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Encyclopedia of Architecture - A New and Improved Edition of Nicholson's Architectural Dictionary, issued in 24 parts by People's Edition

ARCHITECTURAL FAUX STONE COLUMN, with sphere armillary, 136cm H. (2)

A collection of vintage books, mainly related to Suffolk, to include architectural interest and bibliography

A collection of books, mainly related to Suffolk, to include architectural interest, and a Sotheby's auction catalogue for the contents of Ickworth

An early 20th century walnut mantel clock, the silvered chapter ring showing Roman numerals, having mask spandrels, the case of architectural form, having an eight day movement striking on a gong, height 41cm

A collection of books, mainly relating to East Anglia, to include history and architectural interest

Assorted old cast iron decorative architectural panels, the largest 232 cm x 32.5 cm (5)

A set of four reclaimed architectural cut stone balustrade blocks with decorative column fronts, 70 am h (4)

Mixed pictures - Nissan Engel Don Quixote, print on board; Galerie-Serre architectural engraving; Maynard Dixon - Images of the Native American exhibition poster for California Academy of Sciences 1981; the Laws of Cricket print; print on board of Christopher Wood's The Red Funnel, and a tapestry of London

Lenzkirch - Late 19th century 8-day German mantle clock in a walnut veneered case with an architectural pediment, square brass dial, cast spandrels, matted dial centre, silvered chapter ring and fleur-di-Lis hands, with a twin train movement chiming the quarters on two coiled gongs and striking the hours on one. With Key and pendulum. Silver presentation plaque dated 1896.Dimensions: Height: 34cm  Length/Width: 27cm  Depth/Diameter: 17cm

A William IV Figured Mahogany Bookcase, the upper part with architectural cornice, plain frieze, fitted three shelves enclosed by a pair of arched astragal glazed doors, the base fitted one frieze drawer, cupboard under enclosed by a pair of panelled doors, on turned bun feet, 35ins x 16ins deep x 76.5ins high

A Pair of French Polished Red Marble and Gilt Metal Tazza of Architectural Form from a Clock Garniture, Late 19th Century,  9.75ins high, and a smaller pair of tazza of various polished marbles, on circular base, 6.5ins highLarge tazzas - some very minor scattered small chips, particularly to the base. One with a loss of marble to the lower base at front (curved section), that tazza with two small splits to gilt metal column. Small tazzas - both appear to be in good condition with no obvious damage/loss/restoration. 

SEVEN ARCHITECTURAL WOODEN PANELS WITH CARVED INSERTS, possibly recovered from a transatlantic ocean liner salon as follows: panel 1. portraits of Owen & Montgomery, with missing central panel above frieze, possibly formerly containing a mirror, 2. portraits of Dryden & Milton with central panel depicting the British Royal Coat of Arms, 3. portraits of DaVinci & Mozart, with central carved panel, 4. portraits of Beaumont & Verne, with central panel depicting the Connecticut Coat of Arms, 5. portraits of Burns & Byron, with central panel depicting the Rhode Island Coat of Arms, 6. portraits of Whittier & Spencer, with central panel depicting the Seal of Massachusetts, 7. smaller off-cut panel with single portrait of Mendelssohn, 119 (h) x 152 & 50 (w) (7)Provenance: private collection Dinas PowysComments: viewing advised, veneers warped and split, large and heavy, consider collection

19TH C. CONTINENTAL MANTEL CLOCK , 4.5" gilt masked dial, architectural case in the form of a 'French Chateau', with cannons and balustrades, 56 (h) x 41cms (w)Provenance: private collection PenarthComments: crack to chapter ring

Large Quantity of Art Reference Books, including: Goddard (Donald), American Painting, Hugh Lauter Levin Associates, 1990, dust jacket; Peltre (Christine), Orientalism in Art, Abbeville Press, 1998, dust jacket; Reed (Sue Welsh and Carol Troyen), Awash in Colour: Homer, Sargent, and the Great American Watercolour, Museum of Fine Arts, Boston, 1993, dust jacket; and others including works on oil painting, book illustrators, musuem collections and several volumes on architecture, such as Byrne (Andrew), Bedford Square: An Architectural Study (13 boxes).

A 19th Century Wall Mirror, of architectural form, scrollwork, shell and swag pediment above rectangular plate, flanked by Corinthian columns, later painted yellow, 145cm by 85cm

Four Architectural Carved Polychrome Pricket Candle Stands, of column base form, together with a pair of carved scrollwork pediments surmounted by cherubs (6)

A Victorian Black Slate Mantel Clock, of architectural form, twin train eight day movement, Arabic dial, 37cm high, together with a further Victorian black slate and marble clock, three assorted Continental wall clocks and a billiards scoreboard (6)

SHARPE EDMUND.  Architectural Parallels or The Progress of Ecclesiastical Architecture in England. Many litho plates. Large folio, poor cond. 1848; also the Supplement Volume to the same.  (2).

