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A French Le Roy et Fils (?) ormolu and white marble mantel clock with a figural mount allegorical of the victory of love, the eight-day movement now governed by a spring balance and chiming on a single domed bell, white enamel Arabic convex dial bearing the legend Bagues Freires Fab Bronzes, over a white marble architectural base with bold toupee feet. 36 cm wide x 38 cm high

BIBLE, In English. The Holy Bible Containing the Old Testament and the New, Newly translated out of the original Tongues, And with the former Translations diligently Compared and revised. Cambridge: John Hayes, 1670. 4to (224 x 165mm.) Engraved architectural title by John Chantry, separate letterpress title for NT, includes Apocrypha and ‘Book of Common Prayer’, ‘Whole of the Psalms’ with separate title to rear. (GT loosening, lacking title and leaves before C1 of ‘Book of Common Prayer’, lacking several leaves to rear of ‘Whole Book of the Psalms’ and A6, soiling to Yy3 of GT and E1 of NT, title of NT torn, several leaves with corner loss and text affected including Nn6 of GT and T1 and A3 of NT, some leaves with contemporary scribbles including title of ‘Whole Book of the Psalms’, browning throughout, occasional damp-staining.) Contemporary calf (upper cover detached, lower joint split, minor loss to spine panel). Provenance: Catherine Young (ink name inscribed verso NT); John Young (ink name inscribed verso lower cover); Betty Goddard (ink name inscribed verso upper cover) [Herbert 702]. – And another Bible (‘The Holy Bible Containing the Old and New Testaments…Illustrated’, [circa 1860], 4to) (2).

TRADE CATALOGUE. The Morris Westminster Guild. Rochester Row, London: Morris House, [circa 1930.] 4to (286 x 166mm.) Numerous black and white and colour plates of architectural iron-work and stained glass mounted on grey card, captioned in black. (Company stamp to every leaf.) Original pictorial grey cloth, string-bound (‘The Morris-Singer Compy’ in blue crayon to upper cover). Note: William Morris & Company was established in 1899 by a man called William Morris. The company changed its name in 1920 to ‘William Morris & Company (Westminster)’ and then to ‘Morris Westminster Guild’ by 1930. It’s believed the company derived commercial benefit from having the same name as the writer and textile designer. – And a further fourteen volumes (including Francis H. Low’s ‘Queen Victoria’s Dolls’, 1894, 4to) (15).

MICHALIS ECONOMOU (1888-1933)Chapelle avec des cyprès signé 'M.Economou' en bas à gauchehuile sur flanelle61 x 50cm (24 x 19 11/16in).Peint c. 1927.signed 'M.Economou' lower leftoil on flannel laid on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureA.Kouria, Michalis Economou, Adam editions, Athens 2001, no. 115, pp. 256-257 (catalogued), p. 165 (illustrated).Evocative flames of dark green flare from the earth against an animated sky, echoing Van Gogh's famous cypresses.¹ This mesmerizing work probably dates after 1926, the year Economou returned to Greece from France, and was most probably completed in 1927, when he had his second personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'² Critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis.³In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by art historian A. Kouria, who prepared the artist's monograph, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the pines and cypresses seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks.'⁴ 'The cypress tree, a favourite motif of Symbolist painting charged with Romantic overtones, appears in Economou's art as a symbol of his inner self and his strongly subjective response to external world stimuli; it becomes a vehicle of the feeling he wishes to communicate through his art.'⁵¹. Compare V. Van Gogh, Road with cypresses, 1890, Kröller-Müller Museum, Otterlo. Van Gogh was fascinated by cypresses as natural equivalents of architectural forms. He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. ². Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125.³. See Kouria, Michalis Economou, p. 125. ⁴. Ibid, pp. 108-113.⁵. Michalis Economou, The Alchemy of Painting, exhibition catalogue, E. Averoff Museum of Modern Greek Art, Metsovo - Evangelos Averoff-Tossizza Foundation, 2023, p. 155.For further information on this lot please visit Bonhams.com

CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com

THEOFILOS HADJIMICHAEL (1871-1934)La maison de Athanassios Koutras à Varia, Lesvos signé, titré en grec et daté '1932'huile sur toile37 x 30.5cm (14 9/16 x 12in.)signed, titled in greek and dated '1932'oil on canvasFootnotes:ProvenanceD.E. Evangelidis collection until 1963.Acquired from the above by Aristidis Lappas and thence by decent to the previous owner.Bonhams London Greek Sale of 11 May 2004, lot 77.Acquired from the above sale by the present owner.ExpositionAthens, British Council, Theofilos, 2-31 May 1947, no 23.Athens Hellenic American Union, Theofilos, 7-26 February 1964, no 92.LittératureAngloelliniki Epitheorisi magazine, vol. III, no. 1, May 1947, no. 23, back cover (listed).T. Spiteris, 'Theofilos (Chadjimichail) Works', handwritten list, c. 1960s, T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, no. GR TITSpit 101102_11, p. 17 (catalogued).This graceful and seductive portrait of an architectural beauty that used to adorn the artist's native village of Vareia, illustrates the remarks of folk painting scholar G. Samourkas: 'Theofilos's Mytilene period, which lasted from around 1926 until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'¹ As inscribed by the artist at the top and bottom of his composition, this age-old pyrgos mansion in the village of Vareia was the residence of the late Athanassios Kottonas, and was no longer standing (probably destroyed by the devastating earthquakes that struck the island in 1867 and 1899). These characteristic Mytilene pyrgoi, are many-storeyed fortified country dwellings, free standing in farm fields or orchards and whose top storeys usually featured wooden projections—the so-called sachnisinia—on one or more sides. They were the summer residencies of wealthy inhabitants, and the older ones date from the last decades of the 18th century.² ¹. G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.². See I. Vostani-Koumba, Lesvos, Greek Traditional Architecture series, Melissa editions, Athens 1982, pp. 29-36.For further information on this lot please visit Bonhams.com

AN EMPIRE BRONZE MOUNTED, PARCEL GILT, AMBOYNA AND INLAID MAHOGANY DESK CIRCA 1810 With a mechanical counter weight mechanism, the hinged top opening to reveal a rising architectural superstructure, a knee hole flanked by drawers 84cm high (closed),101cm wide, 70cm deep Provenance: Wannenes, Genoa, where purchased by Count Manfredi della Gherardesca, 23 March 2018, lot 61 Condition Report: Generally good and structurally secure. The catalogue illustration is accurate, the colour consistent. There is minor wear and tear and scuffing consistent with age and use. The gilt moulding with wear. The drawer handles are later replacements, probably originally with small knob handles. The heads and feet of the terms made of painted base metal, the columns probably maple or burr birch (rather than amboyna). Possibly of German or mid-European origin, secondary timbers are oak, pine and possibly poplar. The back is unfinished pine panelling. Note there are multiple secret and concealed drawers and compartments, secured by concealed catches. Overall in good order, an attractive, ingenious and intriguing cabinet. Condition Report Disclaimer

Architectural salvage - A George VI red Post Office letter box, casted cypher, weathered original paint, approx 61cm high x 25.5cm wide x 39cm deep.

Architectural Salvage - an original ‘Elizabeth II reign’ post office letter box, cast iron front, 61cm high x 25.5cm wide x 39cm deep.

A MEISSEN PORCELAIN TEACUP mid 18th century, of yellow ground, decorated with architectural landscape scenes to the exterior within two cartouches and an interior roundel, 5cm highProvenance: R & G McPherson Antiques, 40 Kensington Church Street, London, W8 4BX, 10 June 1909.

A George III mahogany stick barometer, the architectural pediment over an 18cm silvered register, indistinctly signed, within a plain moulded case extending to a domed cistern, 93cm high

Two boxes of late-Victorian/Edwardian glass photographic plates, relating to an Edinburgh family, with architectural, engineering and family subjects, together with four pages of prints produced by the vendor. Condition Report:Available upon request

A late 19th century German mantle clock, the eight day movement striking upon gongs, in an architectural case. 37cm high

Susan Laughton (British Contemporary) Silverland I, signed and dated '07 verso, mixed media on canvas, 40 x 40cm Footnote:Susan Laughton’s long standing interest in landscape and architecture has always inspired her painting and drawing. Vernacular buildings, both rural and urban, domestic and functional are a source of geometric, architectural forms. More recently pieces of broken ceramics found in the fields near home on the edge of the Potteries in Staffordshire have brought a different scale of reference. A reductive approach to these sources is used to select and refine the intentional placement of linear and spatial elements. These are set against the more random physicality of different surfaces whether they are hand applied plaster or the grain of plywood that connect back to the built environment. Laughton worked in architecture for twelve years before returning to education to study art graduating with a BA Hons in 2002. She currently works from Vale Artists Studios in Cheshire. From andgallery.co.uk

