We found 35023 price guide item(s) matching your search

Seven volumes on English Inns: Richardson, A.E.  - 'The Old Inns of England' (B.T. Batsford 1934) Batchelor, Denzil  - 'The English Inn' (B.T. Batsford 1964) Hogg, Garry - 'The English Country Inn' (B.T. Batsford 1974) Hackwood, Frederick W. - 'Inns, Ales and Drinking Customs of Old England' (Bracken Books 1987) Davis, Ben - 'The Traditional English Pub' (Architectural Press 1981) Bruning, Ted - 'Historic English Inns' (David & Charles 1982) Lackey, Clifford - 'Quality Pays - The History of Joshua Tetley & Son' (Springwood Books 1985)

A 1920s walnut cased chiming mantel clock - the eight day, half hour striking movement fronted by a square brass dial with silvered Roman chapter ring and Art Nouveau style spandrels, in an architectural walnut case, 35.25 cm high.

Paul M Whiston, "High Street Henley-in-Arden" and "Evesham Town Center" two architectural ink drawings coloured with watercolour, signed and inscribed on the mount, 23cm x 32cm, framed and glazed (2) 

A late 19th Century German oak mantel clock, having a Junghans two-train movement striking on a coiled gong, its case of architectural form in brass-mounted oak, 40 cm

A late 19th Century polished black slate mantel clock, of Palladian architectural form having a two-train drum movement striking on a coiled gong, 34 cm x 13 cm x 27 cm

Some Architectural Works of Inigo Jones 1573-1652, H. Inigo Triggs and Henry Tanner, pub. Batsford, London 1901, gilt decorated green cloth boards; The Petit Trianon Versailles, in thee parts and other architectural related plans and interiors including The Palace of Peace at The Hague.

A Late XIX Century Walnut Cased Vienna Wall Clock, with two weights, the cream enamel dial with black Roman numerals with puce decoration, the case with architectural pilasters to sides, 92cm long.

A Late XIX Century Mahogany Cased Vienna Wall Clock, with two weights, the cream enamel dial with Roman numerals, the case of architectural form with turned pilasters to sides and detachable pediment, 132cm long.

A Late XIX Century Green Onyx Mantle Clock, with gilt metal mounts, of architectural form, with pillars to each side, the circular dial with cream enamel chapter ring with Arabic numerals, 33cm high.

Oak longcase clock, late 18th Century, the case of plain architectural design, the brass dial with Roman numeral chapter ring, flanked by pierced figural spandrels, with pendulum. 194cm high

Timothy Richards, an architectural model of St Brides Church, limited edition, 20/100, signed and dated to base, February 2004, in a box, 57.5cm highNote: St Brides was designed by Sir Christopher Wren in 1672. The original model was commissioned by The Times newspaper and was presented as a gift to Sir Edward Pickering, the well-respected Fleet Street editor.

A Regency Over Mantel Mirror, in giltwood frame of architectural form, bevelled glass plate, 93cm high by 66cm wide

A Regency Giltwood Pier Glass Mirror of architectural form, relief detail, the original plate flanked by columns, 77cm high by 47cm wide, together with two further wall mirrors (3)

Original oil on board of a handsome page who is dressed in Renaissance clothing. He wears the yellow-orange and red colors of his house and holds a stunning white horse in one hand. Composed with a Metaphysical approach reminiscent of Giorgio de Chirico's artworks, the composition includes architectural elements placed in a dream-like state. Initials on lower right: R.C. Housed in a carved and gilded wooden frame. Artwork dimensions: 9.25"L x 19.25"H. Frame size: 12.25"L x 19.25"H x 2"W. Issued: 20th centuryCondition: Age related wear.

[Hamburg.] Der Stadt Hamburgk Gerichtsordnung und Statuta, second edition, fine engraved title with Baroque architectural border, Gothic letter, woodcut ornaments and printer's device to colophon, contemporary marbled boards, Hamburg, M.Froben, 1605 § Brun (Friederike) Sitten- und Landschaftsstudien von Neapel und seinem Umgebungen..., first edition, lacking half-title, with folding aquatint frontispiece and engraved plate, contemporary half calf, old paper manuscript labels, Leipzig, 1818 § Triangi (Franz Wilhelm) Concinnatio historico-politica, de & pro arcanis imperantium, first edition, half-title, lacking front free endpaper, extensive old ink annotations to rear endpapers, contemporary sprinkled calf, wormed patch to rear cover and foot of spine, Vienna, J.J.Kürner, 1700, rubbed; and 9 others, mostly German, including a stamped passport of 1813 issued by the Swiss canton of Aargau, v.s. (12)

Charles Latham. In English Homes, 3 volumes, photographic frontispiece, numerous further b/w illustrations, original publishers cloth, folio, London: Country Life and George Newnes, 1907; The Architectural Review: A Magazine of Architecture & the Arts of Design, 2 volumes, numerous b/w plates and illustrations, folio, London: Caxton House, 1913; and 3 others, similar, mostly relating to architecture and country houses, v.s. (8).Mixed condition.