AN OCTAGONAL ARCHITECTURAL LACQUER BOX AND COVERmid-20th century or later, in the style of Fornasetti, with flat segmented roof with 'eggshell effect', each trompe l'oeil facet decorated with an open door set within bricked wall, plain black interior, 28.5cm high x 38.5cm wide

KEN HOWARD (1932-2022) Three architectural prints of ecclesiastical buildingsall signed lower right, the first an 'Artist's Proof' of interior, 58cm x 30cm, the second 47cm x 40cm, 5/50, and the third 46cm x 40cm, 6/50

Interior design interest: a pair of architectural tapered ionic columns, 158cmH

Saliba Douaihy (Lebanon, 1915-1994)Le village de Aitou oil on canvas, framedsigned 'S.Douaihy' (lower left), dedicated, inscribed and titled 'Le Village de Aitou' on the verso in French, executed circa early 1980s35 x 45cm (13 3/4 x 17 11/16in).Footnotes:Provenance:Property from the collection of Khalil Ramez Sarkis, son of Khalil Khattar Sarkis, the founder of Lebanese newspaper Lisan Al-HalAcquired as a gift from the artist in London in 1984Thence by descent to the present ownerA highly significant transitional landscape of Aitou by Saliba Douaihy from the collection of the Sarkis family'After my return to Lebanon I focused on drawing inspiration from the Lebanese landscape. I began to paint villages, houses, valleys, monasteries and villagers. I painted the landscape as it was, without alteration.[At the end of the 1930's] I began reading about modern art. I used to look at modern paintings, which most people considered ugly, and found that in my eyes, they were beautiful. Gradually, I began to lean more and more towards these paintings, and I became certain that art is creation and not the imitation of nature. Nature is one thing and art, another.I could prove to you by way of example, how after three or four paintings of the monastery of Qozhaya in Wadi Qadesha, the fourth and final painting would be abstract by comparison with the first one. This occurs by using fewer lines, and eliminating classical curves, and via a lack of detail'- Saliba DouaihySaliba Douaihy is one of the most creative and captivating artists to emerge from Lebanon in the past century, starting life as a classical landscape painter and moving progressively towards abstraction, his body of work follows a trajectory which involved a radical inversion of artistic instincts.The present work is from a fascinating and key juncture in Douaihy's artistic progression; executed in the 1980's, this 'pseudo-transitional' work charts his return back to a transitional phase where he blended academic, classically rendered landscapes with more simplified, colour driven, shape conscious compositions. In this depiction of the mountainscape of Aitou near his hometown, Douaihy exhibits a return to his first tentative steps towards abstraction, peeling away the initial layer of detail in what would eventually lead the artist to a total submergence in pure line and colour, in his endeavour to capture landscape as it was felt, not seen.The first level of simplification Douaihy employs is the de-ornamentation of architectural surfaces, with buildings reduced to cuboid shapes with cursory touches of detail. In the foreground of the composition we already start to see the seeds of the 'hard edges' that would define his later style, with light blue, ochre, and navy features of the landscape converging together in simplified blocks of colour.Born in Ehden in North of Lebanon, Saliba Douaihy began studying art in Habib Srour's studio in Beirut where he worked for four years. He was awarded a grant by the Lebanese government which enabled him to study at the Ecole Nationale Supérieure des Arts Décoratifs in Paris from 1932 until 1936. He then went to Rome and then back to Lebanon where he spent four years decorating the walls and ceilings of the church of Diman. In 1950 he travelled to the USA and he remained there until 1975.Douaihy participated in many exhibitions including the Salon des Artistes Français, Paris (1934); the New York World Fair; the Guggenheim Museum; the Salons des Réalités Nouvelles, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York.Sailba Douaihy won many prizes and awards. They include the Lebanese National Order of the Cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).For further information on this lot please visit Bonhams.com

Lorna Selim (Iraq, 1928-2021)Architectural Composition oil on panelsigned 'Lorna' and dated '1975-1993' in Arabic (lower right), executed 1975-199340 x 122cm (15 3/4 x 48 1/16in).Footnotes:Provenance:Property from the collection of the Artist's daughterThence by decent to the present ownerFor further information on this lot please visit Bonhams.com

Wüst, Ulrich -- Architectural studies. 1980s. 4 vintage gelatin silver prints. Between 13,4 x 19,8 cm and 14,4 x 21,8 cm (24 x 29,8 cm). Each with photographer's studio stamp on verso. Corners slightly bumped, some handling creases on some prints, otherwise all in good condition.

Förg, Günther -- "Architecture. Moscow 1923-1941". 1995/96. 10 gelatin silver prints. 36 x 27 cm (40,3 x 30,4 cm). Each signed, dated and editioned 7/10 by the photographer in pencil on the verso. In orignal cardboard box with embossed title on cover (a few scuff marks), with numbered cover sheet (light dent), Fleet Edition, Hamburg 1996.Günther Förg's architectural photographs of Moscow capture the city's urban landscape with a distinct aesthetic vision. Förg's lens explores the interplay between light, shadow, and geometric forms, highlighting the architectural diversity and historical layers of Moscow's built environment. These photographs reflect Förg's fascination with space, structure, and the intersection of art and architecture, showcasing his unique perspective on the urban landscape. – Minimal buckling in edges, otherwise in near excellent condition.