A French ormolu and Sèvres style porcelain mantel clock late 19th Century, of Louis XVI design, the striking movement signed 'Hry. Marc à Paris', the circular dial with Roman numerals, the architectural case flanked by two putti and a bust of Diana garlanded with flowers on sedant greyhounds, the shaped plinth on toupie feet, decorated overall with frolicking putti, 40cm high, 34cm wideThe front Sevres-style rectangular panel decorated with putti has been cracked across, very minor wear overall, sold as viewed and not in working order.

An Anglo-Indian engraved ivory dressing box, Vizagapatam, late 18th Century, the rectangular lifting top opening to reveal an interior with twelve lidded boxes surrounding a larger box on bracket feet, decorated overall with extensive architectural wooded river landscapes with figures in punts within scrolling flowerhead borders (damages), 46cm wide, 36cm deep, 18cm highIvory registration reference: GKLN1XNE For a similar lot see Christie’s ‘The English Collector’, 3rd November 2011, Lot 157 Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions There are several small losses to the ivory veneers, including to the top, corners, sides and feet. There are also cracks to many of the ivory veneers ranging from faint hairlines to deeper more significant ones. The drawer to the lower front does not run that smoothly but it does have its original key, a rare survival.  The boxes within are in fair condition, three ends of the covers have come loose but the pieces for two of them are present with the lot.  There are some loose pieces of ivory in the central box, these may relate to the losses to the exterior of the main box.  The small boxes fit very snugly, the ivory does have some cracking but the main scenes of buildings are mainly unaffected, there are perhaps four where the cracks cross the decoration.  The easel back mirror has a very silvered glass but is otherwise in good condition.  

A French ormolu mounted Sèvres style porcelain garniture de Cheminee, late 19th Century, of Louis XVI style comprising a mantel clock, the striking movement by Japy Freres, the case of arched architectural form surmounted by an urn on shaped base, inset with panels of figures at a gaming table in a wooded landscape, on giltwood plinth, 47cm high, 37cm wide and a pair of two-handled potpourri vases and covers similar, 34cm highThe Sevres-style porcelain with some wear and losses to the applied 'pearls', rubbing to gilding and enamels, the dial with some wear, the mounts on the vases have been removed, cleaned and replaced and are slightly loose (with receipt for cleaning dated 1997), pendulum is present. Some wear to giltwood stands, some worm holes present to stands, velvet faded and worn, minor wear to ormolu overall, clock is sold as viewed and not in working order.

A Continental enamel and gilt metal snuff box, late 18th Century, of circular form, the lid decorated with figures in an architectural landscape, 6cm diameterbadly cracked

A Birmingham enamel snuff box, late 18th Century, of oval shape decorated with panels of sheep and a herdsman in architectural landscapes, on a dark blue and lattice ground, 7cm wideQuite bad cracks throughout, various chipping to enamels and what look like amateur restoration in those areas. Poor.

A Late 19th Century Cast Iron Fireplace Surround of Architectural Form in the Aesthetic Taste, 97x107cm high

A Cast Iron Fire Basket of Architectural Form, 50cm High

A Late 19th Century Cast Iron Fireplace Surround of Architectural Form in the Aesthetic Taste, 77x97cm high

Architectural Salvage - a substantial 19th century sandstone Gothic pinnacle

Architectural Clock, with the two wooden sculpted Austrian/Bohemian Architects Lukas von Hildebrandt (1668-1745) and Johann Bernhard Fischer von Erlach (1656-1723) each holding a gilded plan in hands, enamel dial with Roman numbers, wooden clock house with bronze mounts, glass door and wood carving on arched top, original movement, pendulum missing, damages, function not proved, Vienna around 1840, 55 cm high

Architectural Model of a Staircase. circled staircase, wood partly carved on round base, original brown patina around 1900, 50 cm high

Two 19th century 'Mauritius' bronze medals from the Royal Society of Arts and Science, from the Architectural and Industrial Exhibition. 3.8cm diameter.

