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Click here to subscribeA Regency Rosewoood and GIlt Metal Mounted Library Bookcase, early 19th century, of breakfront form with architectural pediment and pierced brass gallery above fixed shelves, the base with open shelves flanked by fabric lined brass grille doors above a plinth base 207cm by 35 cm by 206cmProvenance: Selected Items from The Court House, Bolton-by-Bowland
SIX CHINESE JADE CARVINGS. Comprising: a celadon jade pendant depicting a trees in landscape, a dark brown pendant carved with a mythical beast, a celadon pendant of architectural form, a mottled toggle-shaped pendant, a mottled orange carving of a monkey and a pale jade carving of a lion (6) Overall in good order, some minute wear to the edges.
A reproduction pollard oak veneered cupboard bookcase in the George II style - second half 20th century, the architectural pediment with central turned finial, over a pair of 13 pane astragal glazed doors enclosing two adjustable shelves, the base with two drawers over a pair of panelled cupboard doors, on shaped bracket feet. (LWH 100 x 37 x 211cm)
Two vintage / antique clocks - comprising a Smiths brass miniature 'Nell Gwynne' lantern clock, with electric movement, signed to dial and movement door, 17.75cm high (movement wiring and hour hand a/f); and a Victorian slate and verde antico marble architectural mantel clock, the Arabic porcelain chapter ring signed 'Deacon Paris', with twin train Japy Freres movement striking on a coiled gong, 29.3cm high (requires attention). (2)
A Qingbai-Type Porcelain Bowl, in Song style, carved with stylised foliage23cm diameterA Chinese Green Crackle Glaze Vase, Kangxi reign mark but not of the period, of ovoid form, the rim applied with a bat and chilong, bears four-character reign mark21cm highA Gilt and Lacquered Wood Figure of Buddha, seated on an architectural base22cm highTwo Hardstone Flower Groups20cm and 17cm high (5)Qingbai dish - no cracks or restoration. Some slight glaze fritting. Glaze quite matt / worn.Crackle vase - loss to the chilongs rear left leg, another small chip to the spine. The other pieces in the lot not reported.
A distinctive ceramic decanter-styled vessel, signed "Markiewicz" and dated 2005 on the underside. This handcrafted piece features an intricate textured design with geometric patterns and organic motifs, accented by a rich earthy color palette of deep greens, ochre, and warm browns. The sculptural top section adds a striking architectural element, enhancing its artistic appeal.Artist: MarkiewiczIssued: 2005Dimensions: 10"HCondition: Age related wear.
INKTERAKTIV Everending Crosses (Pink), 2025 Paper on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About INKTERAKTIV, aka Caro Clarke is a London based Artist & Sculptor specialising in paper. She works mostly with fluorescent paper strips using paper quilling techniques, and playing with paper and light. Caro's work emphasises the delicacy of paper versus its architectural structure within a minimalist setting. She draws inspiration for her pieces from the urban landscape, meteorology and climate change and her travels as well as her love for neon lighting, typography, architecture and geometrical patterns. Born in Paris (1976), initially receiving a IBA in Fine Art and Art History in Brussels, she has a BFA from SCAD in graphic design & photography, followed by a certificate in interactive art installation. She spent 30 years working commercially as a designer and creative director before retiring to focus on paper art since 2016. "My work is about light, patterns & perception. I love creating work that makes you pause in your steps. Activate people's imagination. And ultimately ask the question: how was this done? And with what? also just want to spread some love, joy and colour in the world. If you walk away from my art with a smile then I have done something right." You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Laura Footes Glass House with Deer, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About In Footes' dream-like paintings, a cast of ghost-like forms are rendered through an elastic timeframe, occupying almost hallucinatory space yet tethered to a familiar reality. The imagery is pulled from Footes' personal experience and fragments of memory, filtered through an agglomeration of art historical references, the aesthetics of cinematography, French poetry and world literature - elements that the artist became acquainted with during long periods of convalescence. Living with an aggressive autoimmune disease since childhood has prompted her to explore ideas of dysfunction (disease) and healing, and how they manifest in the psychological, architectural and bodily realms. Footes describes her process as pulling apart the facades of architecture and the flesh, looking to capture things the eye can't see and that are also beyond the limitations of technology. Influenced by the innumerable NHS x-rays and scanners used on her own body, she likes to 'zoom out' and create psychogeographic mind maps of remembered spaces and neighbourhoods, and then zoom in - seeing through walls, exploring interiors and peering through the spectre of the permeable, transient body into the cosmos of its cells. With everything laid bare for her audience - the uncomfortable moments, the daily rituals, and even our internal systems, both anatomical and psychological, Footes hopes to share the beauty of dysfunction. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
TRIO OF TUTSI BASKETS RWANDA, EARLY 20TH CENTURY woven grass, of varying sizes, each with lids evoking an architectural form, all with diverse black geometric designs across the body (3) largest 19cm high Clive Loveless, London, United Kingdom Traditional Tutsi miniature baskets, known for their exquisite craftsmanship, embody both artistic refinement and cultural significance. These finely woven baskets, often featuring intricate geometric patterns in black and natural gold hues, reflect the striking conical roofs of traditional Tutsi houses. Their delicate construction required exacting skill, with women of the Tutsi elite using locally sourced fibres and natural black pigments to create visually dynamic compositions. Unlike larger utilitarian baskets used for storage, these miniatures served as prestigious gifts, safeguarding precious items like amulets, beads, or the master of the house’s pipe.