[*] Panckow, Marie -- Views of Potsdam. ca. 1870. 10 albumen prints mounted to board. Each circa 18 x 24 cm (30 x 36 cm).Marie Panckow's photographs of Potsdam, taken during the 1860s and 1870s, provide invaluable insights into the architectural landscape of that era. Specializing in urban and architectural photography, Panckow documented the newly constructed buildings in Potsdam, offering valuable historical records of the city's development. Notable landmarks featured in this collection include the City Palace, St. Nicholas Church, Sanssouci Palace, and its surrounding grounds, including the orangery. Particularly intriguing is the panorama of Potsdam, which includes the photographer's wet-plate wagon prominently displayed in the foreground, with the name advertised on its side. – Small surface irregularity on one print, otherwise all in excellent condition. - Errata/Addenda:There are 10 photographs in this lot.

Architecture -- Photographer: Ezra Stoller (1915-2004). Fallingwater, designed by Frank Lloyd Wright, Bear Run, Pennsylvania.1935. Vintage gelatin silver print 1963. 26,3 x 20,2 cm. Photographer's studio stamp and layout/number notations in pencil/black crayon on the verso.This photograph joins two of the most influential and important architects and architectural photographers of American Modernism. In his impressive photographs Ezra Stoller captured structures that have shaped the cultural memory of the equally iconic structures they document. Shooting both in color and black-and-white, Stoller was exceptionally attuned to the buildings and spaces he photographed, framing them with precise attention to vantage point, lighting conditions, and the unique qualities of their form. The architect Frank Lloyd Wright was known for his innovative and organic structures and Fallingwater is considered one of his most important projects. – Corners bumped and with a few small creases, some handling dents/indentations, otherwise in very good conditioin.

Ahrendts, Leopold -- View of the former "von Hordt'sche Palais", Wilhelmstraße 69, at the corner of Unter den Linden. Early 1860s. Salted paper print with rounded corners. 16,8 x 20,5 cm. Mounted to board (strongly soiled).Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompassed urban landscapes and architectural views of Berlin, with an eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. Between 1818 and 1834, the "von Hordtsche Palais," depicted in the image offered here, served as the Berlin residence of Ernst August (1771-1851), King of Hanover (1837-1851) and 1st Duke of Cumberland. Ernst August was married to Frederike of Mecklenburg-Strelitz, the sister of Queen Luise of Prussia. Ernst August's son, later King George V, spent most of his childhood in this residence. The house remained in the state depicted in this image until 1868. when a third floor was added. – Minimal fading in edges, a few scuff marks, small spot in upper sky area, otherwise in very good condition.Lit.: Galerie Berinson (ed.). With a text by Sigrid Schulze. Leopold Ahrendts und die Frühzeit der Photographie in Berlin. Berlin 2011.Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 161.Provenance: The estate of Ernst August von Hannover, 3rd Duke of Cumberland

[*] Leuzinger, George and Others -- Photographers: George Leuzinger (1813-1892), Benito Panunzi (1819-1894) and Esteban Gonnet (1828-1868). Views of Rio de Janeiro and Buenos Aires. 1860s. 14 albumen prints mounted to board. Each between 11 x 19,2 cm and 19 x 25,2 cm or vice versa (30,4 x 40,2 cm). Dated and annotated in ink in lower margin. George Leuzinger, Benito Panunzi, and Esteban Gonnet emerged as pivotal figures in the early documentation of South America, particularly in Argentina and Brazil during the 1860s. Panunzi and Gonnet created photographic albums depicting various aspects of Buenos Aires life, rural landscapes, gaucho traditions, and indigenous cultures, offering valuable insights into the societal, cultural, and urban fabric of 19th-century Argentina. Concurrently, George Leuzinger, a Swiss photographer and lithographer based in Brazil, played a crucial role in visually chronicling Brazil's advancement and cultural diversity, capturing urban scenes, architectural wonders, scenic panoramas, and individual portraits that left a lasting impact on South American photographic history. The photographs comprised in this selection include some of the earliest depictions of South America, featuring views of the Port of Rio, Praia da Boa Viagem, the Botanical Garden in Rio, the Monument of General Saint Martin in Buenos Aires, the Jesuit Monastery of Jesus Maria, Views of Cordoba, as well as various depictions of Gauchos and their encampments. – Some buckling of mounts, some surface cracks, discoloration and foxing on some prints, otherwise all in good condition.

Wüst, Ulrich -- Dresden. 1981. Vintage gelatin silver print. 17,2 x 23,2 cm. Titled and dated by the photographer in pencil on recto; archive stamp on verso. Ulrich Wüst intricately captured the urban landscapes and architectural motifs of the former GDR with exceptional detail and nuance. His photographs, characterized by stark compositions and muted tones, serve as poignant reflections on the built environment and societal dynamics of East Germany during the Cold War era. Wüst's work offers a compelling visual narrative with reference to the complexities of history, memory and social transformation within the urban fabric of the former GDR. – Corners slightly bumped, otherwise in very good condition.

Yamawaki, Iwao -- Wooden latticework. 1932. Vintage gelatin silver print on matte chamois paper. 11,3 x 8,4 cm. Photographer's stamp, numbered in pencil on the verso.Iwao Yamawaki was born in Nagasaki, Japan and studied at the Bauhaus in Dessau between 1930-1932. There he took classes in architecture, interior design and later photography with Walter Peterhans. After his return to Japan, he founded an architectural firm which became one of the most prominent in post-war Japan. His photography focused on abstract still-lifes, images shot at an angle and extreme close-ups. – Small retouched spot in negative lower right, slight soiling in margins, minimal toning in edges, traces of previous mounting on the verso, otherwise in very good condition.Lit.: Iwao Yamawaki. Editions 7L. Göttingen 1999, ill. plate 6.

