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VITRUVIUS POLLIO, Marcus (c.80-70 B.C.- c.15 B.C.). Architettura. Vetruvio in volgar lingua. Perugia: Giano Bigazzini, 1536. 2° (281 x 200mm). Woodcut architectural title, woodcut portrait of the printer and 81 woodcut illustrations in the text, including two repetitions (some light, mostly marginal spotting and soiling). 18th-century sheep, flat spine gilt in compartments (covers detached, large loss of leather on the upper board, spine ends chipped). First edition of Caporali's translation. The only kown work to have been printed by Bigazzini, this edition comprised the first five of the ten books of Vitruvius. The woodcuts are free copies (reduced or enlarged) of the Cesariano's Como, 1521 edition, with 8 subjects added although the cuts of Milan cathedral were excluded. Berlin Kat. 1805; Brunet V:1330; Cicognara 706; Fowler 400; Mortimer Italian 546; Sander 7700. View on Christie's.com

A 19th Century Pine Architectural Bracket having fluted and carved scroll decoration, 1m 22cm wide, 67cm high

A mahogany architectural double bed, with bobbin turned footboard, 136cm high x 206cm long x 158cm wide

A XIX century French ormolu and porcelain mounted mantel clock with crimson ground painted sevres panels, the architectural case surmounted by an urn on which two winged angels are seated 44cm high

"An Edwardian mantle clock with ivorine dial in an architectural walnut case, h. 44 cm"

A FOLDER: PENCIL DRAWINGS, Architectural Studies, 13” x 19”

A GEORGE III NEEDLEWORK SAMPLER with alphabet frieze above a central tablet with verse, signed Jane Coates, dated 1787 with further foliate architectural figure and animal decoration, 18" x 17" (see illustration).

A Victorian black slate mantel clock of architectural form, by Ansonia Clock Co, New York, striking on a single bell, height 34cm.

A black painted American shelf clock with architectural case, height 60cm.

RODERICK BOOTH JONES. Architectural view; etching; signed; 20in by 19in

Stone obelisk or architectural finial

Modern architectural style overmantle mirror

Victorian slate cased mantle clock of architectural style

An Edwardian carved oak architectural bracket clock, with chiming eight day movement and marked Benetfink & Co, Cheapside, 41cm high.

BLACK SLATE AND MARBLE MANTEL CLOCK the dial with Roman numerals set in architectural bronze-effect case with Egyptian-style mounts, 50cm wide

CLOCKS A LATE 19TH CENTURY FRENCH BLACK SLATE MANTEL CLOCK having moulded and carved architectural style case with central finial flank columns and moulded base, 8-day Japy type mechanism with rack strike, steel suspension faced by an Arabic calibrated bras s dial

OILS "PROBABLY 19TH CENTURY SCHOOL A stylised architectural stone work interior, showing a multitude of balustrades, columns and stairwells, Watercolour, 22cm x 36cm, in decorative moulded gilt frame"

Plaw (John) Ferme Ornee; or Rural 1796 38 sepia aquatint plates ink spot to outer margin of title marginal foxing some damp-staining a few spots within images contemporary half calf spines gilt spine ends chipped upper joint split but holding firm rubbed 4to I. and J. Taylor at the Architectural Library 1796.

Paris et ses Environs. Promenades Pittoresques half-title engraved title with hand-coloured vignette and 10 hand-coloured engraved plates tissue guards text a little foxed contemporary ink inscription on front free endpaper contemporary calf elaborately stamped in blind with architectural design around a central blank medallion spine gilt g.e. slightly rubbed 12mo Paris [c.1820].

