gong with the ivorine chapter ring having black Roman numerals and visible escapement to the centre, the case with fluted columns to the curved sides and a classical frieze to the architectural pediment, height 29cm.

A Victorian slate mantel clock of architectural form, having an enamelled Roman dial with two train movement, measuring 24cm high

ARCHITECTURAL GARDEN MIRRORS, a set of four, arched metal frames, 60cm H x 38cm W. (4)

ARCHITECTURAL GARDEN GATE, Regency style blue painted metal, 168cm H x 166cm W.

Zeitgenössische Kunst Klaus Meuser (1947 Essen)o.T. 1986 (?). Mischtechnik mit Buntsift und Wachskreide auf leichtem Velinkarton. 23 x 32,3 cm. Signiert und schwer leserlich datiert. Punktuell auf Unterlage montiert, im Passepartout freigestellt und unter Glas gerahmt. - In den Randbereichen leichte Knickspuren. Vereinzelt Atelierspuren, auch verso. Dort mit punktuellem Papierabrieb. Insgesamt gut. Die Zeichnungen des deutschen Künstlers Klaus Meuser weisen nahezu immer architektonische bzw. raumgreifende, geometrische Formen auf und haben Anleihen an dessen bildhauerisches Werk. Sein Stil changiert spielend zwischen Minimal Art und konkreter Kunst, häufig setzt Meuser bei seinen Kompositionen farbenfrohe Akzente ein, die sie lebendig und spannungsreich wirken lassen. Mixed media with colour pencil and wax crayon on light wove card. Signed and hardly readable dated. Spot-mounted to underlying mat, presented in passepartout and framed under glass. - Slight creases in margins. Isolated studio traces, also on the verso. There with isolated paper abrasion. Good overall. - Drawings by German artist Klaus Meuser almost always feature architectural or expansive, geometric forms and are reminiscent of his sculptural work. His style oscillates playfully between Minimal and Concrete art; Meuser often uses colourful accents in his compositions which lead to a lively and tensional effect.

Erwin Heerich. (1922 Kassel - 2004 Meerbusch-Osterath). 2 Zeichnungen. Um 1970. Je Filzstift mit Bleistift auf kariertem, glattem Zeichenpapier. Blattmaße je 42 x 29,7 cm bzw. 29,7 x 42 cm. 1 Arbeit verso signiert. - Teils leichte, kaum merklche Griffspuren, insgesamt sehr gut. Klare, streng geomtrische Zeichnungen. Mit dem Charakter von Entwurfs- bzw. Planungszeichnungen der Architektur. 2 drawings. Each in felt-tip pen with pencil on squared, smooth drawing paper. 1 work signed on the verso. - Partly slight, barely noticeable handling marks, overall very good. Clear, strictly geometric drawings. With the character of architectural design and planning drawings.

A Georgian style chiming bracket clock, German movement, mid 20th century, In an architectural moulded case with applied brass plaque, arched dial, with subsidiary slow/fast and chime/silent dials, with a three barrel movement, striking five tones, numbered: 92842, 47cm high, includes key

4th/7th Cent. Ancient Myanmar architectural sculpture in volcano stone with the head of Buddha prov : - ex-collection of Baron d'Oplinter - ex-collection of Guy de Bergerac - collection from the regio of Brussels (inheritance) with invoice dd 2005 || ZUIDELIJKE GEBIEDEN van het oude MYANMAR - 4° tot 7° EEUW architecturale sculptuur in lavasteen met een zeer sereen uitgewerkt hoof van Boeddha - 36 x 26 cm - gemonteerd prov : - ex-collectie of Baron d'Oplinter - ex-collectie of Guy de Bergerac - collectie uit het Brusselse (door erfenis) met aankoopfactuur dd 2005 (7000 euro)

Indian architectural sculpture in painted wood with a erotic theme || Indisch architecturaal element in hout met restanten van beschildering en met erotische voorstelling - 47 x 27

Indian architectural sculpture in wood with a erotic theme || Indisch architecturaal element in hout met erotische voorstelling - 60 x 29

