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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)

British 19th/20th Century A group of six carved floral architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 37.5 in. (H) x 16 in. (W) [b] [c] [d] [e] [f]

British 19th/20th Century A large group of carved architectural features Provenance: Ossowski, Pimlico Road Dimensions: Ranging from 12.5 - 37.5 in. (H) x 7.5 - 34 in. (W)

British 18th Century/19th Century A group of three carved architectural fragments Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (dog) 8 in. (H) x 4 in. (W) [b] (urn) 8 in. (H) x 5.5 in. (W) [c] (head) 5 in. (H) x 5.5 in. (W)

Continental Late 19th/Early 20th Century A pair of carved giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 8 in. (H) x 24 in. (W)

British 19th/20th Century A group of seven architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] 11 in. (H) x 14.5 in. (W) [b] 38.5 in. (H) x 6 in. (W) [c] 36 in. (H) x 5.5 in. (W) [d]

French Early 19th Century A carved polychrome architectural element Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 13 in. (H) x 16 in. (W) 

British 18th Century and later A group of eight carved giltwood bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] (white) 8.5 in. (H) x 15 in. (W) [b] [c] 18.5 in. (H) x 23 in. (W) [d] 6 in. (H) x 12 in. (W) [e] (pair) 10.5 in. (H) 11.5 in. (W) [f] 15 in. (H) x 16 in. (W) 

British Circa 1960 A group of three architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 13.5 in. (H) x 17.5 in. (W) [b] 16.5 in. (H) x 22 in. (W) [c]

Italian 19th Century A carved giltwood architectural element The central floral swags supported by mythological beasts Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 11 in. (H) x 45.5 in. (W)

British 18th/19th Century A pair of carved giltwood ho ho bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: 18.5 in. (H) x 21 in. (W)

British 19th century and later A group of six architectural elements Provenance: Ossowski, Pimlico Road, where carved after the antique Dimensions: 8 in. (H) x 26.5 in. (W)

British 19th Century Two carved architectural putti elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 12.5 in. (H) x 13.5 in. (W) [b] 17 in. (H) x 12.5 in. (W)

British 20th Century A pair of giltwood wall lights and architectural features Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 9 in. (H) x 16 in. (W) [b] 16.5 in. (H) x 9 in. (W) [c] 6 in. (H) x 19.5 in. (W)

British 18th Century A pair of large carved angels Likely part of a larger architectural element Provenance: Ossowski, Pimlico Road

British Late 18th/Early 19th Century A group of three carved eagle architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] 17 in. (H) x 21 in. (W) [b] 20 in. (H) x 13 in. (W) [c] 

British Circa 1960 A carved architectural frieze Provenance: Ossowski, Pimlico Road, where carved by a Basque carver after the antique To be sold without reserve Dimensions 20 in. (H) x 30.5 in. (W)

British 19th/20th Century A large group of carved architectural fragments Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: Ranging from 17 in. (H) x 2 in. (W) to 5.5 in. (H) x 5.5 in. (H) x 6 in. (W)

British 20th Century A group of eight carved giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (Drops) 23 in. (H) x 5.5 in. (W) [b] (Scallop) 13.5 in. (H) x  27.5 in. (W)

Boxes of Art and Architectural reference books, to include Old Masters from the Thyssen- Bornemisza Museum La Belle Epoque, Art Nouveau, Musee D'Orsay Robert Rosenblum, Wiener Werkstatte, auction catalogue from Christies, Sotheby's Old Master Paintings etc Two volume bound catalogue Champalimaud Christies, Venice Art and Architecture, Futurismo, Interni Barcelona, Les Noces de Cana Caravaggio (qty in three boxes)

Rev. Charles Pratt Terrot (attributed): a gilt framed 19th Century watercolour architectural study of a Gothic wall niche with bible and wreaths - label verso

A collection of old Ordnance Survey rolled monochrome map charts including local coastal examples - sold with rolled architectural plans of churches and other religious panel images, etc. - various condition

AN UNUSUAL MEISSEN PORCELAIN ARCHITECTURAL OR FIGURAL ELEMENT C.1745-50probably modelled by J. J. Kändler as roughly piled stone slabs modelled with foliage and applied with leaves8.5cm highProvenanceParker & Morris: The Art of Decorating.Catalogue NoteThis probably once formed part of an elaborate table decoration. See Victoria & Albert Museum, accession no. 246:1-1870 for the table fountain commissioned by Count Bruhl, which includes similar elements.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A WHITE PAINTED OPEN BOOKCASEIN 18TH CENTURY STYLE, 20TH CENTURYof inverted breakfront form, with a single shelf flanked by architectural scroll pilasters90.7cm high, 137.3cm wide, 45.5cm deepProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