Manner of Rafael Contreras - Moulded and carved plaster and alabaster Granada Alhambra panel, depicting a wall of the Hall of the Two Sisters (sala de las dos hermanas), with a band of Kufic text above four windows and three mihrab arches, the panel 37.5cm x 32.5cm, in wine plush surround and carved oak frame, glazed, remnants of old label verso Rafael Contreras was the chief restorer of the Alhambra Palace in Granada during the 19th century. He produced a variety of architectural panels for the tourist market. Comparable examples sold:Christies, 2nd October 2012, lot 56. Adams (Dublin) 15th October 2024, lot 364.
PAIR OF PAINTED HARDWOOD ARCHITECTURAL COLUMNS, with carved and painted capitals, 280cms (h)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
INDIAN CARVED TEAK ARCHITECTURAL STANDING MIRROR, carved foliate frame on sleigh feet, foliate painted detail, 202 x 140cmsComments: viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FOUR CARVED ARCHITECTURAL HARDWOOD ELEMENTS, possibly from lintel or doorway, each 88cms (h) (4)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
CATE INGLIS (SCOTTISH b. 1975), SCHOOL GATE oil on board, signed and titled versoframedimage size 20cm x 20cm, overall size 24.5cm x 24.5cm Note: Known for her industrial and urban landscapes, Cate Inglis is an award-winning artist living and working in Glasgow. Born in 1975 in Greenock, she has witnessed the industrial decline of Scotland's cities, and her work captures the slow architectural erosion of great centres of commerce in the post-industrial landscape. Since graduating from the Glasgow School of Art in 1999, she has exhibited widely throughout the UK with respected galleries, and her work has been showcased in Europe and the USA. Cate's work has won numerous awards and prizes from established art societies and institutions. She has regularly exhibited at the Royal Scottish Academy and The Mall Galleries in London with the Royal Institute of Oil Painters amongst others. She was awarded professional membership of the Society of Scottish Artists in 2016. Her work can be found in both public and private collections.
CATE INGLIS (SCOTTISH b. 1975), TELEGRAPH WIRES oil on board, signed and titled versoframedimage size 25cm x 25cm, overall size 29.5cm x 29.5cm Note: Known for her industrial and urban landscapes, Cate Inglis is an award-winning artist living and working in Glasgow. Born in 1975 in Greenock, she has witnessed the industrial decline of Scotland's cities, and her work captures the slow architectural erosion of great centres of commerce in the post-industrial landscape. Since graduating from the Glasgow School of Art in 1999, she has exhibited widely throughout the UK with respected galleries, and her work has been showcased in Europe and the USA. Cate's work has won numerous awards and prizes from established art societies and institutions. She has regularly exhibited at the Royal Scottish Academy and The Mall Galleries in London with the Royal Institute of Oil Painters amongst others. She was awarded professional membership of the Society of Scottish Artists in 2016. Her work can be found in both public and private collections.
CATE INGLIS (SCOTTISH b. 1975), DARK TRADING oil on board, signed and titled versoframedimage size 35cm x 52cm, overall size 40cm x 57cm Note: Known for her industrial and urban landscapes, Cate Inglis is an award-winning artist living and working in Glasgow. Born in 1975 in Greenock, she has witnessed the industrial decline of Scotland's cities, and her work captures the slow architectural erosion of great centres of commerce in the post-industrial landscape. Since graduating from the Glasgow School of Art in 1999, she has exhibited widely throughout the UK with respected galleries, and her work has been showcased in Europe and the USA. Cate's work has won numerous awards and prizes from established art societies and institutions. She has regularly exhibited at the Royal Scottish Academy and The Mall Galleries in London with the Royal Institute of Oil Painters amongst others. She was awarded professional membership of the Society of Scottish Artists in 2016. Her work can be found in both public and private collections.
* ROBYN DENNY BRITISH 1930 - 2014), SIX MINIATURES screenprint on paper, titled and dated 1975 labels verso, published for P.S.A. Supplies Division by Editions Alecto mounted, framed and under glass image size 68cm x 95cm, overall size 76cm x 103cm Label verso: Open Eye Gallery, Edinburgh.Note: British abstract painter, printmaker, and designer. He was born at Abinger, Surrey, and studied at St Martin's School of Art and the Royal College of Art, 1951–7. He was among the young British painters enormously impressed by the scale and energy of Abstract Expressionist painting. Early paintings such as Red Beat 6 (1958) combined gestural handling with lettering: like the Pop artists, Denny was fascinated by the qualities of urban space. In 1959, alongside Richard Smith and Ralph Rumney (1934–2002), a painter with connections to the Situationist International, he mounted ‘Place’ at the Institute of Contemporary Arts in London. The paintings were organized in a kind of maze which forced the viewer up close against them. In 1960 he helped organize the first ‘Situation’ exhibition, a landmark in British abstract art. One of the pictures he showed there is Baby is Three (1960, Tate), which is typical of the calm, meditational character of his work. The title derives from a science fiction story. In his work of the early 1960s he used very soft, muted colours applied with an immaculate flat finish within a subtle geometrical framework which tends to suggest doorways or other architectural features. Later his brushwork became more painterly. In 1973 he became the youngest artist ever to be given a Tate Gallery retrospective. He received many public commissions, including a series of vitreous enamel panels at Embankment Underground Station in London.