WIENER PORTALUHR MIT DATUMSANZEIGE, Frühes 19. Jh., Nussholz furniert, architektonischer Gehäuseaufbau auf Alabasterfüßen stehend, Schwungbereich des Pendels verspiegelt, im Vordergrund voll- und halbrunde Alabastersäulen, Gehäuse sichtseitig üppig verziert durch fein geprägte Messingapplikationen in floraler und figürlicher Form, gewölbter Scharnierdeckel mit Glasfenster vor Emailziffernblatt mit römischen Stunden und Datumsanzeige, Viertel-Stunden-Schlag und Nachschlag der vergangenen, vollen Stunde auf zwei Tonfedern. HxBxT: 67/36/14 cm. Alters- und Gebrauchsspuren, Werk läuft kurz an, ergänzt, restauriert.| VIENNESE POSTAGE CLOCK WITH DATE DISPLAY, Early 19th century, walnut veneered, architectural case structure standing on alabaster feet, mirrored pendulum swing area, full and semi-circular alabaster columns in the foreground, case lavishly decorated on the visible side with finely embossed brass applications in floral and figural form, domed hinged lid with glass window in front of enamel dial with Roman hours and date display, quarter-hour strike and past full hour on two gongs. HxWxD: 67/36/14 cm. Signs of age and wear, movement tarnishes briefly, replaced, restored.

KAMINUHR, Frankreich, Ende 19. Jh., Bronze, ornamental verziertes und durchbrochen gearbeitetes Gehäuße in architektonischer Gliederung, seitlich flankiert von zwei sitzenden Sphinxen, Werk mit Federaufhängung und Schlag auf Glocke zur vollen und halben Stunde, auf der Rückplatine der Firmenstempel „Japy Frères & Cie“. Werk und Gehäuse nummeriert „3694 H“ HxBxT: 51/35/21 cm. Alters- und Gebrauchsspuren, Ölvergoldung erg., Pendel erg., Werk läuft kurz an.| CHIMNEY CLOCK, France, late 19th century, bronze, ornamentally decorated and open-worked case in architectural design, flanked by two seated sphinxes, movement with spring suspension and striking on bell on the hour and half hour, company stamp "Japy Frères & Cie" on the back plate. Movement and case numbered "3694 H" HxWxD: 51/35/21 cm. Signs of age and wear, oil gilding added, pendulum added, movement tarnishes briefly.

Xie Molin (Chinese b-1979), An Architectural Study of a Chinese palace with helipad and helicopters, screen print, unsigned, in a glazed wooden frame. (39cmx49cm)

A late 19th Century French malachite-inlaid polished-slate mantle clock of architectural form having a two-train Marti et Cie movement with Brocot open escapement and striking on a bell, 35 x 15 x 39 cm

A Louis XVI style marble mantel clock, late 19th century, the painted 9cm enamel dial above a two tier architectural marble column base, the eight day movement striking on a bell, H 43cm.Condition Report: With key and pendulum.

A Turkish prayer mat, with four octagonal medallions on a red ground, with architectural form arch, L 126cm, 70cm

A pair of blue and white vases, 22cm high, each one with a Kangxi four-character mark, but not of the period; together with a pair of white metal mounted glass vases, 14cm high, the metal mounts decorated with Japanese architectural and landscape scenes [4]Provenance: The Property of a Lady. From a Private UK Collection.

A Collection of Victorian Staffordshire Architectural Models, inscluding pastille burners, spill vases and money boxes (two trays)

An Italian book of architectural engravings, illustrated by del Professore Cav Vincenzo de Castro, Principali Fabbrichi Antiche E Moderne D'Italia, 2nd edition, Presso Pietro Moretti, 1870, title page with an oval stamp for a Berlin architect's practice, 57cm by 40cm

SHAW, (Henry F.S.A.), The Encyclopaedia of Ornament, 1842, together with an album of prints, Egyptian architectural and Italian landscape scenes, coloured, various, (qty) (2)