WILLIAM DE MORGAN (1839-1917) THREE ARTS & CRAFTS 'CARNATION' TILES, CIRCA 1880 painted and glazed terracotta, Poole Architectural Pottery blanks (3) 15.3cm square Provenance: Penicuik House, Midlothian

CHARLES JENCKS (1939-2019) CUSTOMISED EXTENDING DINING TABLE, CIRCA 1990 white over-painted wood with beech top, the carved frieze with two drawers, the pull-out top with two additional leaves, 31.4cm and 32cm long  179.5cm long unextended, 80cm high, 98.5cm deep  Provenance: The Estate of Charles Jencks, Portrack House Note: Charles Jencks was an American landscape designer, architectural historian and cultural theorist, who published over thirty books and was famous as a theorist of Postmodernism in the 1980s.

CHARLES RENNIE MACKINTOSH (1868-1928) ‘GRASS HYACINTHE’, 1915 pencil and watercolour, signed with initials CRM and MMM, inscribed and dated lower centre GRASS HYACINTHE/ WALBERSWICK/ 1915 27cm x 20cm (frame size 42cm x 35cm) Provenance: Cyril Gerber Fine Art, GlasgowCollection of Donald and Eleanor TaffnerPrivate Collection  Note: Charles Rennie Mackintosh is today celebrated as a leading pioneer of modernism and his 1915 enigmatic pencil and watercolour sketch ‘Hyacinthe’, dates from a period of great change and turbulence for the artist. In June 1914, he and his wife Margaret Macdonald travelled from Glasgow to the Suffolk coastal town of Walberswick, economic recession having rendered Mackintosh’s home city increasingly hostile to his architectural business. The firm of which he was a partner had completed the celebrated Glasgow School of Art in 1909, but by the mid 1910’s was struggling to find work. Having split from the firm, Mackintosh journeyed to East Anglia for a countryside escape. ‘Hyacinthe’ is one of around thirty to forty similar works executed during his stay. It has been suggested that the series was commissioned by a German publisher, the progress of the prospective publication halted by the advent of World War I.Like many coastal towns in Britain, Walberswick became an artists’ retreat during the summer months, providing solace and inspiration to creatives including Philip Wilson Steer, E. A. Walton and Mary Newbery. Mary Newbery, was the daughter of Frances Newbery, headmaster at the Glasgow School of Art and friend of Mackintosh. It is thought that the Newberys encouraged Mackintosh to paint to help him come to terms with his disappointment and to heal his soul. Pencil and paper sketches were not a novel form to Mackintosh, and in many ways represented a return to his former oeuvre. From his student days in the 1880s, he used sketches to process design ideas. His early drawings were more technical and regularly harnessed by the young artist as a means of experimenting with stylised plant forms to create patterns. Furthermore, nature-based subjects were familiar to the artist, having sketched the flora of his surroundings whilst on holidays in Britain and beyond from 1901. The Walberswick sketches, however, represent a shift in artistic style. Gone are the architectural explorations, replaced instead with a marriage of the technical botanical drawing and free, creative expression of the natural world. ‘Hyacinthe’ bears not only the monogram signature of Charles but also that of his wife Margaret, confirming her presence at the time of painting. The misspelled plant name is a common feature in his work, leading to speculation that he was dyslexic. The stay at Walberswick lasted fourteen months, its end only prompted by Charles’ arrest on suspicion of being a German spy, such was his tendency to study the East Anglian coastal landscape which aroused the suspicions of the local community. Artistically however it provided the artist with an opportunity to sharpen the clarity of his artistic vision, with many followers believing the Walberswick sketches to be amongst his finest works.

ANNA MUTHESIUS (1870-1961) DAS EIGENKLEID DER FRAU, 1903 84 pp., with 14 plates, cover illustration and remains of original green silk ties. Krefeld, Kramer & Baum, 1903. 16cm x 12.8cm Note: This book bears an Art Nouveau binding designed by Frances Macdonald McNair, who with her husband J. Herbert McNair, Charles Rennie Mackintosh and Margaret Macdonald Mackintosh made up a group of radical artists and designers known as 'The Four'. The author Anna Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. The book is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius believed women should have the freedom to choose their own clothes, styling and fabrics. Emphasis was placed on the rejection of the heavy, restrictive Victorian fashions of the day. The movement was also political in its aims, and part of wider societal moves to liberate women in both the public and private spheres. The book and the form of dressing that it championed represented an outlet for radical expression for women and aligned itself well with McNair’s artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The original pencil drawing for the cover image was sold in these rooms on 3rd November 2020, lot 361.   

