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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.    

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 dragon with head turned over its shoulder, a band of bold palmette vine above and simple band below, probably intended as a replacement tile for the architectural complex of Takht-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: This is a 19th century replacement tile of one of a well-known series of tiles depicting dragons that are thought to come from the complex at Takht-i Sulayman. This attribution is on the basis of a group of tiles, very probably from the same moulds, that were decorated in the lajvardina technique, a number of which were found there (The Arts of Islam, exhibition catalogue, London, 1976, no.388, p.259). A well-published lustre example is in the Victoria and Albert Museum (Linda Komaroff and Stefano Carboni (eds.), The Legacy of Ghengis Khan, exhibition catalogue, New York, 2002, cat.100, ill.p.95). A further example was sold from the collection of Charles Gillot in our Paris saleroom, 4 March 2008, lot 4. A very close example to the tile the above was modelled on was sold at Christie's 5 October 2010, Lot 116 and a partial tile with the same design is in the David Collection Copenhagen (Inv. no. Isl 191).  Condition Report: The corners and edges are clean safe for two small losses near the upper right and upper left corners. This tile is broken, restored and repaired form one break to its upper left corner. The restored break line is visible from the reverse. Under U. V the tile gives a dull rendering overall suggesting it may have been coated to attenuate any reflection when inspected under ultraviolet light. However, a minute repaint can be noticed to the middle of the upper edge.

A pair of fibreglass architectural half columns in the classical style, each H:234cm. Not available for in-house P&P

A small group of Japanese mixed metal inlaid komai technique damascene jewellery. Comprising two bracelets with chain-linked fluted round panels decorated with phoenix, landscapes, irises and pavilions, one bracelet with impressed fan mark to back of some panels, circa L19cm, the other with impressed elephant mark to verso of nine panels, circa L19cm, a brooch with architectural interior scene, unmarked, and a heart shaped tie pin, engraved signature verso

Leyden (British, late 20th century) Tillington, Sussex;Runcton Mill; and Sidlesham Rhapsody,three pen, ink, and colour architectural drawings, signed and dated 1986/87.Qty: 3

Folio containing a quantity of various drawings, paintings and architectural studies etc., all unframed

Late 19th Century Continental walnut and part ebonised Vienna style wall clock, the architectural case enclosing an enamel dial with Roman numerals, the two train weight driven movement by Gustav Becker striking on a gong, 120cm high approximately

Edwardian oak and inlaid two train mantel clock with an architectural case, together with a small lancet shaped mantel clock and a French black slate single train mantel clock

Large late 19th / early 20th Century mahogany display cabinet of ornate architectural form, the pierced, carved and mirror back above alcoves and bar glazed doors, on low cabriole supports, 240 x 137cm overall

Pevsner Architectural Guides of England: 36 Hardbacks, with Dust Jackets; Plus: 17 paperbacks. Including many first editions. Condition mostly Very Good/Fine (53)

An "Olha" tureen with presentoir, 833/1000 silver, decoration en relief "Animals, flowers and leaves", Portuguese, Lisbon assay mark (1694-1723), IL maker's mark, BIM-BIM PRADO ownership mark. Notes: vd. ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisbon: IN-CM, 2018, L-24 e L-364. This piece is represented in the catalogue of the exhibition "Ourivesaria Portuguesa & os seus Mestres". Porto: Soares dos Reis National Museum, 1997, p. 13, fig. 8., Dim. - (terrina) 29 x 21,5 cm; (presentoir) 40,7 cm; Peso - 2.340 g.According to expert Henrique Correia Braga, in addition to the one sold at Cabral Moncada Leilões in 2019 (Auction 203, lot 696 - https://www.cml.pt/leiloes/2019/203-leilao/2-sessao/696/ round tureen-with-high-centred sage) only three other examples of "eye" tureens are known, the first of which and the present one being the only ones with their own presentoir:- a copy with the same assay mark and MF goldsmith's mark, which belonged to the Collection of King D. Fernando, having been photographed at the Palácio das Necessidades in c. 1866, by Charles Thurston Thompson, see: https://collections.vam.ac.uk/item/O1097291/silver-bowls-with-covers-palace-photograph-thompson-charles-thurston/, inherited by the daughter of D. Fernando, D. Antónia, and later sold by his descendants at Sotheby's "Treasures, Princely Taste" auction, in July 2012, see: https://www.sothebys.com/en/auctions/ecatalogue/2012/treasures -princely-taste-l12307/lot.1.html?locale=en;- another example with a previous assay mark and FA goldsmith's mark, is represented in the catalog of the exhibition "Ourivesaria Portuguesa & its Masters". Porto: Museu Nacional Soares dos Reis, 1997, p. 10, fig. 5;- and finally the one that belongs to the Collection of the Counts of Castro Guimarães, devoid of marks and with simple decoration, reproduced in D'OREY, Leonor - "The Jewelry Collection of the Museum of the Counts of Castro Guimarães", Cascais Municipal Council, 2005, p. 34.João Frederico Ludovice (1670-1752) was an architect and goldsmith of German origin who, at the age of 27, moved to Rome, where he served the Society of Jesus. In this city, he collaborated on several works of decorative arts, including the altar of Saint Ignatius of Loyola in the Gesù church, which he created together with Italian and French artists. When he moved to Portugal, around 1700, he continued to work for the Jesuits, being in charge of creating the silver tabernacle in the church of Colégio de Santo Antão o Novo (currently Hospital de São José). This project will not be completed, with Ludovice starting to work for D. Pedro II and later for D. João V, who, using mainly his skills as an architect, draftsman and project designer, ends up taking his career as a goldsmith to second place. Throughout his career, he will be in charge of directing some of the most important architectural works in the kingdom, such as the Convent of Mafra, the Patriarchal church or the Chapel of São João Baptista in the church of São Roque.