[*] Architecture -- Photographer: Sasha Stone (1895-1940). German Pavilion at the World Exhibition in Barcelona, designed by Ludwig Mies van der Rohe (1886-1969). 1928-1929. 2 vintage gelatin silver prints. 15,8 x 23 cm and 16 x 22,2 cm. One with Berliner Billd Bericht copyright stamp on verso; the other with Mies van der Rohe studio stamp, Berliner Billd Bericht copyright stamp and annotated in black ink on verso. Each hinge-mounted to mat.Originally commissioned by Dr. Erich Raemisch on behalf of Deutsche Seide, Sasha Stone's photographs of the Barcelona Pavilion play a crucial role in capturing the essence of Ludwig Mies van der Rohe's architectural masterpiece, which was rebuilt in 1986 after its original demolition shortly after the 1930 World Exhibition. Serving as visual ambassadors, these images not only document the Pavilion's groundbreaking design and elemental aesthetics but also perpetuate Mies' vision of ideal architecture. These photographs were instrumental in driving the reconstruction campaigns of the Barcelona Pavilion, ensuring its legacy as a pioneering example of modern architecture. – Edges of prints slightly rubbed, some traces of previous mounting on verso, otherwise in good condition.

Graham, Dan -- "Homes for America" (#6). 1960s/printed 1989. Color offset print. 24 x 31 cm (49,5 x 55.5 cm). Printed title and number as well as signed by the photographer in pencil below the image in the margin. Dan Graham's multifaceted oeuvre encompasses performances, installations, video works, photographs, and architectural endeavors, challenging conventional boundaries between art forms. His influential photo-text essay "Homes for America," published in 1965, critically examines the architecture of American suburbs, offering profound insights into suburban living and its cultural ramifications. – A few minimal handling dents, especially in margins, otherwise in very good condition.

[*] Architecture -- Photographer: Rudolf Sandalo Jr. (1899–1958). Housing projects in Brno, designed by Bohuslav Fuchs (1895-1972), 1926-27. 2 vintage gelatin silver prints. 12,3 x 23,2 cm and 22,4 x 16,7 cm. Each with photographer's studio stamp, typewritten caption and architect's name stamped on verso. Hinge-mounted to board.Rudolf Sandalo Jr., the proprietor of Atelier de Sandalo, established himself as a prominent figure in architectural photography, particularly renowned for capturing Czechoslovakian functionalist architecture of the 1920s and 1930s. His studio, initially focused on portrait photography, gained international acclaim under his leadership, producing iconic images of buildings like the Villa Tugendhat by Mies van der Rohe. Sandalo's meticulous compositions skillfully highlighted the structural and aesthetic qualities of modernist designs, shaping the perception of architecture both locally and abroad. – Some creases and minor surface irregularities, some traces of previous mounting, otherwise in good condition.

A GROUP OF NINE BRONZE OPIUM WEIGHTS, INDIA, 18TH/19TH CENTURY eight in the form of an amalaka (Indian gooseberry), the other plain, 4.8cm diam. and smallerThe Indian gooseberry (emblica officinalis) is an important element in Ayurvedic medicine and a common architectural motif in mediaeval Hindu architecture.

A KUSHAN MOTTLED PINK SANDSTONE ARCHITECTURAL FINIAL, MATHURA, NORTHERN INDIA, 2ND/3RD CENTURY carved in relief with a kirtimukha face, with bared teeth and long beaded tongue, flanked by vegetal scrolls, mounted, 28cm highProvenance: Sir Howard Hodgkin (1932-2017). Sold in these rooms, 7 November 2013, lot 83.

A MUGHAL MARBLE ARCHITECTURAL FRAGMENT, NORTHERN INDIA, CIRCA 18TH CENTURY probably from a balustrade, the openwork design comprising a row of stylised irises within palmette forms, and Another, with openwork geometrical flower motifs 26 x 39 x 5cm; 17 x 30 x 6cm (2) Provenance: Private collection, London

A CHINESE PALE CELADON JADE CARVING OF A 'BOY AND DRUM' QING DYNASTY, 18TH OR 19TH CENTURY The father depicted holding a chime and carrying a small boy on his arm who beats the drum 5.3cm high x 4cm wide x 2cm deep Provenance: The Palmer Family Collection. The jade figure was always kept in the mahogany bureau-cabinet, in the drawing room at Bussock Wood, in the central mirrored architectural interior cupboard, see lot 89 in this auction.  清十八/十九世紀 青白玉雕擊鼓童子擺件拍品來源：英國帕瑪家族顯赫私人收藏 Condition Report: in good condition Condition Report Disclaimer