A pair of reproduction architectural prints

An iron framed oil heater of architectural form

A BOX AND LOOSE MAPS AND PRINTS ETC, maps include a map of Massachusetts, Connecticut and Rhode Island published 1832, approximate size 20cm x 26cm, various 18th & 19th century Staffordshire including Meeting places of the Hoar-Cross Hunt, Thomas Gardner road maps Bristol to West Chester and Oakham to Richmond, John Ogilby road map London to Holy Head, with John Carey maps of Hampshire and Dorsetshire dated 1818, C.S. Smith maps of Northumberland, Cumberland and Westmoreland dated 1801, pictures include an architectural study of bridge houses by Joseph Moussa, watercolour on paper, approximate size 16cm x 23cm, a limited edition print depicting Timoleague Friary by Nevil Swinchatt, an etching of a street in Hong Kong, Indian painting on fabric depicting three elephants, reproduction cigarette cards etc. (1 BOX + loose)

A diamond and ruby trilogy ring having three equal stones, each approx 0.128ct in a claw set mount to architectural style open shoulders on a yellow metal loop stamped 18ct, size M & approx 3.6g

20th Century Continental School, etching, An architectural study possibly Dresden, signed indistinctly to the lower right, framed, mounted, and under glass, together with another etching of a tree, indistinctly signed and dated 1920 to the lower right, the largest measures 32cm x 40cm overall (2)

ARCHITECTURAL DISTORTION 1 acrylic on canvas 60 x 45cm (framed) Painted in 2011 To be sold with a certificate of authenticity.

ARCHITECTURAL WALL MIRRORS, a pair, rectangular with pierced gilt metal frames, 100cm H x 70cm. (2)

ARCHITECTURAL WALL MIRRORS, a pair, regency style metal arched frames, 180cm H x 75cm. (2)

An Indian panelled wool rug - Rajestan, early 21st century, the main field and border with rectangular panels depicting alternating motifs of flowers, vases and architectural columns, divided by ochre floral borders and outer buff floral meander guards, 283 x 188 cm, in very good condition.

A small collection of brass ware: a Georgian-style lion-mask door-knocker by Architectural Quality Hardware, with original box; a 19th century style letter scale with nested weights; a miniature wooden and brass model cannon, 19.5 cm long;  a pair of brass candlesticks, 24.5 cm high. also to include four small machine-made tapestry wall hangings.

A large quantity of assorted prints and engravings, subjects to include botanical, shells, fish, architectural, figurative and landscape subjects. (qty) Most unframed.Condition Report: As viewed.

18th Century thirty hour long case clock movement set in a modern architectural limed oak case

A large Victorian black slate mantel clock set in an architectural type case

Collection of model vehicles to include a vintage Sanson Rico Junior pressed steel crane truck (damage to rear left side, see photos), a quantity of unboxed farm models and accessories to include Britain's, boxed Matchbox Super Convoy 2 vehicle truck set, Lledo and Corgi boxed and unboxed models etc. Also included 2 boxes of Bayko architectural model sets. Qty

Late XIX century Black Slate and Marble Cased Mantel clock, of architectural form, eight-day movement, 41.5cm wide.

H. Vredeman de Vries, van Doetecum brothers - Castle Garden inside fortress wall / Description: This print is described by the Rijksmuseum (RP-P-1964-1642) and makes part of , a series of small architectural prints engraved by Johannes or Lucas van Doetecum , first published by Hieronymus Cock in 1562, then by Theodor Galle in 1601, and some decades later by his son Joan Galle. We see a view of a castle with a fortress wall on the left. To the right a corridor of latticework and a pavilion in front. The edition could not be established but based on the superior quality comparing to the Rijksmuseums example and the ones found elsewhere: this is certainly an early impression from 1601 or earlier. Rare in this early printing quality! / Dimensions: 15,20 x 21,00 cm / Condition: Very good impression with plate tone and ink smudges in the plate borders. With wide margins in the original full sheet of laid paper. / Literature: New Hollstein Dutch 281 Van Doetecum, Hollstein Dutch 99-Vredeman de Vries / Medium: Etching /Circa: 1562 260