EDWARD WILLIAM GODWIN (BRITISH 1833-1886) ARCHITECTURAL DRAWINGS: PROPOSED ASSIZE COURTS, BRISTOL, 1866 a collection of 9 drawings in ink, pencil and coloured wash, each inscribed ‘Bristol Assize Courts' on unbleached tracing paper and neatly laid-down onto 9 leaves of thick paper, two framed and glazed comprising:- Front Elevation towards Small Street, Aedes Colstoniana, 34cm x 41cm, frame 54cm x 61.4cm- Section on line C.D., 23.5cm x 61.5cm, frame 54cm x 81cm7 unframed- Section on line A.B., 28cm x 41.4cm, sheet 52.5cm x 79cm- Section on line C.D., Proposed New Assize Courts Bristol, 34cm x 39cm, sheet 52.5cm x 79cm- Front elevation towards Small Street, 36cm x 69cm, sheet 52.5cm x 79cm- First floor plan, 73.4 x 41.5cm, sheet 52.5cm x 79cm- Plan of second floor fronting Small Street and Plan of First Floor, 69.7cm x 41cm, sheet 52.5cm x 79cm- Plan of ground floor, 71cm x 46.4cm, sheet 52.5cm x 79cm- Ground floor plan, 73cm x 47.3cm, sheet 52.5cm x 79cm   (9) Note: Winning the competition to build the new Northampton Town Hall at the age of twenty-nine established Godwin's reputation as a leading civic architect. He followed this with another winning town hall design for Congleton, a small town near Manchester. These successes prompted his move to London in 1865, and in 1866 Godwin, with his partner Henry Crisp, entered the competition for the building of the new Bristol Assize Courts under the nom de plume '1066' or 'Ten Hundred and Sixty-Six'. Their designs won first, second and third prizes. Despite this, and amid protestations, a second competition was order by the town council, which Godwin again entered, this time only gaining second place to an entry from Popes & Binden, which was the one finally built. 

A late 19th century American architectural mantel clock, arched pediment, white dial with Roman numerals, 38cm; a Smiths Sectric electric Westminster chime mantel clock; an Edwardian inlaid mantel clock; two pther mantel clocks (5)

An Indian Islamic silvered metal panel, after the stone tracery in a window of The Sidi Saiyyed Mosque, Ahmedabad, Gujarat, India, architectural frame, 31cm wide

Yeats, Jack B. Sligo London: Wishart & Company, 1931. 2nd Imp, First edit, green cloth; The Careless Flower, 1947, Pilot Press, 1st edit, dj; Jack B Yeats by Roger McHugh, Dolmen, 1971, pb; The Selected Writings of Jack B Yeats by Robin Skelton, London: Andre Deutsch Ltd, 1991 and The Life and Times of Jack B Yeats At The Architectural Archive, Sept 2008 (5)

Ulster Architectural Heritage Society C Brett et al: In The Vicinity of The Queens University of Belfast; In The Area of Craigavon Falling within Craigavon Urban District plus 5 others; Buildings of North County Down,2002; Buildings of County Armagh both by C E B Brett, 1999/2002 (9)

Survey of Architectural Heritage of County Sligo; Leitrim; Dublin South City; Dublin North City; Mayo; Galway; Donegal; Roscommon; Kilkenny; Waterford, Kildare; Fingal and County Kerry. 13 separate books. Wonderful collection

Irish Architectural & Decorative Studies. Journal of the Irish Georgian Society. Vol. 1 to 9, 1998 to 2006 inclusive, as new. Wonderful articles & illustrations on Irish historic buildings and material culture. [9 items].

An architectural bronze crucifix, of Jesus mounted on cross, possibly 16th or 17thC, 8cm high.

A large late George III pine corner cabinet with fitted shelves and architectural interior. Circa 1800-1820. 116x59x224cm (7)

BOOK - THE BILL PARKER COLLECTION - IRISH CHURCH MONUMENTS 1570-1880, HOMAN POTTERSON - PUBLISHED BY ULSTER ARCHITECTURAL HERITAGE SOCIETY 1975

A 19TH CENTURY STRIPPED PINE CUPBOARD WITH ARCHITECTURAL PEDIMENT,above twin fielded panel doors enclosing a fitted interior on a twin panel door cupboard base, 191cm high, 104cm wide, 55cm deep,

McDonald's pair of model restaurants, with McMemories McDonald's Classic lighted ceramic No. 31901 and Hawthorne Architectural Register McDonald's Classic The First Restaurant (1955 Des Plaines) dome No. 31905, generally excellent in good plus boxes with inner polystyrene packing cases. Contents unchecked for completeness or correctness and untested. Viewing recommended. Qty 2