Four volumes of The Architectural Review 1950-1953

Art reference books on Painters & Paintings: Exhibition Catalogues Hayez - Mostra e catalogo a cura di Maria Cristina Gozzoli e Fernando Mazzocca Howard, Seymour: Jacob Merz 1783-1807 (Swiss) Guardi, quadri turcheschi: [catalogo della mostra a Venezia, Galleria di Palazzo Cini, Cataloghi di mostre Bean, Jacob & Felice, Stampfle: Drawings from New York Collections III: The 18th Century in Italy Muck, Hans-Dieter: Mozart in Art 1900-1990 Thomas Eakins (1844-1916) and the Heart of American Life Royal Academy Winter Exhibition 1968: France in the Eighteenth Century Stubbs & the Horse, Exhibitions in 2005 at Kimbell Art Museum in FortWorth, The Walters Art Museum in Baltimore and at The National Gallery in London Tartuferi, Angelo: Paintings and miniatures from the XIVth to the XVIIIth centuries, Galerie Adriano Ribolzi Royal Academy  of Arts, London 1985: German Art in the 20th Century, Painting and Sculpture 1905-1985 Myers, Mary L.: French Architectural and Ornament Drawings of the Eighteenth Century Royal Academy of Arts, London and The National Museum of Western Art, Tokyo 2008: Hammershoi Royal Academy of Arts, London 1996: Gustave Caillebotte: the unknown Impressionist Catalogue of the First Special Exhibition of National Portraits Ending with the Reign of King James the Second on Loan to the South Kensington Museum April 1866 Die Blaue Vier, Feininger, Jawiensky, Kandinsky, Klee in der Neuen Welt, Bern & Dusseldorf, December 1997-Juni 1998 Brown, Beverly Louise & Marini, ,Paola: Jacopo Bosanno c. 1510-1592, Bassano del Grappa, Museo Civico & Fort Worth, Texas, September 1992-April 1993 Lewison, Jeremy: Ben Nicholson, Exhibition at Tate Gallery, 1993 Exhibition Catalogue: Jacob van Ruisdael - Master of Landscape. Exhibited at Los Angeles County of Museum of Art, Philadelphia Museum of Art & Royal Academy of Arts, London, June 2005-June 2006 Exhibition Catalogue: Portrait Minatures from the Collection of Her Majesty. Exhibited at The Metropolital Museum of Art, New York, The Huntington Library, San Marino, Virginia Museum of Fine Art, Richmond & The Queen's Gallery, Buckingham Palace, November 1996-October 1997 Royal Academy Pictures and Sculpture, Annual Exhibitions: 1904, 1906-1925, 1928-1937 (14 bound Volumes) (40)

A George III style mahogany hanging shelf in the Chippendale style The architectural blind fret pediment above four graduated shelves between pierced fret work sides, with a bank of three short and two long drawers below, with axe head handles, elements 18th century, 71cm wide, 119cm high, 19cm deep.

ARCHITECTURAL WALL MIRRORS, a pair, Art Deco style, polished metal frames, 100cm H x 60cm W. (2)

ARCHITECTURAL WALL MIRRORS, a set of four, 75cm H x 50cm W. (4)

ARCHITECTURAL WALL MIRROR, 138cm H x 80cm W.

ARCHITECTURAL GARDEN GATE, wrought metal, 136cm high x 144cm wide x 28cm deep

Andras Kaldar, four mounted architectural lithograph prints; the Linen Hall, Regent Street; Regent House, Regent Street and two others, signed lower right

This original oil on canvas panoramic view is painted by Dutch artist Jacobus Leonardus van der Meide, internationally renowned for his Romanticism style with splendid sunsets. Van der Meide painted The Grand Canal in Venice at Dusk with the evening sun that diffuses a warm orange glow on the gentle waves and the gondolas, on Basilica Santa Maria della Salute and on the Byzantine architectural buildings that still border the canal. Signature on lower right: J.L.V.D. Meide. Housed in a partially gilded carved wooden frame with a beige linen mat. Artwork dimensions: 35.50"L x 33.75"H. Frame size: 31.50"L x 28.50"H x 2"W. Artist: Jacobus Leonardus van der Meide (Dutch 1910-2002)Issued: c. 1950Country of Origin: HollandCondition: Age related wear.