* SPENCER W TART, ASIR - MOUNTAINS watercolour on paper, signed and titledmounted, framed and under glassimage size 20cm x 35cm, overall size 47cm x 57cm Note: Spencer W Tart (also known as Bill ) was born in Chesterfield, England. He qualified as an architect and worked for many years in Canada and the USA before returning to Bath, England where he now lives. In 1980 Spencer was invited to work as an architect on a conservation study of the historic city of Old Jeddah in Saudi Arabia. This was his introduction to the Middle East, which has remained the main subject matter of his work. Whilst sketching and painting was always a small part of his work as an architect, this quickly became more serious and interest in his watercolour paintings grew quickly during the 1980’s. His continued explorations have taken him to many different regions across the Middle East, where the different architectural styles and spectacular geographical features have provided constant inspiration. His work has become a valuable record of the architectural heritage of Saudi Arabia, the U.A.E. and the Oman. Many of the Suks, landscapes and street scenes in Dubai, Bahrain, Riyadh, Jeddah and Muscat have proved to be very popular with both the local and ex-patriot communities. His style of watercolour continues to be admired wherever he exhibits, and his pictures feature in many private collections of discerning buyers around the world. Many are now an accurate historical record of a bygone age. His work is exhibited in selected galleries across the Middle East on a continuous basis.
CATE INGLIS (SCOTTISH b. 1975), LINEN FACTORY (NORTH ELEVATION) oil on board, signed and titled verso framed image size 40cm x 60cm, overall size 45cm x 65cm Note: Known for her industrial and urban landscapes, Cate Inglis is an award-winning artist living and working in Glasgow. Born in 1975 in Greenock, she has witnessed the industrial decline of Scotland's cities, and her work captures the slow architectural erosion of great centres of commerce in the post-industrial landscape. Since graduating from the Glasgow School of Art in 1999, she has exhibited widely throughout the UK with respected galleries, and her work has been showcased in Europe and the USA. Cate's work has won numerous awards and prizes from established art societies and institutions. She has regularly exhibited at the Royal Scottish Academy and The Mall Galleries in London with the Royal Institute of Oil Painters amongst others. She was awarded professional membership of the Society of Scottish Artists in 2016. Her work can be found in both public and private collections.
* ROBIN WEBSTER OBE RSA FRIAS (SCOTTISH b 1939), ST VINCENT STREET, GLASGOW (LOOKING WEST) watercolour on paper, signed, titled versomounted, framed and under glassimage size 49cm x 63cm, overall size 73cm x 87cm Note: Robin Webster OBE RSA FRIAS is a partner with Cameron Webster architects Glasgow and Professor Emeritus at the Scott Sutherland School of Architecture at the Robert Gordon University in Aberdeen. Robin studied Architecture at Cambridge and at the Bartlett at UCL and, after working with Gillespie Kidd and Coia in Glasgow, set up in practice, Spence and Webster, in London with Robin Spence. In the past architects such as Michaelangelo and Mackintosh were consummate artists who communicated their architectural ideas through drawings and sketches: but perhaps at that time there was no alternative. In a recent text for SSAA publication, Robin asked whether with photographic and digital technology, “ ...is skill with a pencil any longer relevant? “ I do not accept that architects need to be so different from artists: imagination and creativity is required by both, but what might we expect when an architect wishes also to be an artist, even if this is to be seen as something separate from architecture? What might be necessary, or could be expected, is that there should be evidence of some intellect in the work. This might be in the manner in which an unfamiliar quality of a building or landscape is revealed.
CATE INGLIS (SCOTTISH b. 1975), BLACK DOOR oil on board, signed and titled versoframedimage size 40cm x 40cm, overall size 45cm x 45cm Note: Known for her industrial and urban landscapes, Cate Inglis is an award-winning artist living and working in Glasgow. Born in 1975 in Greenock, she has witnessed the industrial decline of Scotland's cities, and her work captures the slow architectural erosion of great centres of commerce in the post-industrial landscape. Since graduating from the Glasgow School of Art in 1999, she has exhibited widely throughout the UK with respected galleries, and her work has been showcased in Europe and the USA. Cate's work has won numerous awards and prizes from established art societies and institutions. She has regularly exhibited at the Royal Scottish Academy and The Mall Galleries in London with the Royal Institute of Oil Painters amongst others. She was awarded professional membership of the Society of Scottish Artists in 2016. Her work can be found in both public and private collections.
William de Morgan – A monumental and important architectural tile panel from the Fulham Period circa 1888 to 1898, decorated in the Persian Iznik style with large central flowering plant in trefoil cartouche flanked by perched fabulous birds, writhing serpents and stylised trees, within a field of flowering branches and scrolling foliate sprigs, in brilliant turquoise, green, purple and tonal blue glaze, decorated with over sixty four 15cm x 15cm tiles with further slender border tiles to the outer frame. Comprised of three slabs made up in the factory, backed mostly with blank De Morgan tiles, one panel reverse includes four William De Morgan decorated tiles.Provenance - Sold at Sotheby's in the 1970s as “The Property of The English Centre of International P.E.N.” and "removed from Glebe House, Chelsea. Where the wall panel is reputed to have been commissioned by the Czar of Russia but never delivered and was eventually acquired by Henrietta Leslie who on her death bequeathed Glebe House to the present owners". Purchased from Richard Dennis, Kensington Church Street, 21/4/1978. NB - The author David Carver is known to have lived at Glebe House, Chelsea (also known as 63, Glebe Row) from around 1946 to 1974, and was Secretary of the P.E.N. literary society. Previously the house was owned by the Raphael/Schultz family, one of whom wrote novels under the pseudonym Henrietta Leslie. In the late 19th and early 20th centuries Glebe House was the residence of Reginald Blunt, General Manager of the De Morgan Works in Chelsea, and he may have been given this panel in lieu of wages.
A pair of finely crafted Imperial Jingdezhen porcelain collector plates, each intricately decorated with traditional Chinese scenes. One plate features an elegant depiction of a celestial maiden in flowing robes, while the other showcases a detailed gathering of figures in an ornate architectural setting. Each plate is adorned with a decorative border, fine brushwork, and vibrant colors. The reverse sides display Chinese inscriptions and marks. Includes original certificates and documentation. This item has its original box. Each plate measures: 8.5" dia. Each box measures: 9"L.Issued: 1989Dimensions: See DescriptionCondition: Age related wear.