SAMUEL MARTI ET CIE; a very large Victorian black slate mantel clock of architectural form, the chapter ring with engraved Roman numerals, visible escapement to the dial, with twin drum movement striking on a gong, the movement stamped 'S. Marti et Cie, Medaille De Bronze' and numbered '296 7 10', with white metal presentation plaque inscribed 'Presented to Mr Peter Hughes in commemoration of his Jubilee year as Clerk of Guilden Sutton Church, by his friends & admirers AD, 1885', height 44.5cm, together with a presentation certificate, framed (2).Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

Φ Barbara Jones (1912-1978) Riverside at Maidenhead Signed Barbara Jones (lower right) Pen and black ink, and watercolour 19.8 x 27.1cmProvenance: Katharine House Gallery, Marlborough; The Collection of the Late Howard Duckworth Literature: Barbara Jones, The Unsophisticated Arts (Architectural Press, 1951), p.95

A group of 5 framed prints by Giovanni Battista Piranesi, prints depict various architectural urns and statues, all framed, largest overall 92cm x 66cm (5)

Stephen C Greenwood (British 20th/21st century), seven original works, oil on board, including architectural scenes, still life studies, Greek landscape scene, etc.

10th-12th century B.C. Openwork finial formed as a miniature church comprising a square base with four stub feet, sidewalls each with a keyhole-shaped arch, upper storey cruciform in plan with radiating porticus ending in a tongue-shaped facade and loophole aperture; above, a tubular tower with loophole windows; flanged upper face with slot. 368 grams, 11.2 cm (4 3/8 in.). Acquired in the mid 1980s-1990s. From the family collection of Mr S.A., Switzerland, thence by descent. Private collection since the late 1990s.This object reproduces a building of three levels: it belongs to a processional pole which supported a Byzantine bronze cross, the lower end of which fitted into the slot visible on the top of the drum. This object, which remains above all a decorative element, recalls by its structure a Byzantine church with its cross-shaped plan: architectural models reproducing religious buildings were very appreciated by Byzantine craftsmen (especially in the capital Constantinople), who used these structures to produce not only the cross holders but also the reliquaries, host boxes, or censers. Originally, this construction was supported by four columns of which only the capitals and a few fragments of the shaft remain. The presentation and demonstration of a cross to the faithful could take place during different celebrations of the Christian liturgical calendar, or even during certain civil ceremonies, or taking place in a princely court. (For this specific lot, 5% import VAT is applicable on the hammer price.)

India, 20th century A.D. Showing figures in an architectural setting, water and landscape beyond; possibly two female attendants, one holding a torch, the other keeping guard, assisting their mistress who has ventured out at dusk to meet her lover; set in a reveal within a glazed wooden frame. 528 grams, 32.5 x 23.5 cm (12 3/4 x 9 1/4 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art. [No Reserve]

19th century A.D. Irregular panels of painted glass mounted in lead cames; one depicting Gothic architectural features including a conical turret roof with a gilt crown above, quatrefoil panel in a window spandrel, curled and scrolled embellishments; the other, a group of winged angels in flight, descending with sky in the background. 5.2 kg total, 46-52 cm (18 1/8 - 20 1/2 in.). Acquired from Hight Road Auctions, Chiswick, UK, in 2013. Property of a Kent collector. [2, No Reserve]

Sri Lanka, circa 19th century A.D. Architectural feature carved from a rectangular block with texture detailing to the mane and facial features; rear face degraded. 1.69 kg, 18.2 cm (7 1/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [No Reserve]

Southern Germany, circa 1300 A.D. Disc with beaded border, repoussé scene with lancet-arch arcade, nimbate Mary in bed with infant Jesus in a crib beside her; attachment holes to the rim. Cf. Seyderhelm, B., Goldschmiedekunst des Mittelalters. Im Gebrauch der Gemeinden über Jahrhunderte bewahrt, Maagdeburg, 2001, cat.7, for a silver goblet decorated with similar medallions. Fogg., S., Treasury Objects of the Middle Ages, London, 2021, p.29. 3.28 grams, 37 mm (1 1/2 in.). Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12054-217467These silver-gilt medallions with scenes of the Christ's life in repoussé, show Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval period including manuscript illuminations and stained glass. Interestingly, Saint Joseph is represented with the typical cap worn in Medieval Germany by the Jews of the same period. [No Reserve]

Southern Germany, circa 1300 A.D. Disc with beaded border, repoussé scene with lancet-arch arcade, nimbate Christ being beaten by two tunicked soldiers with flails; attachment holes to the rim. Cf. Seyderhelm, B., Goldschmiedekunst des Mittelalters. Im Gebrauch der Gemeinden über Jahrhunderte bewahrt, Maagdeburg, 2001, cat.7, for almost identical medallion. Fogg., S., Treasury Objects of the Middle Ages, London, 2021, p.29. 2.63 grams, 37 mm (1 1/2 in.). Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12053-217472.These silver-gilt medallions with scenes of the Christ's life (here the Flagellation) in repoussé, are showing Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval Age including manuscript illuminations and stained glass. Interestingly, the two executioners are represented with the typical caps worn in Medieval Germany by the Jews of the same period. [No Reserve]