Wendel Dietterlin - Two Virgins of Chastity with unicorn - 1598 / Description: Etchings from Architectura. Published in Augsburg in 1598. At right we see a woman with unicorn, symbol of chastity and a small ldog besides her, symbol of fidelity. At left Leda with Zeus disguised in the form of a swann. In an architectural setting with coat of arms involving helmets. / Dimensions: 24,60 x 18,50 cm / Condition: Excellent condition. Full plate border and good margins on watermarked laid paper. / Literature: Thieme/Becker IX, 269. Hollstein VI, 214. ------ “One of the most interesting and important architectural works of sixteenth-century northern Europe is the ‘Architectura von Ausstheilung, Symmetria und Proportia der fünff Seulen’ of Dietterlin... [Dietterlin’s] artistic fame and influence was unparalleled in Germany in the first two decades of the seventeenth-century, and in this respect and others, his significance, especially in his dissemination of Renaissance decorative forms in Germany, parallels and even transcends that of Vredeman in the Netherlands (Harry Francis Mallgrave : 'The Millard J. Millard Architectural Collection, III: Northern European Books,(National Gallery of Art, Washington, D.C., 1998, p. 25ff., nos. 28-29) / Medium: Etching /Circa: 1598 120

Hans Vredeman de Vries, Dominic Custos - Renaissance palace with garden / Description: Architectural composition; an avenue of trees with deer at right, buildings including an obelisk, a campanile and a fountain of Neptune astride a dolphin at left; after a design by Hans Vredeman de Vries. A print engraved by Dominic Custos from around 1610 taken from inventions by H. Vredeman de Vries for his Scenographiae sive Perspectivae first published by Cock in 1560. Here a print from a rare to find same size series engraved in counterpart by Dominic Custos around 1610. / Dimensions: 20,80 x 25,80 cm / Condition: Excellent early impression, with still square plate borders and good plate tone on a full sheet of thin watermarked laid paper. Very good condition, fresh and untouched, Small smooth fold near bottom left corner. / Literature: The design drawing for this print is kept in the British Museum, inventory number 1946,0713.186 . New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (175) ---Hollllstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (43)----- see: Joris van Grieken, in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", exh.cat. Royal Library of Belgium in Brussels and Fondation Custodia in Paris, New Haven and London, 2013, cat.nos.3 and 81. / Medium: Engraving /Circa: Circa 1610 260

Franciszek Smuglewicz - Domus Aurea fresco - by Marco Carloni, colored etching / Description: Impressive large handcoloured plate showing a room decoration in the 'Domus Aurea' of Titus in Rome, painted ceiling with grotesque decoration; with four embedded scenes with dancing and playing semi-nude figures. Part of a project launched under the title 'Vestigia delle Terme di Tito e loro interne Pitture' in 1775. The promoter and publisher was the antiquarian Ludovico Mirri; the draughtsman of the grotesques was Smugliewicz (Warsaw 1745-1807 Vilnius); Brenna drew the architectural settings; and Marco Carloni (1742-1796) was the engraver. The artists used their imaginations to supply supplements where the original painting had been lost. Hand-colored sheet following the colors of the original frescoes. Etching to be dated 1776-1778. / Dimensions: 50,50 x 56,00 cm / Condition: Good impression with full plate border and wide margins on a thick laid paper from the period with still some ink blur at the plate border. Flattened middle fold and occasional small tear in the outer margin. Overall very good. / Literature: Vestigia delle Terme di Tito e loro interne Pitture', second edition ----- See Francesca Guglielmini, 'Ludovico Mirri's Vestigia and publishing in XVIIIc Rome', Print Quarterly, XXXVIII 2021, pp.29-49. / Medium: Handcoloured etching /Circa: 1776-1778 600