Bible French. manuscript 15th cent illuminated manuscript on vellum in French 104 ff. collation: i-v8 vi6 vii 8 viii10 ix-xiii8 including blank (except for ruling) final ff. in vi and viii original foliation on most of first 18 ff. 23 lines written in brown ink in a handsome lettre bâtarde 30 2- or 3-line initials in gold on blue and white backgrounds many 1-line initials in gold on red or blue and white and a few on brown and gold 3 large miniatures (c.130 x 120mm.) with 4 lines of text beneath ruled in red staining heavy in places seriously affecting the last miniature and a number of other ff. wrinkling throughout small hole in lower border of the second miniature signature `Larochefoucauld` at foot of first p. armorial bookplate on first fly-leaf of H.C.Embleton sixteenth-century brown morocco covers with double blind-stamped roll paste-downs made up of fragments of an early liturgical book printed in red and black rubbed rebacked covers repaired 4to c.240 x 160mm. Northern France late 15th century. ***A fine manuscript though sadly affected by water-damage of three of the `sapiental` books of the Bible associated with King Solomon: Proverbs Ecclesiastes and Wisdom in the bible historiale version by Guyart des Moulins based on Peter Comestor`s Latin Historica Scholastica. The miniatures depict (f. 1r) Solomon enthroned with a group of courtiers beside him insructing his son Rehoboam in an architectural setting with a glimpse of a hilly landscape visible through an open door; (f. 47r) Solomon enthroned between two groups of courtiers (or students?). behind them a wall and behind that glimpses of landscape; (f. 64r) Solomon seated at a large desk writing on a scroll in an architectural setting with shelves of books high up on either side with lansdcape visible through a window above. The three miniatures are in similar architectural borders predominantly in gold with coloured pillars on either side and a tasseled cord on the right on which a small golden manikin is climbing at the foot a gilt pedestal on which is a panel or scroll with 4 lines of text. Provenance: from the La Rochefoucauld family library with signature at foot of first page very similar to that found in books in the Bibliothèque du Château de la Roche-Guyon sold by Sotheby`s in Monaco 9th Dec 1987 (cf lot 753) though unlike the books in that sale this manuscript has neither the library stamp on title nor the family arms on the covers.

Pacioli (Luca) Divina Proportione first edition title and final leaf with woodcut of the tree of proportion and proportionality in red and black woodcut initials some criblé diagrams in margins woodcut illustrations including the human head 3 architectural subjects the alphabet (without Z) & the suite of polyhedral shapes the latter after Leonardo da Vinci some early ink annotations in Italian washed trimmed and with some paper repairs (to blank margins and worm-holes) and the lower half of the final leaf (woodcut of tree of proportion) supplied in good facsimile 2 leaves bound out of order modern brown calf in period style with clasps cloth drop-back box [Mortimer Harvard Italian 346] folio (trimmed down to a 4to size) Venice Alessandro & Paganino de Paganini 1509. ***A professionally restored copy of one of the great renaissance books. Pacioli was born in Borgo Sansepolcro and entered the Franciscan order sometime between 1470 and 1476 where he taught mathematics first as a tutor and then as a lecturer at the University of Perugia. In 1496 he went to Milan where he met Leonardo da Vinci who drew the various figures of polyhedra for this work. He completed the work in 1498 and dedicated it to his Milanese patron Ludovico il Moro. It was eventually published in Venice in 1509 with the addition of a short tract on architecture and an Italian version of Piero della Francesca`s De quinque corporibus regularibus. .

[Fitzherbert (Sir John)] Surveyinge woodcut architectural border black letter marginal worming not affecting text tape repair to margin of sig.C7 light water-stain to lower margin some other light soiling late 19th century morocco-backed boards upper cover detached lower third of backstrip missing [STC 11008] Thomas Berthelet 1539. ***Includes a chapter on the laws and tenures relating to angling entitled “Of mylnes severall fishyng and commen fyshyng what they be worth in the yere.”.