Southern Germany, circa 1300 A.D. Discoid with beaded border, repoussé scene with lancet-arch arcade, nimbate Christ seated on a throne in majesty with orb and sceptre in his hands, in front of him Mary Magdalene, behind and below him the sleeping guards of the Holy Sepulchre; attachment holes to the rim. Cf. Seyderhelm, B., Goldschmiedekunst des Mittelalters. Im Gebrauch der Gemeinden über Jahrhunderte bewahrt, Maagdeburg, 2001, cat.7, for a silver goblet decorated by similar medallions. Fogg, S., Treasury Objects of the Middle Ages, London, 2021, p.29. 2.90 grams, 37 mm (1 1/2 in.). Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12055-217473.These silver-gilt medallions with scenes of the Christ's life (here the Anastasis) in repoussé, are showing Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval age including manuscript illuminations and stained glass. Interestingly, the representation of the guards show a typical military costume of Medieval Germany of the same period, with chapel-de-fer and triangular shield. [No Reserve]

Southern Low Countries, 16th century A.D. Rectangular panel in a lead frame; painted scene depicting an architectural feature with male and female herms, each on a tapering square-section stand and bare-chested. 254 grams, 25.5 cm (10 in.). De Baecque Vente, Paris, France, 5 March 2022, no.52 (Part). Ex central London gallery. [No Reserve]

1st-4th century A.D. Comprising an iridescent glass tubular body with vertical ribbing reminiscent of an architectural column, narrow flat shoulder, funicular mouth with folded rim. 40 grams, 95 mm (3 3/4 in.). Ex property of a late Japanese collector, 1970-2000s.

2nd-3rd century A.D. Decorated with stamped patterns including dolphins, gorgoneion, sphinx, floral patterns, motifs with ivy leaves and vertical columns dividing the field into panels. See Payne, G., 'Roman Leaden Coffin discovered at Plumstead' in Archaeologia Cantiana, Vol.17, 1887, fig.10, for the presence of lead sarcophagi in Roman Britain; for a similar specimen in the Metropolitan Museum of Art, accession no.31.116a-i; Penn Museum, coffin panel B10280, from Lebanon (Tyre). 33.2 kg, 1.72 m (67 3/4 in.). Acquired 1970s-early 1990s. Property of a North American collector. London collection, 2016.There were many ways of burying bodies during the Roman Empire. Although the majority were buried without coffins, there is evidence for wooden coffins, lead-framed wooden coffins, tile burials and lead and stone coffins. This item belongs to types widespread in the Eastern Mediterranean. The panel is decorated with a columned structure, and within each section are symbols of the outer-world, including gorgons, sphinx and dolphins. The sphinx, having a human head and breasts, legs and paws of a lion, and wings of a bird, was generally associated with protecting imperial tombs and temples. The roundels featuring the head of Medusa, known for her potent gazes that could turn one to stone, was favoured on sarcophagi and architectural ornaments because it was believed that her image would protect those within. The dolphin was considered to ferry the souls of the dead to the afterlife. Very often these sarcophagi were connected by a pipe to the ground above so that mourners could pour offerings into the grave.

A GEORGE III MAHOGANY BUREAU-CABINET ATTRIBUTED TO WRIGHT AND ELWICK, CIRCA 1770 The elaborate scrolled, beaded and foliate-carved pediment centred by a plinth and with foliate and pierced strapwork brackets above a concave cornice with foliage and pendant husks, the doors with reeded gothic arched and foliate astragal glazing and enclosing two shelves and three short drawers, above a stiff-leaf waist moulding, the cleated fall front with engraved brass shield-shaped escutcheon revealing a fitted interior with pigeon holes, drawers and concealed document drawers around a central sliding compartment with mirrored architectural interior, ebony and ivory parquetry floor with central boxwood stepped plinth and with further secret drawers behind, above two short and three long drawers with rope-twist cockbeading, on an associated foliate-carved plinth with ogee bracket feet, with a concealed, spring-loaded drawer to the right side waist moulding, restorations, perhaps with later embellishments 240cm high, 117cm wide, 64cm deep Provenance: H. Percy Dean, Esq. Acquired in 1909, 'A very fine Chippendale bureau bookcase with finely carved mouldings & pediment...,' Literature: P. MacQuoid, The Age of Mahogany, London, 1906, fig. 146The cabinet corresponds to designs published by Thomas Chippendale in the various editions of The Gentleman and Cabinet-Maker's Director. In particular the glazing pattern of gothic arches featured in a bookcase design of 1762, pl. CXVII, and was employed in the bookcase (probably one of four) supplied by around 1766 by Chippendale for Sir Rowland Winn's London house in St. James's Square (C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. II, p.41, figs. 64 and 65), while the distinctive foot pattern corresponds closely to the design for a Desk & Bookcase (bureau-cabinet) that was first issued in the first edition of the Director, 1753, and again in the third edition, 1762, pl. CIX. The latter also featured a fret-carved panel between the upper doors and the flap which Chippendale noted `may be two drawers'; in the lot offered here a bank of conventional drawers are located behind the glazed doors, while a further shallow drawer is concealed behind the leaf mouldings on the right side. The swan-neck pediment with a central vase stand bears comparison with Chippendale's bookcase design also issued in the third edition of the Director as plate XCII.  Chippendale's designs were celebrated and widely adopted by contemporaries and competitors. Among them were the Wakefield, Yorkshire, cabinet-makers and upholsterers Messrs Wright and Elwick, whose business was established in the 1750s and who became the pre-eminent furniture-makers in Yorkshire in the second half of the 18th century. Richard Wright was probably employed at, and may have directed the Soho tapestry manufactory in London before forming a partnership with Edward Elwick, furniture maker and designer, in Wakefield. Both were subscribers to the first edition of Thomas Chippendale's The Gentleman and Cabinet-Maker's Director, 1753, and they went on to supply an enormous number of houses in Yorkshire including Wentworth Woodhouse, Wentworth Castle, Temple Newsam House, Cusworth Hall, Cannons Hall and Burton Constable; they likely also worked at Nostell Priory since Chippendale referred in correspondence (in disparaging fashion) to `the Ingenious Mr. Elwick'. Their furniture often aligns closely with Chippendale's designs but with additional or more elaborate and idiosyncratic carving, as noted in Christie's catalogue for the sale of furniture from Wentworth Woodhouse, London, 8 July 1998, and elsewherePlease note, Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (X4CGM12C)   Condition Report: Overall in good condition, clean and structurally secure with dents marks and scratches and shrinkage cracks due to age and use. There are some minor old losses and repairs to the carving, for example to the carving of the door astragals. To the upper section there are minor marks to the right (as you view the cabinet) upright where door hinge screws were too long and disturbed the front surface. There are also minor blemishes around the escutcheon and an old door knob has been removed below the escutcheon. Patched repair to veneers to the lower member of the right door and the central division- well executed and well blended. The concealed side drawer released by a button on the right internal drawer. To the lower section, the fall front has a horizontal shrinkage split, the engraved escutcheon probably added. The fretted spandrels to the pigeon holes probably added. The central cabinet with mirrored interior released by a catch in its 'ceiling'. The interior of the pull-out section and the parquetry panel in front of it apparently original. Many of the small internal drawers with loose bottom boards. To the reverse are eight drawers concealed behind a sliding panel. There are patched repairs/replacement to veneers on the drawer divisions and the uprights. Drawer locks apparently replaced. The plinth a feet are a slightly lighter colour but the extravagant and idiosyncratic carving seems consistent with the remainder of the cabinet. Feet secure and with sturdy (apparently original) blocks behind). Minor old repairs to swan neck pediment. Overall a handsome and imposing cabinet, the quality of carving throughout is excellent.Condition Report Disclaimer