Binding.- Zeloni (A) Vie de la Princesse Borghèse, half-title, engraved portrait frontispiece, a little foxing, bound in maroon velvet with decorative gold-plated central crown above initials "GB" (Guendaline Borghese), surrounded by corner-pieces, and also architectural clasps, spine very lightly sunned, g.e., housed within modern drop-back box, 8vo (binding: 222x142mm.), Paris, Aug. Vaton, 1843.*** Provenance: from the library of Henri, Count of Chambord (1820-1883) [book-label]. As the last direct Bourbon descendent of Louis XIV, Henri disputedly held the French throne as 'Henri V' from 2nd - 9th August in 1830, after the abdication of his grandfather Charles X. His mother, Marie-Caroline Duchess of Berry is well known for her intrigues on his behalf. 

Judiaica.- Immortality of the Soul.- ben Israel (Menasseh) Nishmath Chaim, engraved portrait frontispiece, title within ornate architectural border, Latin title, dedication and abstract at rear, portrait slightly trimmed at head and window mounted, title with early ink ownership inscription, small tear (not affecting text) and border dryly inked, following leaf with small marginal tear and paper repair, some damp-staining and finger soiling, top edge generally slightly trimmed close to headlines, contemporary half calf, expertly and neatly recbacked, spine gilt with red morocco label, sm. 4to, Amsterdam, Samuel Soeiro, 1652.*** A work of fundamental importance to Jewish theology, described as Rabbi Menasseh's magnum opus, arguing for the immortality of the soul drawing together philosophy, scripture, gentile scholarship, kabbalistic texts and contemporary ethnographic accounts of spiritual possession.   

Hours, use of Rome.- Catholic Church. Hore christifere virginis marie secundum usum Romanum ... cum illius miraculis & figuris apocalipsis et biblianis cum triumphis cesaris, collation: A-E8 F2 G6 H-N8 O6, in Latin, 'Batarde type 98' in 29-31 lines, title below large metalcut printer's device (Renouard 1105) all within ornate metalcut border, 14 whole-page and 12 other large metcalcut illustrations, all but those whole-page set within wide architectural or historiated metalcut borders, rubricated throughout in red and blue, with 1-2 line initials, manuscript single rule border in red throughout, 3 ff. of manuscript prayers in a contemporary hand in ink bound at end, mainly in French, scored through later ink ownership inscription to title foot, a few tiny splashes from rubrication, handsomely bound in nineteenth century red goatskin by Capé, covers with inlays of black and tan in an intricate design of interlacing bands and leafy sprigs all edged in gilt and surrounding the title (upper) and imprint (lower) lettered in gilt, spine in compartments similarly inlaid, with six raised bands, olive morocco doublures ornately tooled in gilt, g.e., housed within modern drop-back box, 4to (249 x 164mm.), Paris, Simon Vostre, 1508.*** The superb Robert Hoe-Courtland F. Bishop-Mary S. Collins copy, with a distinguished provenance, of the most lavishly illustrated of Simon Vostre's quarto editions; known as the 'Grandes Heures' they are recognised as a highpoint of printed Paris horae for the abundance and intricacy of their graphic material. The fourteen whole-page illustrations of this edition, attributed to the workshop of Jean Pichore, form a complete new series for Vostre, only three having previously appeared. Provenance: I: Marielaine du Varny, of Rosny (near Mantes, Seine-et-Oise) [signed inscription to end of manuscript prayers]. II: Robert Hoe (1893-1909) [morocco book label; lot 1683 in Part IV of his sale at Anderson Galleries (New York), 11th November 1912]. III: Courtland F. Bishop (1870-1935) [morocco book label; lot 1037 in his sale Part I, 25th April 1938]. IV: Mary S. Collins (1864-1948) [book label].  

Machzor KeMinhag Roma [festival prayers for the entire year], 2 parts in 1, 210ff., printed on blue paper, double column, title within architectural border, 2 woodcut illustrations in Passover Haggadah of cuffed hands pointing to Matzah and Bitter Herb, censors' signatures on final leaf, title and following f. silked, first 6 leaves (including title) with loss to extremities and portions of text supplied in facsimile, f.127 and final f. also with small portion of text in facsimile, the occasional other small marginal loss and repair, sometimes affecting a few letters, 3 gatherings on slightly lighter paper (ff.7-14, 45-60), the first also with some small wormholes only to that gathering, thus possibly supplied from another copy, trimmed at head, at points affecting text, some light browning, occasional staining, a couple very small wormholes within text to final few leaves, modern blind-stamped morocco, spine lettered in gilt, morocco-edged slip-case, small folio, Mantua, Jacob Cohen of Gazolo, 1557-60. *** Sixteenth century Hebrew books printed on blue paper are extremely rare. The text is according to the Italian rite, including the Passover Haggadah, Ethics of the Fathers, Five Scrolls and laws relating to Festivals.Provenance: Salman Schocken (1877-1959), German Jewish publisher and businessman. Sold his sale, Sotheby’s, London, 6th Dec 1993; The Valmadonna Trust Library, Kestenbaum, New York, 9th Nov 2017, lot 145.