GIORGIO DE CHIRICO (1888-1978)Ponte di Rialto signed 'G. de Chirico' (centre); signed and inscribed 'questa 'Venezia' (Ponte di Rialto) è opera autentica da me eseguita e firmata Giorgio de Chirico.' and further signed and inscribed 'Venezia (Rialto) Giorgio de Chirico' (on the reverse)oil on canvas50.5 x 60cm (19 7/8 x 23 5/8in).Painted in 1956Footnotes:ProvenancePrivate collection, Milan (acquired by 1971).Galleria La Barcaccia, Rome.Anon. sale, Christie's, Milan, 23 November 1998, lot 280.Private collection, Rome.LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. I, Opere dal 1951 al 1970, Milan, 1971, no. 49 (illustrated).An enigmatic maverick in the history of modern art, Giorgio de Chirico forged a unique and long career. Hailed as the master of Metaphysical art, in the 1950s he departed from the elusive imagery that defined his early career and created his most celebrated depictions of Venice as part of his 'late Baroque phase'. These works which are rooted in realism as opposed to the imagination, stand out within his oeuvre, and derive from his desire to reconnect with the history of Venice and the dignity of the old masters which shaped the city's cultural legacy. Beyond the metaphysical elements of much of his corpus, the present work places his brand of genius in close conversation with his forefathers and is an affirmation that he too belonged to the lineage of the great Italian masters.Born in Greece to Italian parents, de Chirico was surrounded by classical mythology, art, history, and architecture during his childhood. He first visited Venice in 1905 and throughout his career exhibited his paintings at the Venice Biennale. These sojourns provided ample opportunity for de Chirico to paint the sites, study the architecture, and to immerse himself amongst the masterpieces that fill the ancient city. For de Chirico, Venice served as an open-air studio from which he could draw endless inspiration.Executed in 1956, Ponte di Rialto is testament to the artist's mastery of paint and use of colour. From its fine architectural lines to the palpable texture of the water and the clouds, the work strikes a wonderfully balanced tone with its compositional symmetry. With the iconic Ponte di Rialto commanding the centre of the scene, the calm canal widens into the foreground as three gondolas glide across the surface, exuding a sense of serenity. The detailed facades of the architecture capture the sunlight, while dramatic shadows are cast into the water. The harmonious colour palette - comprising blues, greens, ochres, and pinks - is skilfully brought together by the bold red banner hanging from the keystone, proudly presenting the artist's signature to the viewer.Ponte di Rialto reveals a central desire of the artist held throughout his career, as described by Stephen McKenna: 'de Chirico saw himself as a man with a mission to fill (...): the preservation, or rather restoration, of the dignity of painting, the reestablishment of a respect and love for the Old Masters and the values they represent' (S. McKenna, Late de Chirico 1940-76, exh. cat., Bristol, 1985, pp. 11-12). De Chirico's relationship with Venice is comparable to Monet's relationship with Giverny – it was his own artistic playground, enabling him to develop his ideas and techniques. Moreover, his depictions of the city's canals, piazzas, and churches placed him in dialogue with the great Italian painters such as Titian, Tintoretto and Canaletto. Paying homage to the tradition of rendering the city's deep colours, teal canals and neoclassical facades, de Chirico also found Venice to be the ideal environment in which to hone his artistic skill and experiment with colour.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Greece.- Fries (Lorenz) Tabu. Nova Candie [Crete], map of Crete after Waldseemüller, title banderole above, probably from Servetus's 'Opus Geographiae', woodcut map, the map's borderline 280 x 460 mm (11 x 18 1/8 in), Latin text within woodcut architectural border on verso, central vertical fold, good margins, some spotting and browning, notably in the lower right quadrant, slight shine-through of verso text, unframed, [circa 1535]

Architecture.- Plaw (John) Rural Architecture; or Designs, from the Simple Cottage to the Decorated Villa, fourth edition, aquatint frontispiece and 61 aquatint plates & engraved plans printed in sepia on thick paper, folding folio advertisement leaf for Taylor's Architectural Library bound in at end, foxed, plate 33 torn and repaired, contemporary half calf, uncut, rebacked preserving old red roan label, [cf. Abbey Life 47, Berlin Kat. 2296 & Millard, British 57, 1794 edition], I. & J.Taylor, 1796 § Durand (Jean Nicolas Louis) Précis des Leçons d'Architecture données a l'École Polytechnique, 2 vol. in 1, second edition, vol.1 lacking half-title but present in vol.2, 64 double-page engraved plates mounted on stubs, foxing and occasional soiling, title to vol.1 creased, modern half morocco, spine gilt, t.e.g., Paris, 1809, Raymond Erith's copies with his ink signature to front pastedown or free endpaper; and 2 others, architecture, 4to & 8vo (4)*** Plaw had introduced a new style of architectural book with his Rural Architecture of 1785, with aquatint designs set in a picturesque landscape. "Plaw set the model for villa and cottage pattern books that became a feature of architectural publishing in England for the next fifty years." (Millard British 57).