A finely crafted Chinese cloisonne and porcelain box set, featuring a rectangular lidded box shaped like a traditional Chinese palace (5.25"L) with a yellow roof and red walls. The box is intricately detailed with architectural elements and is lined with red fabric. Accompanying the palace box are seven hexagonal cloisonne boxes (1.75"H), each ornately decorated with traditional Chinese motifs, floral designs, and figures in vibrant enamel against a deep blue background. The underside of the palace box bears The Palace Museum mark, along with Chinese script inscriptions.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
This set of Chinese Imperial Jingdezhen porcelain collector plates showcases exquisite craftsmanship and artistry from the renowned Jingdezhen kilns. Each plate features a beautifully detailed design, including traditional Chinese landscape scenes, a graceful female figure, and architectural elements, all framed with intricate decorative borders. The plates are marked on the reverse with Chinese inscriptions and seals. Each plate measures 8.5" in diameter and is accompanied by its original decorative box, measuring 9.5"L x 9.5"W. A stunning addition for collectors of fine Chinese porcelain.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
American, 1898-1943Untitled (Architectural Subject), 1935Signed and dated Nash. 1935 (lr)Watercolor on paper 22 1/4 x 15 3/8 inches (56.5 x 39.1 cm)Provenance:Mr. Jarvis Barlow The Pasadena Art Museum, Pasadena (gifted from the above)Private collection, New York(Framed 31 1/4 x 24 1/4 inches)The paper is slightly toned. Pinholes around the edges. Taped to mat at top verso edge. A few pieces of tape along extreme edges (concealed by mat). Some mat stain near the edges. A few scattered light brown spots verso. The paper is slightly toned. Pinholes around the edges. Taped to mat at top verso edge. A few pieces of tape along extreme edges (concealed by mat). Some mat stain near the edges. A few scattered light brown spots verso.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
[ARCHITECTURE]PETERS, WILLIAM WESLEY. Motel for Bartell Associates, Madison Wisconsin. ?Scottsdale, Arizona: Taliesin Associated Architects, Taliesin West, early 1960s (probably 1962-3). 29 3/4 x 35 inches (75 x 89 cm); 26 x 35 inches (66 x 89 cm); two elaborate crayon-colored architectural renderings for a motel, one consisting of an aerial view and a cross-section; the other of a view of the central court from the balcony terrace, both renderings by William Wesley Peters Member of Taliesin Associated Architects. Fine. Framed.William Wesley Peters was Wright's protégé and son-in-law and was the first managing principal of Taliesin Associated Architects. The design here harkens to Wright's design for the Snow Flake Motel (on which Peters also worked), with a geometrically arrayed complex of rooms and a central covered court. The Organic Architecture and Archives Online Catalog lists several items pertaining to this project (which was never completed), including an interesting fact sheet on the Motel, see https://catalog.oadarchives.org/index.php/Detail/objects/1860. The publication used the superb rendering of the central court as the illustration, the original of which is included here. The accompanying text notes: "This 224 unit motel, designed by the FRANK LLOYD WRIGHT FOUNDATION features eight separate 2 and 3 story wings arranged like the spokes of a wheel around a central paved court and swimming pool. Above the court, a translucent cable supported canopy creates a spacious garden conservatory atmosphere. Each room has its own private terrace or balcony and overlooks a landscaped garden. The dining room, cocktail lounge, and shops open onto the central court. Parking is adjacent to the rooms but screened from view..." This was Taliesin Architects Project Number 6208. Materials relating to this are in the Taliesin Architects collection at the Avery Library. Estimate and reserve lowered per client converation 2/21 ERDNo condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. A rare A.L.S., A Hitler, one page, oblong 8vo, Munich, 19th November 1935, to [Gerdy Troost] (´Dear and revered gracious Madam´), on Hitler´s personal printed stationery featuring the emblem of the Nazi Eagle and Swastika, in German. The Fuhrer writes, in full, (translated) ´Please accept with these flowers also my most heartfelt wishes for your recovery in your convalescence. Your most devoted.....´. Autograph letters of Hitler are rare and desirable and the present example has an excellent association linking the Fuhrer, who had a lifelong passion for architecture, with one of his earliest master builders, the architect Paul Troost. A series of heavy vertical creases run across the entire page, although only very slightly affect the text and signature, and with one small tear to the right edge. About GGerdy Troost (1904-2003) German architect, interior designer and interior decorator, the wife of Paul Troost. Gerdy Troost remained an architectural and design adviser to Hitler and his circle up to the end of World War II.Paul Troost (1878-1934) German architect. Troost and Hitler first met in 1929 and the master builder would soon become Hitler's foremost architect. For a time Troost´s neo-classical style became the official architecture of the Third Reich. Hitler´s enthusiasm for Troost´s work never waned and his relationship to the architect was that of a pupil to an admired teacher.