A collection of Japanese sword fittings, comprising: Three Japanese iron sword guards (tsuba), unsigned, the first maru-gata, relief and taka-zogan, a bat flying over a turbulent sea; the next mokko-gata, with taka-zogan, a sage sheltered by a tree; the last maru-gata, openwork and relief, a mounted figure crosses a bridge in a mountainous landscape; Three Japanese iron sword guards (tsuba), maru-gata, openwork and relief decorations, the first depicting a flock of cranes taking flight; the next formed as two bean pods with scrolls and leaves enclosing the signed seppa dai; the last a crane swooping over a turtle in a turbulent sea; Two Japanese iron sword guards (tsuba), the first mokko-gata, takka-zogan, figures in a forest with the moon emerging from a cloud, signed; the second hira kaku-gata, foliate details in hon-zogan, openwork silhouettes of architectural details; each in a wooden box; Two Japanese iron sword guards (tsuba), openwork and relief decorated, unsigned, the first maru-gata, four cranes surrounding the seppa dai, their beaks and outstretched wing tips touching; the second mokku-gata, four coils of rope; each in a wooden box; Four Japanese sword guards (tsuba), iron with inlaid decoration, the first maru-gata, with trees and undergrowth in takka zogan; the next with a geometric openwork design and hon-zogan inlay; the next with relief and takka-zogan depiction of a seated figure with mountains in the distance; the last mokko-gata, an angler sitting beneath a tree before distant mountains; each in a wooden box; Four Japanese sword guards (tsuba), iron, the first maru-gata, with a crane and a hawk in takka zogan; the next with a openwork silhouette design; the next mokko-gata, with relief and takka-zogan depiction of a three sages with a scroll; the last similar with a solitary sage beneath a tree; each in a wooden box. [18]

Local South West, Bath & Wells interest. A collection of four albums containing early 20th century Edwardian topographical, architectural and natural photographs, in sepia and black and white. The lot comprising photographs of & relating to Bath, Wells, Devon, Cirencester, Braunton, Lacock, Corsham, Broadway, Stow-on-the-Wold, Bourton-on-the-Water, Castle Combe, Barnstaple, Carmarthenshire, Bidford, Gloucester, the Brecons, Exeter, Dunster, Clovelly and Newton St. Cyres. Four albums. 

Nathaniel Hone RHA (1831 - 1917)Cattle in Pasture by the coast at Malahide, County Dublin, with a view of the Martello Tower, later Hicks' TowerOil on canvas, 42 x 63cm (16½ x 24¾")Provenance: Acquired from the artist by Sir Robert Henry Woods (1865-1938) and thence by descent; On reverse a label of William Rodman, 12 Arthur Street, Belfast. This and the following lot, both by Nathaniel Hone (1831-1917) come from the collection formed by the artist’s friend, the eminent Dublin surgeon and Member of Parliament, Sir Robert Henry Woods (1865–1938). Born in Tullamore in humble circumstances, he enjoyed a glittering career at Trinity College, Dublin and, as the Dictionary of Irish Biography notes, ‘graduated MB, BAO, B.Ch. in 1889 and the following year received a surgical travelling prize which enabled him to visit Austria. Following in the footsteps of Sir William Wilde, he studied ear, nose, and throat surgery in Vienna. Though he is known principally for his work in ENT surgery, he made fundamental contributions to the understanding of the biophysics of cardiac function’. On his return to Ireland Woods secured several eminent positions in Dublin hospitals and opened a private practice at 39 Merrion Square. He soon won a European-wide reputation and, according to his pupil, Oliver St John Gogarty, was a ‘dextrous’ and ‘masterly’ surgeon. Woods was a popular figure in Irish cultural circles and served as president of the Royal Dublin Zoological Society, presenting ‘a number of animals to the zoo following a visit to the Far East to see one of his sons, who was a barrister in Malaysia’ (DIB). He was knighted in 1913. Respected on both sides of an increasingly polarised Irish society, in July 1921 Woods took part in the Mansion House Conference which led to a truce in hostilities between Republican and British forces.As Thomas Bodkin noted more than a century ago, many of Nathaniel Hone’s finest works are scenes of Malahide, County Dublin, an area he knew intimately having settled there, to paint and to farm, after his long sojourn in France. Here he portrays the Martello tower built in about 1805 and which, soon after he painted (c. 1911), would be transformed into an Arts and Crafts residence by his friend the architect Frederick Hicks (1870-1965), for his own occupation, and which is still known locally as Hicks’ Tower. Hicks was one of the leading architects in Ireland of the Edwardian period and a neighbour of Hone in his latter years. He designed the Irish pavilion at the 1904 exhibition in St Louis, Missouri, USA which ‘convincingly reproduced historic Irish architectural treasures, [as] an eclectic showcase of what he could achieve in Ireland’ (DIB). Other commissions include ‘Cooldrinagh’, Samuel Beckett’s birthplace in Foxrock, and the Iveagh baths and market (c.1905). He is buried in St Andrew’s Church, Malahide, also resting place of Nathaniel Hone. The setting shown here could not have been closer to Hone’s own doorstep when he lived at Moldowney House just two minutes walk away along the Coast Road, before inheriting St Doulough’s in 1896. Hone here is at his most impressionistic, painting with great freedom and sparkling vigour and in subject, palette and delicate control of the composition he anticipates his most famous work Pastures at Malahide (National Gallery of Ireland). A smaller canvas depicting almost exactly the same view was sold in these rooms on 2nd June 2021 (Lot 46).