Clérisseau (Charles-Louis) Roman Ruins drawings in pen black ink with grey and occasionally brown wash over etched outlines six 355 x 294mm. (14 x 11.5in.) to 395 x 315mm. (15.5 x 12.25in.) remainder 175 x 175mm. (7 x 7in.) one circular to 288 x 193mm. (11.3 x 7.6in.) light browning to two drawings a few old creases and very small rubbed spots; with 3 drawings of geological features by another(?) hand and a group of engraved studies of the human body from an 18th century drawing book mounted on large folio sheets of laid paper a disbound section of a larger album 1760s or 1770s(14) ***Provenance: from the collection of the architect James Paine 1717-1789. Paine visited Rome in 1755. (Ironically as a confirmed Palladian he was to lose commissions in 1765 at both Nostell Priory and Kedleston Hall to James Adam who completed the houses in neo-classical style.) Charles-Louis Clérisseau artist architect and archaeologist won the Prix de Rome in 1746 and studied under Pannini at the French Academy in Rome from 1749 to 1754. There he absorbed the influence of his close friends Piranesi and Winckelman and after 1754 became tutor in architectural drawing and theory first to William Chambers then to Robert Adam with whom he travelled widely between 1754 and 1757. His influence on the Adam brothers` developing neo-classical style was immense. McCormick (op. cit.) concludes an account of their relationship thus: “Therefore the true beginning of the Adam style with its wealth of delicate ancient-inspired decorations vaulted ceilings screens of columns niches and rooms in a great variety of shapes derives from Clérisseau.” The present group of drawings all appear to be vedute di fantasia imaginative works incorporating elements drawn from observation. Drawing over an etched outline was a not uncommon technique for 18th century artists but the circular drawing of a mausoleum or sepulchral hall illustrated here appears to be Clérisseau`s only composition over an etching to be hitherto recorded. Two other examples are known. One is in the vast collection of Clérisseau`s drawings bought by Catherine the Great in 1779 and now in the Hermitage St. Petersburg. It is illustrated as no.59 in the Louvre catalogue (see below) and described as the only example of a drawing over etching in that collection. The other with minor variations of detail and shading is in the Fitzwilliam Museum. A version in gouache - Clérisseau`s more usual medium - is in Sir John Soane`s Museum (Inv. P.97). The dating of his drawings is problematic since he produced many with only minor variations over a period of more than three decades. He was selling drawings to Grand Tourists by 1753 exhibited his architectural capricci in London in the early 1770s and continued to work in similar style in St. Petersburg and Paris well into the 1780s. A date between 1760 and 1780 for the present group appears most probable. References: Thomas J. McCormick Charles-Louis Clérisseau and the Genesis of Neo-Classicism 1990; Charles-Louis Clérisseau: dessins du musée de l`Ermitage Saint-Petersburg Musée du Louvre 1995.

Speckle (Daniel) Architectura von Vestungen. first edition title in red & black with engraved architectural border by Matheus Greuter woodcut coat-of-arms of Julius Herzog von Braunschweig (the dedicatee) tail-pieces and initials 21 engraved plates all but one double-page but many bound with text between two parts with additional R1 &2 leaves following signature R and errata leaf at end with typographical border a few contemporary ink annotations title a little soiled and water-stained some other light soiling and staining a little wormed affecting hinges but intact eighteenth century half vellum over marbled boards spine titled in manuscript and split at head rubbed [Berlin Kat. 3516; Cockle 789] folio Strasbourg Bernhart Jobin 1589. ***Advanced treatise on fortification and town planning by the architect responsible for the fortification of Gibraltar.

A Victorian slate and marble architectural mantel clock, 33.5cm high

A Photograph Album containing approximately one hundred and eighty+ Albumen and other Views, Snapshots, published Photographs, Cuttings etc, circa 1862-72, many depicting assorted Travels, Domestic Family Life etc, Topographical and Architectural Scenes including Chippenham, Langton Hall, Whitby, Sidmouth, Budleigh Salterton, Farnham, Vevay, Geneva and The Hague etc + a few domestic images of Children, some Family Groups etc, many photographs with handwritten annots and dates, various sizes, orig qtr cf, v worn, bds detchd, lacks spine

Art Reference A collection of circa 60 volumes of art and architectural reference, all modern, mixture of 4to and 8vo (qty)

A Victorian black slate cased Mantle Clock of architectural design with fluted columns having Corinthian capitals