[BECKETT SAMUEL]: (1906-1989) Irish novelist & dramatist, Nobel Prize winner for Literature, 1969. Small collection of printed ephemera relating to Beckett comprising a 4to souvenir programme for a Gala Performance of Fin de Partie and Acte Sans Paroles (´two new plays by Samuel Beckett´) at the Royal Court Theatre, Sloane Square, London, 2nd April 1957, directed by Roger Blin and Deryck Mendel (signed by the latter to an inside page) and staged in the prescence of the French Ambassador, Jean Chauvel, and his wife, with a cover design by John Piper; a large poster (approximately 35 x 100 cm) advertising a performance of the same two plays as part of the XVII Festival Internazionale del Teatro di Prosa at the Teatro del Ridotto on 3rd July 1958; and three architectural drawings of the stages at the Theater am Goetheplatz in Bremen (1) and the Neues Festspielhaus in Salzburg (2; May and October 1960). Some light foxing, staining and minor age wear, G to about VG, 5
Nicholas Grimshaw - An etching entitled 'Structural Memories I', 2007, limited edition numbered 5/30, 34.5 x34.5cm, the frame 54.5cm x 54.5cmLocation:If there is no condition report shown, please requestCatalogue note:While President of the Royal Academy Sir Nicholas Grimshaw made a few etchings each year for the Summer Exhibition. Ordinarily he does not sell his work but some have been given as gifts or donated to charity. Grimshaw graduated from the Architectural Association with honours and has had his own practice ever since. He was elected a Royal Academician in 1994 and was President of the RA from 2004 to 2011. He received the RIBA Gold Medal in 2019. GRIMSHAW, now a global practice, is known for buildings such as the Eden Project and London’s Waterloo Station and the Excel Centre.
λ JOHN PIPER (BRITISH 1903-1992) CAROLINE'S FIRST DOLL'S HOUSE Ink and watercolour Dated Dec '43 (lower right); variously inscribed (lower left) 33 x 28cm (12 x 11 in.)Provenance: Katharine Church (1910-1999) (a gift from the artist) Estate of Caroline West, the daughter of Church and Anthony West and granddaughter of novelists Rebecca West and H.G. WellsThe picture was published in the Architectural Review, 1943, as an example of a doll's house made by a 'working man', which Piper described as 'wholly satisfactory and wholly English...[it] suggests a noisy but cosy Christmas party after a journey by train to an early railway station'.
A folio of original 18th and 19th century engravings, mid-18th century map of Europe ‘L. Ridge’, etchings, wood cuts, lithographs and prints etc, including, Sir Frederick Leighton, Frederick Sandy’s, Miles Birket Foster, George Leighton, etc including portraits, architectural studies, landscapes, maritime, etc qty.
* Cattini (Giovanni, 1715-1804/1809). Six engravings from Icones ad Vivum Expressae, after Giovanni Battista Piazzetta, circa 1754, fine large engravings on laid paper, consisting of the portrait of the artist Piazzetta, and plates I-III, VIII, and XI from the complete set of twelve plates, crossbow watermark (132 mm length, similar to the watermark listed in Robison, Piranesi, Early Architectural Fantasies, catalogue raisonné number 49, page 225, dated to 1747-1748), each close-trimmed, portrait of Piazzetta with small circular stain to centre of image, plate VIII with horizontal tear to left margin generally without loss, sheet size 465 x 360 mm and similarQTY: (6)NOTE:Giovanni Cattini engraved a set of fifteen plates (a portrait frontispiece and fourteen numbered plates) after Piazzetta with the printed title: Icones ad Vivum Expressae. Many copies of the set are dated 1754 on the title page, but an early issue dated 1743 exists in the Bibliothèque Nationale, and Moschini and Palluchini referred to a title page with the date 1763.The Venetian painter and draughtsman Giovanni Battista Piazzetta (1682-1754) produced drawn portraits and 'teste di carattere' as ready-made works of art to be displayed on the wall, the first series of drawings ever produced specifically for this purpose. These prints were popular, with at least six editions of the Icones published in 1743, 1753, 1754, 1763, 1767, and 1779.
Burr, G. D. [George Dominicus]. Instructions in Practical Surveying,Burr, G. D. [George Dominicus]. Instructions in Practical Surveying, Topographical Plan Drawing, and Sketching Ground Without Instruments. With Plates and Woodcuts. Second Edition. London: John Murray, 1847. Octavo (183 x 115 mm). Contemporary prize binding of green morocco, spine gilt in compartments, title, single-line rules, elaborate crests to boards, acorn and oak leaf roll to turn-ins, and all edges gilt, marbled endpapers. 5 folding plates on tissue, diagrams within the text. Prize and ownership bookplates to the front endpapers. Binding lightly rubbed with a few mild scuffs and some light wear at the extremities, a little faint spotting to the folding plates. Very good condition. Second edition with additions, first published in 1839. An attractively bound prize copy awarded by the Royal Military College at Sandhurst to Henry George White for "attention to, and progress in, military drawing." With White's later bookplate giving his rank as Major General.Author George Dominicus Burr (d. 1855) was for forty years an esteemed professor of military surveying at the Royal Military College, and it is presumably he himself who presented this prize volume. The contents cover practical surveying and military drawing for students with no prior knowledge of the art. The recipient, Major General Henry George White (1835-1906), "had a distinguished career in the British Army serving at the Crimean War (1854-56), in the Indian Mutiny (1858-59), in Cyprus (1878-79), and Bechuanaland in South Africa in the 1880s" (Irish National Inventory of Architectural Heritage). [Ref: 345] £350
An Importatn Archive of Architectural Plans & Deeds Relating to Birmingham HospitalFolio folder of survey drawings and documents titled in gilt lettering 'PLANS OF THE GENERAL HOSPITAL ESTATES' to include a doubel page paln titled 'Plan of General Hospital Birmingham with the following notes hand written to the top left "This is a true copy of the site ofthe Hospital and lands proposed to be identified on building leases leases and for whihc power is obtained under an order of the court of Chancery bearing date the 21st day of Febuary 1845. The land couloured brown being the lands so authorised to be demised examined by us with the plan deposited in the master Lynches office this eighth day of april 1845" plan shows outline of hospital, grounds, surrounding buildings and raods, along with other period maps of land to be purchsed or owned by the hospital some dated 1843, a survey of the tow path infront of the hospital dated 1823, a large plan of the hospital lands titled "Plan of the estate of the General hospital in Birmingham distinguishing the titles under which the same is derived' with dates for 1766, 1788, 1793, 1830, and up to 1848