Edouard Baldus (French, 1813-1889). Architectural albumen photograph depicting the Luxor Obelisk at Place de la Concorde in Paris, France, ca. 1860.Provenance: Lowinsky Gallery, New York; from the Estate of Christopher Cardozo.Sheet; height: 12 1/2 in x width: 17 1/4 in. Matted; height: 16 in x width: 20 in.Condition:There are no tears, creases or losses. The photo is mounted to a paper board; the verso is unable to be inspected. The sheet has discoloration and foxing throughout. The sheet has yellowing. There are no signs of restoration under UV light. Not framed.

Edouard Baldus (French, 1813-1889). Architectural albumen photograph depicting L'Arc de Triomphe du Carrousel in Paris, France, ca. 1860.Provenance: Lowinsky Gallery, New York; from the Estate of Christopher Cardozo.Sheet; height: 12 1/2 in x width: 17 1/4 in. Matted; height: 16 in x width: 20 in.Condition:The photograph is mounted to paper board; verso is unable to be inspected. There are no tears, creases or losses. The sheet has discoloration and foxing throughout. There are no signs of restoration under UV light. Not framed.

Palace size antique Persian Bakhtiari garden panel rug. Hand-woven wool carpet with an even pile. The central field with 56 panels depicting garden scenes of birds, flowers, and architectural elements. Bordered with repeating floral and scrollwork motifs.Height: 15 ft 1 in. x 10 ft 8 in.Condition:There are no major rips, tears, or losses. The pile is even and there are no thread bare areas. There are losses to the fringe on both sides. There is dust and dirt throughout. Light wear throughout consistent with age and use. Light wear to the back.

Edouard Baldus (French, 1813-1889). Architectural heliogravure photograph, an early form of photogravure, depicting the entrance to the Cathedral de Chartes, ca. 1860.Provenance: Lowinsky Gallery, New York; from the Estate of Christopher Cardozo.Sheet; height: 12 1/2 in x width: 17 1/4 in. Matted; height: 16 in x width: 20 in.Condition:There are no tears, creases or losses. The sheet is toned and has foxing throughout. There are no signs of restoration under UV light. Not framed.

Pair of Victorian design cast stone architectural Corbel bracketsDimensions: Depth/Diameter: 49cm

A 19TH CENTURY LOUIS VUITTON TRUNK BY REPUTE BELONGING TO FAMED SWEDISH PHYSICIAN AND PSYCHIATRIST AXEL MUNTHE (1857-1949) AND AUTHOR OF 'THE STORY OF SAN MICHELE', Provenance: From the Munthe family home Southside House, Wimbledon Village. 110cm x 55cm x 55cm Black trunk with two large red painted 'M' for Munthe. Each clasp stamped with Louis Vuitton. With three pull out trays, two of which are sectional. Axel Munthe was born in Oskarshamn in 1857 and died in the Royal Palace of Stockholm in 1949. He had by then lived outside Sweden for 67 years and had had such a singular a career that he could have made his own the last words uttered by Charles XIV John: ”No one has followed a path like mine.” Munthe was a man of paradoxes. Having qualified as a doctor of medicine at the Sorbonne aged 22 (the youngest on record in France), he soon became one of the most successful doctors of his time, with a reputation as a worker of miracles. Among his patients were members of the upper classes and aristocracy of both Europe and America, but he also worked amongst the poor in Paris, Rome and Naples. The newspaper report he wrote about his work in cholera-stricken Naples in the autumn of 1884 made him famous at a stroke. However, he was not a professional writer, and his real success only followed 45 years later. The Story of San Michele was published in 1929 and became one of the most successful books of the 20th century. It was written in English, has been translated into a large number of other languages and new editions are still being printed. Munthe was not an architect, but on Capri he caused to be built one of the most famous villas of Europe: Villa San Michele, which has been described by experts as a work of architectural genius. He was a fervent anglophile, but his favorite philosopher was Schopenhauer, his favorite poet Heine, his favorite composers were Schubert, Wagner, Schumann and Hugo Wolf. And despite his republican outlook on life, his most important patient was not only royal and German born, but also strongly German-orientated. Munthe’s relationship with Crown Princess Victoria, from 1907 Queen of Sweden, plays a central part in his biography. He was not only her personal physician, but also her closest friend and confidant. Munthe’s importance to both her physical and moral well-being cannot be sufficiently underlined. His contribution to Victoria’s health was due to psychological insights which, however, were not present in his personal relationships. He was married twice, first to Ultima Hornberg, then to Hilda Pennington Mellor who bore him two sons. The first marriage ended in divorce, the second with marital separation. The continuing great interest in Munthe is explained by the abundance of his talents and the contradictory nature of his character. ”The man from Ultima Thule is an incurable idealist, a vague dreamer, a mute poet whose heart holds an unwritten paean to the Sun”. Thus wrote Axel Munthe in the preface to the Italian edition of The Story of San Michele and he continued with a paradox: ”The Southerner is a realist, the blood that courses in his veins is hotter, but his head is cooler than that of people of the North. He is passionate, even violent in love and hatred, but he is no enthusiast.” But that was Axel Munthe. - Bengt Jangfeldt, biographer of Axel Munthe.