TWO COMPANY SCHOOL DRAWINGS OF MUGHAL ARCHITECTURAL WHITE MARBLE LANDMARKS AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Delhi, Northern India, ca. 1820 - 1840Opaque pigments, ink, and pencil on paper, comprising a study of Salim Chishti's white marble tomb (1478 - 1572), dedicated to the founder of the Sufi Chishtiyya Order, the mausoleum located within the Jama Masjid in the Mughal complex of Fatehpur Sikri, pasted onto eggshell blue card, the study 17.2cm x 20.3cm, 36cm x 25.4cm including the card; and another similar, depicting the Moti Masjid ('Pearl mosque'), a 17th-century mosque commissioned by Shah Jahan and located inside the Agra Fort complex, possibly the two studies once part of a Company School album celebrating and recording renowned Indian architectural landmarks, pasted onto blush pink card, the study 19cm x 23.4cm, 35.7cm x 25.4cm including the card. the largest 36cm x 25.4cm including the card Qty: 2

MONUMENTS OF INDIA: THREE BLACK-AND-WHITE PHOTOGRAPHS OF GWALIOR'S ARCHITECTURAL LANDMARKS AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Raja Lala Deen Dayal (Indian Photographer, 1844 – 1905), Gwalior, Madhya Pradesh, India, ca. 1880sComprising three albumen silver prints showcasing different archaeological and architectural landmarks of Gwalior including sculptural reliefs preserved at the Teli ka Mandir, an 8th - 9th-century Hindu temple dedicated to Shiva, Vishnu, and the Matrikas located within the Gwalior Fort; and two views of the makbara (mausoleum) of Muhammad Ghous, one from the courtyard with its characteristic sloping roof and geometric jali screens, and the latter of the steps leading to the mausoleum's inner chamber, each print signed 'DD' and numbered respectively 3203, 3206, and 3499, mounted, glazed and framed, each 38.5cm x 42cm including the frame. Raja Lala Deen Dayal is considered one of the most prominent Indian photographers of the 19th century. His career as a commissioned photographer did not start until the mid-1870s; but by his passing, he had set up studios in Indore, Mumbai, and Hyderabad. After gaining great popularity among British citizens for his photographs of the 1875 - 1876 Royal Tour of the Prince and Princess of Wales, Sir Lepel Griffin requested Deen Dayal to join him on his journey through the central regions of India (Bundelkhand) in 1880s, to photograph and record the local ancient architecture and archaeological sites. This experience yielded a portfolio of 86 photographs, known as "Famous Monuments of Central India". each 38.5cm x 42cm including the frame Qty: 3

TWO INDIAN WOODEN ARCHITECTURAL DECORATIVE ELEMENTS WITH BRASS MOUNTS AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Possibly Southern India, mid to late 19th centuryComprising a carved dark wood element in the shape of a spiral or sea shell, the sides decorated with brass sheets pinned to the wood following the spiralling shape, and the head and tail with openwork brass plaques and rounded bosses with sun collars, 42.5cm x 41cm; and another similar, in the shape of a crest of fleshy palmette top, the sides with brass sheet lines and a tulip flower, the front with openwork brass plaques and four large round bosses with sun collars echoing the decorative repertoire of the first element, 56cm x 30cm. the largest 56cm x 30cm Qty: 2