A GROUP OF SIX ENGLISH SILVER SMALLWORKS comprising: a Victorian chamberstick, S. Blanckensee & Sons Ltd., Birmingham, 1894, plain sconce on a foliate stamped heart-shaped base, 9.5cm wide; a Victorian chamber taperstick, Samuel Joseph, London, 1892, openwork cast scroll foliate circular base on three ball feet, 8.5cm wide across ring handle; a Victorian miniature chamberstick, William Comyns & Sons, Birmingham, 1891, plain circular, 4.5cm wide across ring handle; an Edwardian miniature milk churn pepperette, Saunders & Shepherd Ltd., Chester, 1902, realistically modelled, 3cm high; an Edwardian desk seal, Sampson Mordan & Co., Chester, 1908, flared hexgonal, the canted top applied with an enamelled four-leaf clover, 5.5cm high; and a Victorian architectural inkwell, Francis Howard, Sheffield, 1894, modelled as a squat brickwork tower, with conical lid, 10.5cm high (6)

A handsome black slate clock garniture set, the oblong based clock having an architectural pediment with three Corinthian columns either side of the circular dial, having an eight day striking movement by Thomas Russell, Liverpool and having a pair of flanking classical style pavilions, each having a standing soldier enclosed by six Corinthian columns

Postcards - Over 1300 British and foreign silhouette cards, including portraits, comic, novelty, glamour, architectural, military and other subjects; together with a quantity of related items, including trade cards, (six albums).

An early 20th century mahogany cased all clock of architectural style with inset thermometer and aneroid barometer

A late Victorian black and rouge marble mantel clock having architectural style case

A Victorian black slate architectural mantel clock, together with another black slate clock smaller

A pair of modern architectural style prints

"Victorian large Gothic design architectural clock by Glading and Company, Kings Road, Brighton, with Canterbury or Westminster chime, silvered dial, 70cm h"

"George IV mahogany linen press with an architectural pediment, two panelled doors enclosing five trays, two short and two long drawers below, on turned feet, 121cm w"

A boxed set of wooden architectural type building blocks with pillars and decorative motifs to pediments

A late 19th Century slate mantel clock with eight day movement striking on a gong, the circular enamel dial with Roman numerals, the architectural case with fluted columns, on a rectangular base and stepped bracket feet, with a pendulum.

A late 19th Century slate and green marble mantel clock with eight day movement striking on a bell, the circular gilt dial with visible escapement and white enamel chapter ring with Arabic numerals, the architectural case with four pilasters, on a rectangular plinth base, with a pendulum.

A late 19th/early 20th Century onyx mantel clock with eight day movement striking on a gong, the architectural case with gilt metal mounts.

A mid 20th century German mantle clock of architectural turreted form with columns, finials and decorative gilt metal mounts, the eight day movement with "Cuckoo" strike (32cms high).

A late 19th century black slate mantle clock of rectangular architectural form with galleried top, slender flanking fluted columns, the eight day movement striking on a gong with black slate dial and gilded Roman numerals (30cms).

An late 19th century black slate mantle clock of architectural form, the stepped roof supported by flanking columns and surmounted by a large shallow footed bowl and mounted overall with ornate gilt metal and bronze mounts including two caryatid swing handles, scrolled side columns and outswept scrolled and foliate moulded supports, the eight day movement striking on a bell with a plain black slate dial, inscribed Roman numerals and bevelled glass (44cms high, as viewed some slight damage).

AN EDWARDIAN INLAID MAHOGANY STANDING CORNER CABINET, having architectural pediment over single astragal glazed door, standing on a projecting base with shell inlaid freize, pierced angle brackets and undershelf on square tapering legs with spade feet. 30" wide x 15" Deep x 72" High.

A PAIR OF FRENCH LOUIS PHILIPPE BRONZE FIVE BRANCH CANDELABRA with flamed finial, classical column stem and stepped architectural bases, 27 1/2" high (see illustration).

AN ANTIQUE ARCHITECTURAL PRINT depicting the gate of Burlington House in Piccadilly, 9 3/4" x 15", together with three further architectural prints (4).

TWO PAIRS OF VICTORIAN OAK DOORS with applied moulded architectural decoration, 68 1/2" x 29" (moulding losses).

A PAIR OF ANTIQUE PAINTED PINE ARCHITECTURAL FLUTED COLUMNS with corinthian capitals, 61 1/4" high.

Victorian slate mantle clock in classical Architectural form.