A 19TH CENTURY LOUIS VUITTON PACKING TRUNK BELONGING TO THE FAMED MUNTHE FAMILY STAMPED J.P.M TO EITHER SIDE, Provenance: From the Munthe family home Southside House, Wimbledon Village. 90cm x 50cm x 45cm Axel Munthe was born in Oskarshamn in 1857 and died in the Royal Palace of Stockholm in 1949. He had by then lived outside Sweden for 67 years and had had such a singular a career that he could have made his own the last words uttered by Charles XIV John: ”No one has followed a path like mine.” Munthe was a man of paradoxes. Having qualified as a doctor of medicine at the Sorbonne aged 22 (the youngest on record in France), he soon became one of the most successful doctors of his time, with a reputation as a worker of miracles. Among his patients were members of the upper classes and aristocracy of both Europe and America, but he also worked amongst the poor in Paris, Rome and Naples. The newspaper report he wrote about his work in cholera-stricken Naples in the autumn of 1884 made him famous at a stroke. However, he was not a professional writer, and his real success only followed 45 years later. The Story of San Michele was published in 1929 and became one of the most successful books of the 20th century. It was written in English, has been translated into a large number of other languages and new editions are still being printed. Munthe was not an architect, but on Capri he caused to be built one of the most famous villas of Europe: Villa San Michele, which has been described by experts as a work of architectural genius. He was a fervent anglophile, but his favorite philosopher was Schopenhauer, his favorite poet Heine, his favorite composers were Schubert, Wagner, Schumann and Hugo Wolf. And despite his republican outlook on life, his most important patient was not only royal and German born, but also strongly German-orientated. Munthe’s relationship with Crown Princess Victoria, from 1907 Queen of Sweden, plays a central part in his biography. He was not only her personal physician, but also her closest friend and confidant. Munthe’s importance to both her physical and moral well-being cannot be sufficiently underlined. His contribution to Victoria’s health was due to psychological insights which, however, were not present in his personal relationships. He was married twice, first to Ultima Hornberg, then to Hilda Pennington Mellor who bore him two sons. The first marriage ended in divorce, the second with marital separation. The continuing great interest in Munthe is explained by the abundance of his talents and the contradictory nature of his character. ”The man from Ultima Thule is an incurable idealist, a vague dreamer, a mute poet whose heart holds an unwritten paean to the Sun”. Thus wrote Axel Munthe in the preface to the Italian edition of The Story of San Michele and he continued with a paradox: ”The Southerner is a realist, the blood that courses in his veins is hotter, but his head is cooler than that of people of the North. He is passionate, even violent in love and hatred, but he is no enthusiast.” But that was Axel Munthe. - Bengt Jangfeldt, biographer of Axel Munthe.

ARCHITECTURAL MODEL INTEREST: 1:100 scale Triton Court in Finsbury Square London, 1984 (now renamed and developed as 'Alphabeata', a commercial creative workspace, redesigned by architects, Studio RHE) Housed on lit perspex display case on stand (a/f)Size approximately: CASE ONLY: 85cm (w) x 86cm (h) x 78cm (d) WITH STAND: 85cm (w) x 148cm (h) x 78cm (d)

Architectural Salvage - a pair of 1930s leaded stained glass windows, with central blue glass lozenges, another pair with central amber glass lozenges; an accompanying pair of stained glass door surrounds, with trailing leaves, approx. 173cm (6)

Architectural Salvage - a suite of twelve Gothic Revival cast iron grilles or balusters, cast with tracery, the rectangular 85.5cm high overall, 18cm wide, 2cm deep (12)

Kerry: Historical Genealogical Architectural Notes on some Houses of Kerry Bary, Valerie Published by Ballinakella Press, Whitegate, County Clare, 1994. 1st Ed. HB , DJ

Modern Chinese design blue and white stick stand containing assorted walking sticks, architectural plans, wall hanging etc. (B.P. 21% + VAT)

School of Northern Italy, XVIII century - Architectural Capriccio with bystandersoil on canvas 92 x 125 cm

French painter active in Italy, eighteenth century - Coastal view with architectural capriccio and bystandersoil on canvas69.5 x 143.5 cm

Circle of Antonio Basoli (Castel Guelfo, 1774 – Bologna, 1843) - Architectural Capriccio with altar and columnpen, brown ink, gray watercolor and traces of pencil on pen and brown ink squared paper298 x 212 mmon the reverse, drawing by another artist in pencil and purple ink depicting the Holy FamilyPROVENANCEChristie Rome, 7 November 1989, lot 104

Quantity of walking sticks, two silver decorated walking sticks, another similar and a parasol together with quantity of architectural plans

A late 19th Century mantel clock in architectural hardwood case

A GROUP OF SCANDINAVIAN ART GLASS, comprising a Bertil Vallien for Kosta Boda Vas Glas Number 49607, with irregular wave rim, decorated with gold spots and iridescent trails against the textured green ground, engraved signature and retains label, height 21cm, together with a Swedish Nybro ashtray designed by Paul Isling and an architectural smoked glass slab (3) (Condition Report: no obvious damage)