A HISPANO-MORESQUE REVIVAL GILT AND POLYCHROME-PAINTED PLASTER RELIEF PLAQUE: EL MIHRAB EN EL ORATORIO DE EL PARTAL, ALHAMBRA PALACE Granada, Andalusia, Southern Spain, late 19th century, signed by Fernandez CastroOf traditional rectangular shape, moulded, carved, gilt, and polychrome-painted, the relief replicating the slightly romanticised, pre-modern conservation version of the elaborate mihrab niche in the oratory of the El Partal Palace, inside the Alhambra complex in Granada, built by the Nasrid ruler Muhammad III (r. 1302 - 09), the architectural relief characterised by typical polylobed and horseshoe arches, dense foliate arabesque patterns, muqarnas ceilings inside the main niche, polychrome stellar and geometric tile panels on the front, and several epigraphic friezes in a variety of calligraphic scripts including knotted Kufic and thuluth, some repeating the Nasrid motto Wa La Ghaliba Illa-llah (there is no Conqueror but Allah), signed by the maker Fernandez Castro in the lower left corner, set in a black wooden frame, 46cm x 34.5cm x 12cm including the frame. 46cm x 34.5cm x 12cm including the frame Qty: 1 No clear evidence of damage, breaks, cracks or restoration under UV lights, the gilding shiny and well-preserved, the pigments strong and vibrant, no major chips or losses to the facade, a small crack appearing to the left of the marble step next to the maker's signature, some superficial crackles to the paint of the architectural tiles in the lower parts of the wall, the frame with evidence of wear, rubbing and some scuff marks to the corners and outer edges. Overall a very attractive example in very good conditions.

A FINELY CARVED SANDALWOOD JEWELLERY CASKET WITH WILD ANIMALS AND A VILLAGE SCENE Mysore, Karnataka, Southern India, 19th centuryOf rectangular shape, resting on a sloping, pedestal-like, narrow base, surmounted by a detached casket lid with curved, sloping sides and a large rectangular field in the centre, the exterior intricately and profusely carved with both figural and animal decoration, each side of the body featuring a large rectangular panel with naturalistically rendered jungle scenes with wild animals including deer, tigers, lions, monkeys, elephants, bears, and gazelles, all set amidst lush vegetation including fruit-bearing and blossoming trees, palms, and jungle shrubs, framed within concentric decorative borders with beaded bands and rosette roundels, the lid decorated with a rural jungle scene inhabited by various villagers attending their daily chores, one on a boat steering down a riptide, their thatched roof huts getting lost in the middle of the lush vegetation livened by several wild animals, around the edges a scrolling vegetal meandering with fleshy leaves and the same concentric decorative borders of the body, the interior plain except for the purple velvet lining of the lid, 15.7cm x 23.5cm x 17.5cm. The shape and design of the present casket echo the upper section of traditional Mysore sandalwood dowry boxes. These boxes were usually resting on projecting makara feet and large stepped pedestals with narrow drawers and were surmounted by caskets like ours. The set aimed to replicate the architectural design of Kannada temples (gudi), and was a beloved object in the dowry of every Indian bride from this region. Both Tamil Nadu and Karnataka were renowned for their intricately carved sandalwood creations, often bought and commissioned alike by Western travellers as souvenirs from those distant lands, but Mysore Gudigars (carpenters) were considered by far the most experienced in the art of sandalwood carving. For a specimen of a complete Mysore sandalwood dowry chest, please see Chiswick Auctions, 29 April 2022, lot 25. Several similar caskets have successfully been offered in the London auction market in the last fifteen years, please see Bonhams London, 19 April 2007, lot 427; and Christie's London, 10 June 2013, lot 286; 10 October 2014, lot 102; and more recently 25 May 2017, lot 86. 15.7cm x 23.5cm x 17.5cm Qty: 1 The corners and edges of the removable lid worn, rubbed and with minor chips, the front panel of the lid border slightly raised and with a 5cm-long crack, the left side panel slightly wobbly too but still firmly set in place, gentle superficial scratches to the side panels of the body, the corners and edges of the base worn, rubbed and with minor chips but without major cracks, no clear evidence of major structural damage, breaks or restoration, the carving fine and of exquisite quality, with deep recesses, the interior stained on the base lower right corner, overall a very attractive piece in very good condition.