A Set of 65 Magic Lantern Slides of the 1893 Chicago Exhibition,Set of 65 magic lantern slides of the 1893 Chicago Fair, all in lilac paper mounts with manuscript descriptions, many slides with a paper mask stamped for 'J. T. Blake, Photographer, Hounsfield Road, Shefield, images of most of the main buildings, exhibitions, street scenes and people involved with the exhibition, all in pine caseNote paper has come off some of the slides which will need re-glueing, some images quite fadedThe World's Columbian Exposition, held in 1893 in Chicago, was more than a world's fair; it was a turning point in urban development and a showcase of the rise of American culture and industry. Commemorating the 400th anniversary of Christopher Columbus' voyage to the New World, the exposition ran from May 1 to October 30 and drew an astounding 27 million visitors. This grand event symbolized the nation's recovery from the Great Chicago Fire of 1871, showcasing resilience and the ability to host a gathering of immense significance.The fair was a spectacle of innovation and grandeur. Jackson Park was transformed into the "White City," a site filled with neoclassical structures that, though temporary, left a monumental impact. Designed by influential figures like John Wellborn Root, Daniel Burnham, Frederick Law Olmsted, and Charles B. Atwood, the exposition epitomized the Beaux-Arts style, focusing on symmetry, balance, and splendor. The architecture of the exposition was profoundly influential, setting a benchmark for urban design that American cities sought to emulate for years to come.Central to the fair’s theme was a large water pool symbolizing Columbus's oceanic voyage. The neoclassical elegance of the white-staff-clad temporary structures offered a stunning visual narrative of American optimism and innovation. The fair boasted 14 significant buildings that hosted exhibits from 46 countries, celebrating a diversity of cultures and technological advancements.Culturally, the exposition had a lasting impact. It provided a global stage for artists, musicians, and innovators, fostering an environment for creativity and collaboration. The event left an indelible mark on American arts and architecture, inspiring architects, artists, and thinkers while driving civic improvements and urban planning. It demonstrated the transformative potential of thoughtful architectural and environmental design.Economically, the exposition was a resounding success. It not only covered its costs but also generated significant revenue, a testament to its widespread popularity and effective organization. On October 9, 1893, known as Chicago Day, the fair set a world record for outdoor event attendance, attracting 751,026 visitors. This achievement highlighted Chicago's resurgence as a vibrant city capable of hosting global events.
Smith & Beck No.1 Microscope,English,c.1858*, engraved to teh foot 'Smith & Beck, 6 Coleman St, London, 1897', the microscope on a 'Y' shaped foot with tall upright architectural pillars supporting the limb on large conical trunnions, plano-concave mirror on triangular column, focusing substage collar, fully mechanical stage with X-Y control, monocular body tube with screw fine focus, with 3 objectives by Smith & Beck, 3 eyepieces and other items in a fitted display cabinet, cabinet height 53cm* dated from the Beck Records
Andreas Vesalius, Rufus of Ephesus & Girolamo Fabrizio d'Acquapendente,three books bound in contemporary velum on pasteboards with fabric ties, recent bookplate for 'Ex Libris lato Ivan Pozeg', as:Book1: Andreas Vesalius, Anatomia, 1604, Venice: Giovanni Antonio and Giacomo de Franceschis, 2 parts in 1 Vol. engraved title with Vesalius proforming a dissection surrounded by architectural boarder incorporating bodies in various staes of dissection, with tabel at base arranged with surgical instruments, minor Contemporary manuscript to some margins, light browning but generally very goodAndreas Vesalius (1514–1564), often hailed as the "Father of Modern Anatomy," was a pioneering Flemish anatomist and physician whose then groundbreaking work revolutionized the study of the human body. Educated at the University of Louvain and the University of Padua, Vesalius challenged the prevailing reliance on ancient texts by advocating for hands-on dissection and observation. His monumental work, De Humani Corporis Fabrica (1543), was a masterpiece of anatomical precision, featuring intricate illustrations that set a new standard for medical texts.Vesalius's insistence on empirical evidence over traditional authority laid the foundation for modern medical science. His dissections and detailed observations corrected many errors in Galenic anatomy, earning him both acclaim and controversy in his time. Later in his career, Vesalius served as court physician to Emperor Charles V and King Philip II of Spain. His work continues to influence medical education and anatomical research.Book Description:The 1604 edition of Anatomis by Andreas Vesalius is a significant publication that underscores his revolutionary contributions to anatomy. This folio volume is a refined and expanded work, incorporating Vesalius's earlier findings alongside updated insights that reflect the evolving understanding of human anatomy in the early 17th century.The text is richly illustrated with detailed woodcut engravings, showcasing Vesalius's approach to the study of the human body. Each anatomical structure is depicted with artistic precision and scientific clarity, making this edition a valuable resource for physicians and scholars of the period. The work includes sections on skeletal, muscular, and organ systems, accompanied by annotations that highlight both anatomical function and surgical relevance. Book 2: Rufus of Ephesus, with commentary by Fabius Paulinus, Universa Antiquorum Anatome, Tam Ossium, Quam Partium & Externarum, & Internarum, 1604, Published in Venice by Io. Antonium and Jacobum de FranciscisRufus of Ephesus was a physician and anatomist of the 1st century CE, whose contributions to medical science were foundational in antiquity. Active during the height of the Roman Empire, Rufus was noted for his studies in