A. Burmese Anglo-Indian tableSissoo of profusely carved decoration, tilt top and tripod central shaftThe shaft and feet of carved foliage, snakes, birds and lions decorationLow relief frieze to top of foliage, zoomorphic and architectural motifs decorationScalloped, carved and pierced apron of foliage scrolls motifs decorationBurma, 19th century(minor faults and restoration)78x107x107 cm

An Aubusson tapestryPolychrome wool threadsDepicting a garden view with architectural elements and courting figuresFrance, 18th century(minor faults)235x294 cm

A vintage wood and copper fire place 'Blower', Victorian architectural wood cased mantel clock, the dial inscirbed Goldsmiths Company London, with eight-day movement, striking on the gong with pendulum and key, height 38cm, Alice William CBE (1950's) watercolour 'Windsor Castle from Eton, not signed but inscribed on reverse, 53cm x 53cm, framed and glazed also a George III mahogany drop flap table on pad feet, length 90cm (4).

Amalfi is a picturesque coastal town located in the Campania region of southern Italy, along the Amalfi Coast. It is known for its stunning natural beauty, historic architecture, and Mediterranean charm. Here are some key points about Amalfi, Italy:1. **Geography**: Amalfi is situated on the rugged and dramatic Amalfi Coast, which is known for its steep cliffs, lush green hillsides, and panoramic views of the Mediterranean Sea. The town is nestled between the sea and the mountains.2. **History**: Amalfi has a rich history dating back to ancient times. It was once a powerful maritime republic, rivaling cities like Venice and Pisa in the Mediterranean trade. The town's historical center contains medieval architecture and charming streets.3. **Cathedral of Saint Andrew**: The Duomo di Sant'Andrea Apostolo, often referred to as the Amalfi Cathedral, is a prominent landmark. It features a stunning blend of architectural styles, including Arab-Norman influences, and houses the relics of Saint Andrew.4. **Scenic Drives**: The Amalfi Coast is famous for its scenic drives along the winding coastal roads. The drive from Sorrento to Amalfi offers breathtaking views at every turn.5. **Lemon Groves**: The region is known for its cultivation of lemons, particularly the large and fragrant Amalfi lemons. Visitors can explore lemon groves and enjoy limoncello, a popular lemon liqueur.6. **Beaches**: Amalfi boasts a few small but beautiful beaches where visitors can relax and swim in the crystal-clear waters of the Tyrrhenian Sea.7. **Papermaking**: Amalfi has a long history of papermaking, and you can visit the Museo della Carta (Paper Museum) to learn about this traditional craft.8. **Piazza del Duomo**: The central square, Piazza del Duomo, is a lively gathering place surrounded by cafes, shops, and the impressive Cathedral of Saint Andrew.9. **Ravello**: A short drive or hike from Amalfi takes you to the charming hilltop town of Ravello, which offers stunning views of the coastline and beautiful gardens, including Villa Rufolo and Villa Cimbrone.10. **Water Activities**: Visitors can enjoy various water activities such as boat tours, snorkeling, and diving along the Amalfi Coast.11. **Local Cuisine**: The Amalfi Coast is known for its delicious seafood dishes, homemade pasta, and regional specialties like "sfogliatella" pastries and "colatura di alici" (anchovy sauce).12. **Festivals**: Amalfi hosts various festivals and events throughout the year, including religious processions, music festivals, and local celebrations.13. **Ceramics**: The region is famous for its hand-painted ceramics, and you can find unique pottery and ceramic products in local shops.14. **Hiking**: The area offers excellent hiking opportunities, with trails like the Path of the Gods (Sentiero degli Dei) providing stunning vistas of the coast.15. **Shopping**: Amalfi is a great place for shopping for local crafts, souvenirs, and fashion items.Amalfi's breathtaking landscapes, historical treasures, and Mediterranean ambiance make it a popular destination for travelers seeking both relaxation and cultural exploration. Whether you're wandering through the town's historic streets, savoring local cuisine, or simply taking in the coastal views, Amalfi offers a truly memorable Italian experience.Measures 33 x 24.Mounted to linen.