λ&nbspCRAIGIE AITCHISON (BRITISH 1926-2009) CRUCIFIXION Oil on canvas 45 x 35cm (17½ x 13¾ in.)Painted in 1963.Provenance: Marlborough Gallery, London Acquired from the above by the family of the present owners, 1st March 1968Exhibited: London, Marlborough Gallery, Helen Lessore and the Beaux Arts Gallery, February, 1968Scottish born painter Craigie Aitchison is renowned for his distinct style characterised by bold colour, simplified forms and emotive compositions. His father a United Free Minister, inspired Aitchison's works often exploring themes of faith, due to attending weekly services at Church from a very young age. This, in combination with a viewing of Dali's Christ of St John of the Cross at Kelvingrove Gallery, Glasgow, inspired him to explore religious or spiritual themes in his work.Having failed his law exams, Aitchison studied at the Slade, where he made friends with Michael Andrews, Paula Rego, Myles Murphy and Euan Uglow. A scholarship allowed Aitchison to travel to Italy, where the rich art and architectural history changed his approach to colour and emotion in his paintings. Aitchison had his first one man show at the Beaux Arts Gallery, London, at the age of 33, with one of his pieces purchased by the Tate. His success continued throughout his life, with a major retrospective held at the Serpentine Gallery and Royal Academy in 1981, as well as further retrospectives in Leeds in 1994. Furthermore, towards the end of his artistic career, at age seventy, he had a one man show at the Glasgow Gallery of Modern Art in 1996.   Condition Report: The canvas has not been relined. There is a 2.5cm scratch with some associated paint loss to the centre right of the composition, visible in the catalogue illustration. There is some light surface dirt. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer

AN OAK COFFER 17TH CENTURY With triple-panelled hinged lid and double arcaded fielded front with conforming sides on channelled stile feet 63cm high, 114cm wide, 50cm deep Condition Report: Overall in good clean condition and structurally secure, good colour and with wear and tear consistent with age and use. There are losses to the applied, architectural mouldings to both front and sides, most notably the left side (one small block replaced to right side. Probably originally with small brackets between the stile feet and bottom rail. The hinges replaced, the lid to the candle box missing, one bottom board replaced.  Condition Report Disclaimer