Table chiffonnière d'époque Transition en marquetrie figurative de bois de rose, bois citronnier, satiné, sycomore teinté vert et incrustations de nacre, ornementation de bronze doré, troisième quart du XVIIIe siècleA late Louis XV gilt-metal mounted tulipwood, bois citronnier, green-stained sycamore and fruitwood marquetry mother-of-pearl inlaid table chiffonnière, thrid quarter 18th centuryThe rectaungular top with three-quarter pieced gallery depicting an a village scene with architectural ruins and a rider, above three drawers inlaid sans traverse depicting a country side scene with cattle and a house, the top drawer enclosing a hinged leather-lined writing surface with inkwell partitions to the sides (missing implements), the sides inlaid with ribbon-tied pastoral trophies, the back panel presenting tea-ceremony vessels in the manner of Topino, and on turned tapering legs with simulated fluting, terminating in small caps, 45cm wide x 37cm deep x 72.5cm high, (17 1/2in wide x 14 1/2in deep x 28 1/2in high)This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Edwardian oak smokers cabinet and an Edwardian mantel clock in architectural case (2)

A GEORGE III MAHOGANY HANGING CORNER CUPBOARDC.1770of architectural form, the swan neck cornice above an astragal glazed door enclosing a painted interior of three shelves, flanked by cluster columns117.3cm high, 68.5cm wide, 35cm deep

A VICTORIAN BRASS 'GOTHIC CATHEDRAL' SKELETON CLOCKLATE 19TH CENTURYthe brass eight day chain driven single fusee movement with an anchor escapement with passing strike on a bell with a 'halberd', the silvered dial formed of shield-shaped cartouches with black Roman hours, with fleur-de-lys type hands, with a pierced architectural body in the form of a cathedral, on a carrara marble oval base and under a glass dome, with pendulum52cm high (excluding base)

A GEORGE III MAHOGANY CHEST ON CHESTCHANNEL ISLANDS, LATE 18TH CENTURYinlaid with paterae and faux fluting, the breakfront cornice above two short and eight long drawers, the top with architectural canted angles on ogee bracket feet218cm high, 120cm wide, 64.3cm deep

A FINE VICTORIAN WALNUT EASELBY JOUBERT, LONDON, LATE 19TH CENTURYof architectural form, with a tilt and adjustable height rest and central support, with winding key, on metal castors, stamped 'Joubert'236cm high (max), 64cm wide, 55cm deep

A BIEDERMEIER KARELIAN BIRCH SECRETAIREPOSSIBLY SWEDISH, SECOND QUARTER 19TH CENTURYwith ebonised decoration with a frieze drawer above a hinged fall revealing a fitted architectural interior with a central cupboard inlaid with parquetry stars flanked by column drawers with further secret compartments flanked by two banks of five drawers, the fall inset with gilt tooled leather writing surface, above three long drawers and block feet140.5cm high, 112cm wide, 49.5cm deepProvenanceA Private Collection, an apartment on Cadogan Square, London.

Edwardian mahogany and inlaid mantel clock, white circular dial with Arabic numerals, French cylinder movement, 34cm wide; and a German mantel clock, architectural carved walnut case, Junghans movement, striking on a gong, 32cm.

A Framed 19th Century Watercolour by William Page, 1794-1872, 'Architectural Capriccio with Figures', 27x19cms

A 19th Century Watercolour by William Page, 1794-1872, 'Architectural Capriccio with Figures', 27x19cms

British School (16th Century)An architectural capriccio with a historical sceneOil on canvas43.5 x 106.5 cm

A large bronze model of the Infant Mercury sleeping, previously thought to be German, late 19th century; portrayed as nude and reclining on his right side, with wings issuing from his hair and wearing winged sandals; inscribed CCH 1898 to the loosely rectangular base behind the right upper arm; 25cm high, 103cm longPROVENANCE: Christie's at Wrotham Park, Garden Statuary, Architectural Fittings and Fire Surrounds, 4th June 1991, lot 183

A pair of Connemara marble cylindrical columns, 18th / 19th century; presumably previously in architectural use; 38cm high, 14cm diameter

Comprising landscape studies, architectural studies, still lifes etc, crayon, pastel and watercolour, some on coloured papers, various sizes (approx 40 leaves) Provenance: By descent in the family of the artist. *CR Generally good; some with slight wear, pale foxing, slight creases, handling marks etc.

A set of four framed and glazed architectural prints. H.69 W.59cm. (largest)

A collection of assorted 19th and 20th century wooden architectural and furniture items including a woven basket and a washing barrel

Architectural salvage, Four late 19th century blown bullseye glass panels

A BLACK SLATE CASED MANTEL CLOCK, of architectural form, the dial bearing Arabic numerals, with key and pendulum (1 + key + pendulum (inside clock)) (Condition Report: appears ok, overwound, some small chips on case, attempts to strike when hands turned)

A cased George V Civil MBE, awarded in 1918 to M.F.W. Bunney (1873-1927) for architectural services in Scotland during the First World WarThe medal is in generally good condition with some surface wear. The case is generally good with some losses to the surface particularly down the spine