Tuscany, located in central Italy, is a region renowned for its stunning landscapes, rich cultural heritage, historic cities, and world-class cuisine. It is often considered one of Italy's most beautiful and culturally significant regions. Here are some key points about Tuscany:1. **Geography**: Tuscany is characterized by diverse geography, including rolling hills, vineyards, olive groves, coastal areas along the Tyrrhenian Sea, and the Apennine Mountains in the east.2. **Cities**: The region is home to several historically and culturally significant cities, including Florence (Firenze), Siena, Pisa, Lucca, and Arezzo. Florence, the capital of Tuscany, is often considered the birthplace of the Renaissance and is renowned for its art, architecture, and museums.3. **Art and Culture**: Tuscany has played a pivotal role in the history of art and culture. It was home to renowned artists such as Leonardo da Vinci, Michelangelo, and Dante Alighieri. Florence's Uffizi Gallery and Accademia Gallery house some of the world's most famous artworks.4. **Cuisine**: Tuscan cuisine is celebrated worldwide for its simplicity and use of fresh, high-quality ingredients. Traditional dishes include ribollita (a hearty soup), pappa al pomodoro (tomato soup), and bistecca alla fiorentina (Florentine steak). The region is also known for its wine, including Chianti and Brunello di Montalcino.5. **Wine Regions**: Tuscany is a wine lover's paradise, with famous wine regions such as Chianti, Montalcino (home to Brunello wine), and Montepulciano. The rolling vineyards and wineries offer picturesque settings for wine tasting.6. **Historic Villages**: Tuscany is dotted with charming medieval villages and towns, each with its own unique character. Examples include San Gimignano, Volterra, and Pienza.7. **Countryside**: The Tuscan countryside, with its cypress-lined roads and rolling hills, is often depicted in art and photography. The region's beauty has inspired artists and travelers for centuries.8. **Architecture**: Tuscany boasts a rich architectural heritage, with examples of Gothic, Renaissance, and Romanesque architecture. The cathedrals of Florence, Siena, and Pisa are architectural marvels.9. **Festivals**: Tuscany hosts various festivals throughout the year, celebrating traditions, art, and cuisine. The Palio di Siena, a historic horse race in Siena's Piazza del Campo, is a famous event.10. **Outdoor Activities**: The region offers ample opportunities for outdoor activities, including hiking, cycling, and horseback riding in its picturesque countryside.11. **Hot Springs**: Tuscany has natural hot springs known as "termes." The town of Saturnia is particularly famous for its thermal baths.12. **Historical Sites**: Tuscany is rich in historical sites, including Etruscan ruins, medieval fortresses, and Renaissance palaces.Tuscany's combination of natural beauty, artistic heritage, culinary delights, and historic significance makes it a beloved destination for travelers seeking a taste of Italy's cultural richness and picturesque landscapes. Whether you're exploring Florence's art treasures, savoring Tuscan cuisine, or wandering through the charming villages, Tuscany offers a memorable experience.Measures 33 x 24.Mounted to linen.

ARCHITECTURAL GARDEN GATE, painted metal, 168cm H x 166cm.

ARCHITECTURAL WALL MIRRORS, a pair, circular, distressed painted frames, 72cm diam. (2)

ARCHITECTURAL GARDEN MIRROR, gated design, 170cm H x 90cm.

ARCHITECTURAL GARDEN MIRRORS, a set of four, distressed metal frames, 60cm H x 39cm. (4)

DAVID ROBERTS RA (1796-1864) ARCHITECTURAL - THE MONASTERY OF THE CARMELITES, BURGOS, watercolour on paper, unsigned but with label attribution verso, framed under glass, 16.5 x 14.5cm

Collection of architectural prints

A framed pen and ink architectural drawing 'Round Tower Blunham', framed pen and ink architectural sketch and a framed sepia painting of young woman 1879.

Schranksektretär im Empire-Stil mit freistehenden Säulen2. Hälfte 19. Jh., die Füße als rechteckige Basen gestaltet, darüber vorgesetzte Rundsäulen, den hochrechteckigen Korpus flankierend mit dreischübem Unterbau. Darüber Schreibplatte mit dahinter liegenden Kompartiments und Schüben in architektonischem Aufbau mit flankierenden Rundsäulen. Schwarz lackierte Schreibplatte, überfangen durch einen zentralen Schub mit überkragender furnierter Holzdeckplatte, Esche und Nadelholz, mit Esche furniert, Beschläge aus Messing, feuervergoldet, 141,5 cm x 102,5 cm x 57 cm, kleinere Furnieschäden und -ausbrüche, kleinere Holzausbrüche, Schubladenböden foliert, Schreibklappe nach unten nicht arretierbar, 3 Schlüssel vorhanden, Schlüssel zur oberen Schublade absent, Zustand DEmpire-style cabinet secretaire with free-standing columns2nd half of the 19th century, the feet designed as rectangular bases, above which set round columns flanking the high rectangular body with a three-storey substructure. Above a writing surface with compartments and drawers behind in an architectural structure with flanking round columns. Black lacquered writing top, surmounted by a central drawer with overhanging veneered wooden top panel, ash and softwood, veneered with ash, brass fittings, fire-gilt, 141.5 cm x 102.5 cm x 57 cm, minor veneer damage and chips, minor wood chips, drawer bottoms laminated, writing flap cannot be locked downwards, 3 keys present, key to top drawer absent, condition D

A SET OF FOUR FRAMED VINTAGE PHOTOGRAPHS OF ARCHITECTURAL CAPITALS. (4)

A French Baroque style ormolu mantel clock, circa 20th century, the circular two train outside countwheel bell striking movement with anchor escapement regulated by a star shaped pendulum and stamped 2270 to the backplate, the circular convex enamel Roman numeral dial set behind hinged cast bevel-glazed bezel, the cathedral inspired case with fleur-de-lis spray surmounts supported on four architectural columns on reticulated feet secured to a shaped cast platform base, with articulated bell ringing pastor. 53cm tall. In good cosmetic condition showing no damage no repairs, complete with pendulum and key, the movement is fully wound and not ticking – in need of service/repair