An Ilkhanid style lustre painted cobalt and turquoise moulded pottery tile, Qajar Iran, 19th century, Of rectangular form, the main lower register with scrolling vine around the powerful figure of a simurgh with outstretched wings, a band of bold palmette vine above and simple band below, probably intended as a replacement tile for the architectural complex of Takht-i-Sulaiman (c.1270AD), the summer royal palace of the Ilkhanid ruler Abaqa (r.1265-82), located in north-western Iran, 35.5 x 37cm     Footnotes: Note: An almost identical tile with a depiction of a simurgh is in the David Collection, Copenhagen. The original tiles made for this complex in 1270 would have been lustre-painted. As the tiles became worn and broken over the years they were replaced with a modified variation of the scene on the original tile.  After the Mongol conquest of Persia in the thirteenth century, an extensive trade network opened from China to the Mediterranean, allowing goods to move more freely than in prior centuries. As the objects in this case demonstrate, Ilkhanid period artists readily adopted imagery from Chinese iconography, including lotus flowers, deer, dragons and other mythical creatures. This image of a soaring simurgh with crested head and elaborate trailing plumage exemplifies the adaptation of Chinese imagery by Persian artists.See the following Lot notes for additional information.  Condition Report: This tile is coated and brushed to its reverse. The corners and edges are are clean. Under U. V this tile renders dull colours overall suggesting a minimally reflective coating. However, some areas shows slightly differently. The upper left corner, the right third of the upper register, part of simurgh's upper wing, some clouds between its tail and its wing, the lower register's centre all give off a duller appearance. An inspection of the edges under U. V shows different hues of grey and brown suggesting possible breaks and restoration. As the reverse of this tile is brushed traces break lines cannot be noticed easily. However, some patterns some times in direct relationship with the duller areas of the lot's face would also support multiple breaks and restorations. 

A pair of Dutch giltwood console tables, In the Manner of Daniel Marot, first quarter 18th century, Each with male caryatid supports with military trophy breast plates, the elaborate friezes with scrolls and cartouches, with x-stretched and shaped variegated marble tops, with some restorations, 85cm high, 120cm wide, 73cm deep (2)Footnotes: Note: This pair of console table belongs to a group of tables inspired by French prototypes, which represent a new phase in Dutch furniture making reflecting characteristics of the mutual artistic influence between France and the Netherlands during the reign of Louis XIV. The revocation of the Edict of Nantes in 1685 had the consequence of driving French Huguenots out.  Daniel Marot (Paris 1663-the Hague 1752) fled north to settle in the Hague. Marot, an architect, furniture designer and engraver brought the fully developed Louis XIV court style to the Netherlands and later to London. In the end, the English style, which is loosely called "William and Mary" owed much to his manner. He is associated with designing interiors in the palace Het Loo, William III of England’s beloved hunting palace near Apeldoorn. The present tables demonstrate some of the characteristic elements of Marot’s designs which broke away from traditional Dutch ornament and introduced a fashion for architectural furniture. These include front legs in a broken S-shape, the helmeted warriors and the curved shaped X-stretcher with bun feet. These tables can be easily dismantled, each leg terminates in a block, into which the top frame and the bun feet can be fitted, while the aprons are fixed to the frame. This particular form of construction could both help the gilder and allow for their transportation from house to house.

A Flemish marble relief of the Rape of the Lapith women by the centaurs at the marriage of King Peirithous, Attributed to Gérard van Opstal, Flemish, 1594-1668, mid-17th century, Carved in high and low relief, depicting a centaur clasping a woman and with four other women fleeing to the right, with a man to the left brandishing a dagger, 39cm high, 54cm wideProvenance: Christie's, The Property of the Right Honourable Earl of Pembroke, Wilton House, 2 June 1964, lot 83, 168 guineas.Footnotes: Note: This dynamic sculptural relief depicts a famous scene drawn from Ovid. Pirithous, King of the Lapiths, invited the centaurs to celebrate his marriage to the beautiful Hippodamia. The drunken centaurs became out of control and the centaur Eurityon tried in vain to abduct Hippodamia. King Pirithous assisted by Theseus, later took revenge on the centaurs in a battle known as the Centauromachy, a scene depicted throughout art history, from the Parthenon to Piero di Cosimo and Peter Paul Rubens.Gérard van Opstal was registered as apprentice to the Brussels artist Niklaas Diodone in 1621. He later collaborated with his father-in-law, the sculptor Hans van Mildert (c.1588-1638) in Antwerp. At the invitation of Cardinal Richelieu, in about 1642, van Opstal moved to Paris, where he produced architectural carvings and worked under Sarazin on the decorations of the Louvre and the Tuileries, and later on the Hôtel Carnavalet. He specialised in low-relief friezes of mythological subjects, depicting tritons, nereids, and centaurs, for numerous palaces and hôtels particuliers in and around Paris. In 1648 he helped found the Academie Royale de Peinture et de Sculpture.

An English Classical tapestry of Alexander the Great visiting Diogenes in his barrel,Possibly Soho, 18th century, after designs by Salvator Rosa, Diogenes sits by his barrel gesturing to Alexander and his soldiers, a group of togate philosophers approach to the right, set within an Arcadian landscape with architectural ruins, lacking borders, approx. 210 x 424cm Provenance: Christie’s, London, 5 July 1973, lot 135;                     The Collection of Sir David Evans-Bevan. Footnotes:Note: The meeting between Alexander the Great and Diogenes is the last in a series of scenes from Mortlake's Life of Diogenes, manufactured during the late 17th and early 18th centuries. Several examples survive, including in the Royal Collection (RCIN 27903). The present tapestry shows the composition in reverse, and the designer has lengthened the scene by adding a group of philosophers to the right, which does not feature in the known Mortlake examples. A Soho mythological tapestry depicting a similar scene of Alexander visiting Diogenes after an etching by Salvator Rosa was sold Christie’s, London, 2 May 2002, lot 241.