A KALAMKARI COTTON HANGING WITH MIHRAB NICHE Possibly Deccan, Central India for the Persian export market, mid to late 19th centuryThe white cotton ground woodblock-printed and painted in blue, red, green, and ochre with a central polylobed arch reminiscent of mihrab niches and framed by flower-filled spandrels within multiple borders of cypress trees, butis (bothes, paisley leaves), and floral clusters, the central field of the arch filled with floral stems, the architectural motifs at the top affiliated with the gabled facades of Mughal mosques, stylised minarets on the outer borders, backed in printed and painted coarse linen with floral vines, 133cm x 92cm. 133cm x 92cm Qty: 1

A SILVER-INLAID OPENWORK MAMLUK-REVIVAL BRASS INCENSE BURNER Cairo, Egypt, first half 20th centuryThe removable, pierced lid reminiscent in shape of an architectural Islamic dome with a pointy finial at the top, surmounting a short cylindrical base resting on three stylised booted feet, the exterior inlaid in silver sheet and wire in traditional Mamluk revival style, with calligraphic medallions referring to an unnamed sultan and his other honorific titles interspersed amidst cusped arabesque cartouches in-filled with intertwined split palmette sprays, encased within knotted fretwork bands with stylised pen case blazons once used for the Secretary of State, 17.8cm high. 17.8cm high Qty: 2

A LARGE POLYCHROME-PAINTED MULTAN POTTERY BIRDHOUSE TILE Sindh, modern-day Pakistan, 19th centuryOf narrow rectangular shape, the white slip-covered earthenware body painted in turquoise, cobalt blue, green, red and yellow, featuring an outward-projecting, moulded architectural structure surmounted by a typical onion-shaped dome at the top and an open pigeon or dove hole in the middle, the small-scale pavilion meant to be used as a birdhouse on the upper portions of Sindh and Pakistani tiled buildings with specimens still visible in situ today, decorated with traditional Multan pottery motifs including sinuous rosette sprays on the sides, arabesque-like and stylised vegetal motifs on the outer edges of the pavilion and dome, 51.5cm x 27cm. 51.5cm x 27cm Qty: 1 Evidence of chips, losses to the pigment and glaze, and minor pigment touch-ups and restoration especially around the borders, corners, and lower left-hand-side edge of the pigeon hole, clear evidence of breaks, repainting and restoration on the right-hand-side upper edge of the pigeon hole, the upper border, and the onion-shaped dome, the outer borders rubbed, the colours true and vibrant, the glaze glossy, no clear evidence of structural damage, the tile itself is intact, the interior with evidence of glaze splashes, overall a very decorative specimen in fair condition.

A TANJORE STANDING PORTRAIT OF A SHAIVA BHAKTI SAINT, POSSIBLY A TAMIL NAYANAR AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Thanjavur (Tanjore), Tamil Nadu, South India, early to mid-19th centuryOpaque pigments, white wash, gold leaf and sukka (limestone paste) on wood, the large vertical-format composition portraying a standing Hindu saint clad in a typical plain white hermit cloth, his forehead marked with the white and red tripundra, the Shaivite tilaka worn by Shiva's devotees, the saint possibly one of the Nayanars, 63 Tamil Hindu saints living during the 6th to 8th centuries AD devoted to the Hindu god Shiva, the four most well-known also called Nalvars, and remembered as Appar, Sundarar, Sambandar, and Manikkavacakar, set against a solid bold red ground, the portrait encased by a lobed golden arch with green curtains resting on slender golden columns, the gold leaf architectural frame studded with square red glass beads replicating rubies, mounted, glazed and framed, 61cm x 51cm including the frame. 61cm x 51cm including the frame Qty: 1

A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Delhi School, Mughal Northern India, first half 19th centuryOpaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame. These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over. Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'. Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture. The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them. each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame Qty: 8

Hingeston-Randolph (SC) The Architectural History of the Conventual and Parochial Church of St. Germans, Cornwall 1902; and Henderson (C.) St. Germans Church and Priory 1929 (2)