London.- Houses of Parliament. Report of the National Gallery Site Commission..., 3 folding colour lithographed plans, one creased, later cloth-backed boards,morocco label, new endpapers, 1857 § Smirke (Sydney) Suggestions for the Architectural Improvement of the western part of London, first edition, half-title, hand-coloured lithographed plan, 2 aquatint plates, one by W.Daniell, original red decorated boards, uncut, 1834 § Homersham (S.C.) London (Watford) Spring-Water Company. Report to the Directors, third edition, large folding map with routes of pipes in red, folding colour-printed lithographed plate of well and folding colour map, original cloth, spine worn, upper cover & map detached, 1850, all rubbed; and 4 others, London docks etc., v.s. (7)*** The first item investigates moving the National Gallery from its William Wilkins building in Trafalgar Square (which was not large enough), considering the effect of pollution on the paintings, and the possibility of combining the collection with the British Museum. The second proposes new parliament buildings in Green Park, a Gothic temple on the Serpentine for tombs from Westminster Abbey, and slum clearances and development of Soho.

Vredeman de Vries (Jan) Variae Architecturae Formae, title, 21 plates only, numbered '29' through to '48', on laid paper, each platemark approx. 154 x 210 mm (6 x 8 1/4 in), each sheet approx. 205 x 295 mm (8 x 11 1/2 in), handling creases throughout, marginal nicks and small losses, a few repaired, the last plate with large repaired tear, surface dirt throughout, limp vellum, scuffed and very worn, oblong 4to, Antwerp, Theodore Galle, 1601 [bound with] an additional plate from the above, but trimmed and likely from a different edition, and five further irregularly shaped architectural engravings, probably after Vredeman, trimmed and mounted on leaves, [early 17th century]

British Early 18 Century A carved giltwood Neptune architectural element Provenance: Ossowski, Pimlico Road Dimensions: 14 in. (H) x 9.5 in. (W)

British 18th-20th Century A group of eight carved giltwood architectural and furniture elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] [b] [c] [d] [e] 20 in. (H) x 23 in. (W) [f] 7.5 in. (H) x 27 in. (W) [g] [h] [i]

British Late 18th Century Two carved polychrome and giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: Ranging from 11.5 in. (H) x 8.5 - 12 in. (W)

British 19th/20th Century A group of seven carved architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 19 in. (H) x 13 in. (W) [b] 23 in. (H) x  12 in. (W) [c] 11 in. (H) x 30 in. (W) [d] [e] [f] 8 in. (H) x 35 in. (W) [g] 8 in. (H) x 26 in. (W) 

British 19th Century A group of six carved architectural fragments Provenance: Ossowski, Pimlico Road Dimensions: [a] 18.5 in. (H) x 12 in. (W)  [b] 7 in. (H) x 11 in. (W) [c] [d] 11.5 in. (H) x 23.5 in. (W)

British 20th Century Manner of Grinling Gibbons A group of three carved architectural elements Decorated with natural motifs Provenance: Ossowski, Pimlico Road, where carved by a Basque carver after the antique Dimensions: [a] 8.5 in. (H) x 16 in. (W) [b] 9 in. (H) x 16 in. (W) [c] 9.5 in. (H) x 19.5 in. (W)

British Manner of Grinling Gibbons 17th Century A group of three carved architectural elements Provenance: Ossowski, Pimlico Road. With damage post-photography, viewing recommended. Dimensions: [a] 18 in. (H) x 8 in. (W) [b] 7.5  in. (H) x 15.5 in. (W) [c] 9.5 in. (H) x 16.5 in. (W)

British 19th/20th Century A group of six carved bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: Ranging from 4 - 29.5 in. (H)  x 5.5 - 18 in. (W)

British 19th Century A pair of carved architectural overdoors With an additional singular overdoor Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (pair) 9 in. (H) x 26.5 in. (W) [b] 7 in. (H) 18.5 in. (W)

British Circa 1730 A polychrome and giltwood architectural heraldic element Possibly from a large frame or mirror Similar to an example in the V&A Provenance: Crowther of Syon Lodge; Ossowski, Pimlico Road Dimensions: 11.5 in. (H) x 20.5 in. (W)