anatomy and clinical medicine. His works, which often integrated practical medical advice with philosophical insights, greatly influenced subsequent generations of physicians in both the Greco-Roman and Islamic worlds. His detailed anatomical observations, particularly on the human body’s internal organs, were a precursor to later advancements in anatomical studies.The 1604 edition was edited and expanded by Fabius Paulinus, a Renaissance scholar who brought Rufus’s works to a wider audience. Paulinus supplemented the original text with additional commentary and illustrations, translating some previously inaccessible Greek fragments into Latin for the first time, including sections from the writings of Soranus of Ephesus, another influential ancient physician.Book Description:This 1604 folio edition, Universa Antiquorum Anatome, is a landmark in anatomical literature. It presents the detailed anatomical knowledge of Rufus of Ephesus, supplemented with the scholarly additions of Fabius Paulinus. The text explores both external and internal structures of the human body, providing insights into ancient medical practices and observations. A key feature of this edition is the inclusion of a fragment from Soranus of Ephesus, newly translated into Latin, which discusses the anatomy and function of the uterus.The title page is adorned with an intricate engraving, symbolizing the union of classical learning and Renaissance scientific inquiry. Published in Venice by Io. Antonium and Jacobum de Franciscis, the work reflects the high standards of early 17th-century Venetian printing.Book 3: Girolamo Fabrizio d'Acquapendente, Le Opere Chirurgiche di Girolamo Fabrizio d'Acquapendente, 1683, Printed in Padua by Giacomo CadorinoGirolamo Fabrizio d'Acquapendente (1537–1619) was an Italian anatomist and surgeon, often called the "Father of Embryology." Educated at the University of Padua, Fabrizio was a key figure in the development of anatomical and surgical sciences during the Renaissance. His teaching and writings laid the foundation for modern anatomy and surgery, with particular contributions to understanding the venous system, the mechanics of the human body, and the development of embryos.Fabrizio was appointed as the chair of surgery and anatomy at Padua, where he taught for over 50 years. He is best remembered for his discovery of the valves in veins and his detailed studies of fetal development, which were milestones in medical science. His influence extended to many of his students, including William Harvey, who would later discover the circulation of blood. Fabrizio's writings and illustrations were groundbreaking, combining scientific rigor with artistic excellence.Book Description:This 1683 edition of Le Opere Chirurgiche is a comprehensive compilation of Girolamo Fabrizio d'Acquapendente’s surgical works, translated into Italian and expanded with additional commentary. Divided into two parts, the first section covers the treatment of tumors, wounds, ulcers, fractures, and other surgical conditions. The second part focuses on major surgical operations and includes insights into techniques and instruments used during the Renaissance.Printed in Padua by Giacomo Cadorino, this folio edition also features a supplement by Marco Aurelio Severino, providing a concise overview of surgical principles, making it an invaluable resource for surgeons and anatomists of the time. The elaborate engraved title page reflects the artistic and intellectual spirit of 17th-century Padua, a hub of medical innovation.
Follower of Giuseppe Zocchi, Italian 1711-1767- Six Italianate landscapes with architectural capricci and figures beneath classical ruins; oils on unstretched canvases, each approximately 102 x 117.5 cm., six (6). (unframed). ( VAT charged on Hammer Price)Note: The present paintings are heavily reminiscent of Zocchi's fantastical architectural capricci, featuring figures who are dwarfed by the monumental classical ruins above them. Indeed, these works recall a pair of paintings by Zocchi which sold at Bonhams, London, on 4 July 2018, lot 94, and another which sold at Christie's, London, on 9 December 2016, lot 196.
Follower of Dirck van Delen, Dutch 1605-1671- A Page holding a basket of fruit at a doorway, an enfilade of rooms beyond; oil on canvas, 216.5 x 115.8 cm. Provenance: Lewis Einstein, and by descent to; The Marchioness of Tweeddale, Yester House, East Lothian. Sold, with the house, to Peter Morris, late 1960s. Anon. sale, Christie's, London, 1 November 1996, lot 82 (as 'Follower of Baccio del Bianco'). Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022). Note: The present work is executed in the manner of van Delen's elaborate architectural fantasies, revealing an interest in and exploration of the mathematics of perspective, which was particularly prevalent amongst artists and intellectuals in 16th- and 17th-century Netherlands. Indeed, the influence of van Delen's approach can be seen in the work of the following generation of artists, which included Samuel van Hoogstraten (1627-1678), whose 'View through a Corridor' in the collection of the National Trust at Dyrham Park [453733] very much suggests a debt to the former artist. The present composition is particularly reminiscent of van Delen's 'Palace Interior with the Parable of the Rich Man and the poor Lazarus' which sold at Lempertz, Cologne, on 17 November 2018 (lot 1536), which similarly includes the motif of the richly-dressed serving boys holding platters, whose small size emphasises the grand scale of their architectural surroundings. The view through the arches in the present work is also characteristic of van Delen's compositions, as illustrated, for example, in his 'Architectural Fantasy with Susannah and the Elders' in the Museum Boijmans Van Beuningen in Rotterdam [no.1159].
Luigi Rossini, Italian 1790-1857- Set of four etchings from Le Antichità Romane: Veduta dell'Anfiteatro Flavio detto il Colosseo; Veduta degli avanzi degli Acquedotti che dal Monte Celio, conducevano l'Acqua Claudia sul Palatino; Veduta del Ghetto di Roma; and Veduta Generale del Tempio di Vesta in Roma; etchings, each signed 'Rossini fece Roma 1817' (within the plate, lower left), each 21 x 30 cm., four (4). Provenance: Private Collection, UK. Note: Rossini's romantic etchings of Roman architectural ruins were clearly heavily inspired by those of Giovanni Battista Piranesi (1720-1778), particularly in his depiction of their inevitable decay, with the natural world slowly encroaching on monuments even of such majestic scale and grandeur.