Robinson (William Heath, illustrator). Shakespeare's Comedy of Twelfth Night or What You Will, London: Hodder & Stoughton, [1908], tipped-in colour plates, ownership inscription at front, original decorative cloth gilt, a little rubbed and slightly faded on spine, 4to, together with:Nash (John, illustrator), Seven Short Stories by Walter de la Mare, London: Faber & Faber, 1931, 8 colour plates, partly untrimmed, original red cloth gilt, a little rubbed, 8vo, plus Bone (Stephen & Adshead, Mary), The Little Boy and His House, 1st edition, London: J. M. Dent & Sons, 1967, colour illustrations throughout, original cloth in dust jacket, a little rubbed and soiled, chipped at head of spine, small folio, plusPiper (John), Buildings and Prospects, 1st edition, London: Architectural Press, 1948, double-page colour lithographic frontispiece and title, half tone plates, original cloth in dust jacket, a little rubbed, small folio, plus other mostly cloth-bound early to mid 20th-century illustrated booksQTY: (approx. 100)

* Boyle (Eleanore Vere, 1825-1916). Here we are on Tom Tickler's ground/Picking up gold and silver!, circa 1852, pen & grey ink on paper, mounted on card, depicting a number of small girls in the countryside picking flowers, with goats and trees in the background, pencilled caption lower right, sheet size 17 x 13cm, together with two other small sketches by the same artist, one of a small girl cradling a dove, pencil and red ink on card, edges irregularly cut, sheet size 10.5 x 9.5cm, and the other of the Madonna and Child within an architectural setting, red ink and watercolour wash on card, with coloured paint blotches beneath, trimmed to top and left-hand edge (latter with 1" closed tear), sheet size 20 x 7cm, plus a folder of approximately 45 prints and engravings of illustrations by Boyle, many relating to Child's Play, some spotted, some mounted, contained together in a green half morocco folder, lettered in gilt on upper cover 'Child's Play EVB', rubbed, lacking ties, inscribed by the artist on front pastedown 'William Bloxall Esqre. from EVB his grateful pupil Feby 1st 1852'QTY: (1)NOTE:One of seventeen drawings Eleanore Vere Boyle executed for her first book 'Child's Play', a compilation of nursery rhymes published in 1852. Considered one of the most important female illustrators of the mid 19th century, Boyle moved in artistic circles which included Charles Eastlake, Thomas Landseer, the Pre-Raphaelites and Sir William Boxall (1800-1879) who was an English painter and director of the National Gallery from 1866 to 1874.

* Transformation cards. Repository of Arts: Pictorial Cards [Beatrice or the Fracas], 1st edition, London: Ackermann [1818-1819], 13 hand-coloured aquatint plates, each depicting four playing cards (French suits), with figures and architectural motifs, single-figure courts, red pip signs hand-coloured, each plate with imprint to lower margin (including date and number of issue), and with plate and volume numbers to upper right corner, the plates mounted with photo corners onto black paper, the corresponding letterpress leaf describing each plate is mounted similarly, plates with a few faint foxing spots, two plates with brown marks to margins, occasional light toning, some offsetting, toning and foxing to text, each plate approximately 24 x 14.5cm, text leaves slightly larger, contained together in an A4-sized album of clear pockets, each plate facing its description leaf, together with Munchener Bilderbogen: Kartenspielereien, 4th edition, Munich: Braun & Schneider, circa 1860, 4 sheets, each depicting one complete suit (13 cards) of wood-engraved playing cards (French suits), red pip signs stencil coloured, single-figure courts, 4 club pip cards with caption, each sheet with imprint, edition and sheet number (77-80) at foot, and with title and a poem in German to upper margin, few faint foxing spots, margins finger-soiled, few minor marks, some edge-fraying and chips (mainly to sheets 77 & 78), edge tears extending into 2 cards: 7C (3mm) and 3H (35mm), 6S & 6C lightly toned, each sheet approximately 42.3 x 33.7cm, each in a large clear plastic sleeveQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: Rare. Field 22: 'One of the most artistic and imaginative transformation packs'. The cards were not issued in playable form, but were commonly cut up for use, and therefore rarely survive intact in their original format.Second item: Field 33-34.

Designed with Christ, standing within an architectural arcade, and holding a mappa mundi orb, 16.5cm x 45cm.

A fine pair of Georgian pine architectural columns - of slightly tapered form, with gilt painted capitals and base and a painted socle and square plinth, 251cm high, 30cm diameter, the base 46cm square.