A late 19th century walnut and stained beech cased mantel clock of architectural form

An early Victorian mahogany breakfront pedestal sideboard, the plain top above four cushion drawers, each pedestal of architectural form with egg and dart and scrolling foliate capped panels opening to reveal a shelf and cellerette drawer to one side and two drawers to the other

A Victorian figured mahogany wardrobe compactum, the recessed centre section with architectural style pediment over two cupboard doors flanked by two panels over five long drawers with turned knob handles, flanked by two "sentry box" hanging cupboards each enclosing a hanging space, one with deep drawer, all raised on a plinth base (ILLUSTRATED)

Valla Elegantiarum libri sex 1529 title within ornate woodcut architectural border woodcut historiated initials lower margin of title with 2 early ink ownership inscriptions a few ff. with early ink marginalia in red and black ink the Donaueschingen copy with ink stamps to pastedowns contemporary blind-stamped pigskin over wooden boards later paper labels to spine lacking clasps soiled [Adams V174] an attractive edition 8vo [Mainz] [Joannis Schoeffer] 1529.

Camilli Imprese Illustri 1586 3 parts in 1 3 engraved titles within ornate architectural borders 108 engraved emblematic devices within elegant borders by Girolamo Porro woodcut initials and tail-pieces a few ff. browned water-staining mostly to upper margins heaviest to preliminaries and then lightening a few stains some finger-soiling 19th century calf rebacked preserving original rather tired backstrip with 2 modern leather labels corners worn rubbed [Landwehr Romanic 202; Praz p. 296; Mortimer Italian 99; Cicognara 1870] 4to Venice Francesco Ziletti 1586. ***Camilli in this work dedicated to Ferdinando de` Medici provides the device and motto of the most illustrious families of Italy. In addition to his lines of verse to accompany each emblem he provides an interpretive commentary of the allegorical symbolism and historical significance embedded in the image.

Guevara Familiar Epistles 1584 translated by Edward Hellowes title within woodcut typographic border woodcut decorated initials [STC 12435] Ralph Newberie 1584; Golden Epistles translated by Sir Geffrey Fenton title within ornate woodcut architectural border [STC 10796] Ralph Newberie 1582 both works trimmed at head occasionally affecting running titles water-stained mostly marginal some browning 19th century half calf rebacked preserving original backstrip corners worn small 4to

Alhambra. A fine quality architectural model of an arch from the Alhambra Palace, Granada, c. 1865, painted plaster and marble, by Don Raphael Contreras, small chips to arch fretwork (pieces retained within frame), 56 x 26.5cm, mounted, framed (small chips) and glazed. A well-made miniature of a widely admired monument, sold as high-class tourist souvenir to the mainly British market. A similar model is in the V & A Museum, British Galleries, room 125C.. (1)

* Architectural Watercolours. View of Little Moreton Hall, near Congleton, Cheshire, early-mid 19th century, pen, ink & sepia watercolour after the engraved view published in John Britton’s Architectural Antiquities of Great Britain, volume II, 1809, 16 x 20.5cm (mount aperture), together with another similar sepia watercolour view of a different part of the same building, 22 x 17cm (mount aperture), both framed and glazed (2)

* Watercolours. A mixed collection of twenty-three watercolour and gouache drawings, mostly 19th & early 20th century, including topographical landscapes, sporting dogs, game birds, marine and architectural studies, by R.Thornton, Harley Stuart, H.Tomlinson, J.Mac Bane, Harris Brett, Reginald D. Sherrin and one Lakeland watercolour view by Charlotte Hart dated 1795, various sizes and condition (23)

Smirke (Sydney). Suggestions for the Architectural Improvement of the Western Part of London, 1834, hand-coloured folding plan (small tape repair to verso), two etched plates at end, one or two minor spots, front endpapers waterstained with bookplates, original boards, spine torn and rubbed, 8vo. Sydney Smirke (1798-1877) was the brother of Sir Robert Smirke and designed many schemes in London, including Gunnersbury Park, the Pantheon in Oxford Street, completing his brother’s work at the British Museum, the Carlton Club, Pall Mall, and the exhibition galleries for the Royal Academy, Burlington House.. (1)