Christoph Heinrich Kniep, German 1755-1825- A ruined temple with three figures in classical dress; pencil, pen, and black ink on paper, signed, dated, and numbered 'Kniep / Nov 16- 1797 / no 8' verso, watermark for 'J. HONIG & ZOONEN', 51.5 x 67 cm. Provenance: Private Collection, UK. Note: Kniep is best known for accompanying Goethe (1749-1832), to whom he was introduced by his friend Johann Tischbein (1751-1829), on his travels through Italy, which included Naples, Paestum, and Sicily. His drawings of Paestum and Pompeii are celebrated for their detail and accuracy, and have been used as architectural documents. A similar work by Kniep, depicting ruins with Classical columns in a pastoral landscape, sold at Christie's, Paris, 16 October 2013, lot 368 (€8,750).
British School, mid 19th century- St Paul's Church, Barbados; pencil and wash on 'Whatman' watermarked paper, titled 'Church at Barbados - where Captn (Eustace) d'Eyncourt is buried' (on the mount), bears date '1842' (on the mount), and bears inscription 'EdE' demarcating Captain d'Eyncourt's tomb, 21.5 x 30.2 cm. Provenance: Private Collection, Italy. Note: This work has traditionally been attributed to Michel-Jean Cazabon (1813-1888), with whose oeuvre it bears stylistic similarities. Cazabon was, however, in Europe in 1842 and so the hand behind this charming drawing is yet to be identified. Captain Eustace Alexander Tennyson d'Eyncourt (1816-1842) was the son of the Right Honourable Charles Tennyson d'Eyncourt of Bayons Manor in Tealby, a British politician, landowner and Member of Parliament for Stamford and for Lambeth (as well as being known for his social pretensions and his graceless behaviour towards his nephew, the poet Alfred Lord Tennyson). Eustace was expelled from Sandhurst College after an affray with some of the inhabitants of nearby Bagshot. He subsequently gained a Commission in the 46th Regiment of Foot, serving at Maghera, County Derry, Ireland in August 1835 and Barbados in 1842. Tragically, he died of yellow fever, aged only 25, shortly after arriving in Barbados in 1842. St Paul's Anglican Church is located along the south western coast of the island of Barbados in the parish of St Michael. Known as the 'Chapel in the Bay', the church was first built in 1831 by Bishop William Hart Coleridge. On August 11, 1831, a tremendous hurricane ravaged the island and St Paul’s Church was completely destroyed, except for one window. In a written account at the time, it was stated that 'St. Paul’s Chapel, so lately finished, and which for chaste design and architectural beauty was unequalled by any edifice in the island, was completely demolished, not the smallest portion of the walls remaining except the front part of the western porch.' This setback was met with determination by Bishop Coleridge and his St Paul’s flock to rebuild the church as soon as possible. Plans were soon made to build a larger church, and under the direction of architect Thomas Anglim, the church was rebuilt in 1833.
After Annibale Carracci, Italian 1560-1609- Detail of 'Salmacis and Hermaphroditus' from 'The Loves of the Gods' on the vault of the Farnese Gallery, Rome; red chalk on laid paper, bears inscription 'A Carrachi' verso, 28.5 x 25 cm. Provenance: Private Collection, Monaco. Note: The present drawing is after a section from Carracci's monumental fresco cycle entitled 'The Loves of the Gods' which is located in the West Wing of the Farnese Gallery in Rome. This drawing focuses on the elaborate architectural illusions which render Carracci's fresco so striking, depicting one the trompe l'oeil medallions which line the edges of the fresco, in this case depicting a scene of 'Salmacis and Hermaphroditus', as they embrace and merge into one being. Beside these medallions are Atlas figures, originally painted 'en grisaille', who appear to hold the weight of the ceiling above them.
Follower of Frans Francken the Younger, Flemish 1582-1642- The Beheading of St John the Baptist; oil on cradled copper panel, 24.8 x 22 cm. (unframed). Note: The present small-scale oil on copper is likely by a 17th-century Northern European painter working in the tradition of Frans Francken the Younger, known for his jewel-like cabinet paintings, typically depicting dramatic and brightly-coloured Biblical and allegorical scenes. An almost identical version of this same composition was offered at Capitolium Art on 10 December 2024 as lot 14, whilst another, similar, variation of this scene, with strikingly similar architectural features was offered as lot 8 at Christie's South Kensington, on 24 October 2012, attributed to an artist working in the Prague School. This composition was therefore evidently in circulation amongst Northern and Central European painters.
Vittorio Maria Bigari, Italian 1692-1776- Studies of three female figures; pencil, pen, and brown ink on laid paper, signed 'Bigari' (upper left), 15.2 x 12 cm. Provenance: Collection of Dr Richard P. Wunder, Vermont. with Thomas Agnew & Sons, London, 1980 [no.43521]. The Collection of Professor W. M. Ballantyne (1922-2021), and thence by descent. Exhibited: Vermont, Middlebury College, 'Architectural, Ornament, Landscape and Figure Drawings collected by Richard P. Wunder', 1975, no.117. London, Thomas Agnew & Sons, 1980, no.18. Note: Bigari was one of the most important decorative painters working in Bologna in the 18th century. His most famous decorative cycle is his series of frescoes in the Palazzo Aldrovandi and the Palazzo Ranuzzi, Bologna, which he was engaged on in the 1720s. The theatrical style of these late baroque frescoes is echoed in this drawing in which three elegant figures employ characteristically dramatic gestures. This sheet demonstrates how close Bigari's graphic style comes to that of his elder contemporary Donato Creti (1671-1749).
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