Melchior Küsel. A bound volume of topographical engravings, comprising three distinct groups: 26 architectural views and vistas by Melchior Küsel; 4 folding maritime views by Jan Peeters; 5 folding views of China from Johan Nieuhof's 1669 account, An Embassy from the East-India Company...; and three further engravings, loose, contemporary vellum, bookplate of Merthyr Guest, oblong 8vo, c. 1650-1690.Some spotting and light soiling vellum soiled.

A late 20th century hardwood and wire architectural birdcage, raised on turned legs, height 180cm, width 70cm (some faults).

A 19th century giltwood hall mirror, the rectangular frame with architectural columns and Masonic emblem mouldings, height 53cm, width 43cm.

An early 20th century green painted wirework architectural birdcage, raised on a rectangular tray and scrollwork stand, height 163cm, width 78cm, depth 57cm (some faults).

A 19th century scrimshaw whalebone walking cane, the shaft carved with an upper section of architectural spiral reeded pillars, the square capitals with mother-of-pearl and baleen inlaid decoration, the lower section with spiral reeding, the marine ivory pommel carved in the form of a Turk's head knot, length approx 89cm (repair to pineapple effect collar).

Russian silver and niello cigarette case Moscow 1884 assayer Viktor Savinkov, the cover with architectural view, 99gm

Charles François Lacroix de Marseille, um 1700 Marseille – 1782 Berlin, zug.VIER KÜSTEN STÜCKE MIT ARCHITEKUTSTAFFAGEN, BÄUMEN UND IHRER TÄGLICHEN ARBEIT NACHKOMMENDEN FIGURENÖl auf Leinwand. Auf Platte montiert.96 x 102 cm.Jeweils in geschnitzen Eichenrahmen.Jeweils ein südliches Küstenstück zeigend, mit Hafenbebauung und Staffagefiguren und Bäumen. Anmerkung: Lacroix de Marseille war ein französischer Landschaftsmaler, der sich von 1750-1763 in Rom aufhielt, wo er sowohl die Antike als auch die Landschaftsmalerei aus dem Erbe der früheren Jahrhunderte rezipierte. Im Werk von Lacroix de Marseille gibt es jedoch keine majestätischen Häfen mit rigorosen Perspektiven, sondern eher eine Vorliebe für das pittoreske und für eine wildere Natur. Er entwickelte einen Stil unter dem Einfluss von Claude Joseph Vernet, den er während seines Aufenthaltes in Rom, 1751 kennenlernte und von dem er lernte Seestücke zu malen. Vernet, der gerade vom König beauftragt worden war seine berühmte Serie der Port du France zu malen, bevorzugte eine poetische Version, während Lacroix auf Genauigkeit bedacht war. In seiner bezaubernden Vision der Welt, bewegen sich die Figuren mit Natürlichkeit. (1391111) (1) (13)Charles François Lacroix de Marseille,ca. 1700 Marseille – 1782 Berlin, attributedA pair of paintingsFOUR COASTAL LANDSCAPES WITH ARCHITECTURAL STAFFAGE, TREES AND FIGURES GOING ABOUT THEIR DAILY WORKOil on canvas. Mounted on panel.96 x 102 cm.

Ermenegildo Agazzi, 1866 – 1945 undAchille Cattaneo, 1872 – 1932ARCHITEKTURIDEALENTWURF, WOHL FÜR EINE GROSSE ITALIENISCHE PASSAGEMischtechnik auf Papier, auf Leinwand aufgelegt.130 x 198 cm.Rechts unten signiert „Agazzi Ermenegildo = dipenze Cattaneo Achille = disegno“.Ungerahmt.Großformatige Architekturansicht, teils mit bekannten italienischen Bauwerken, u. a. rechtsseitig mit der berühmten Trajanssäule in Rom und einem nach Florenz zu verortendem Turm. Die Darstellung wohl als Entwurf für eine größere Architekturpassage, wie sie z. B. in Mailand zu finden ist. Verso alter Aufkleber mit dem Verweis „Esposizione intern Roma“ und Nummerierung. Vereinzelt rest. und teils berieben. Ermenegildo Agazzi studierte an der Accademia Carrara in Bergamo. Danach zog er nach Mailand und stellte 1886 erstmals in der Accademia di Belle Arti di Brera aus. Er gewann viele Auszeichnungen. Achille Cattaneo besuchte von 1888-1896 Kurse für Zeichnen und Architektur an der Brera Akademie. Er begann in der Tradition der Stadtmalerei des 19. Jahrhunderts zu arbeiten und schuf Ansichten der Mailänder Kanäle und der Innenräume von Mailands Kirchen.(1391365) (3) (18)Ermenegildo Agazzi, 1866 – 1945 and Achille Cattaneo,1872 – 1932IDEAL ARCHITECTURAL DESIGN, PROBABLY FOR A LARGE ITALIAN PASSAGE Mixed media on paper, laid on canvas.130 x 198 cm.Signed “Agazzi Ermenegildo = dipenze Cattaneo Achille = disegno” lower right.

Giacomo Guardi, 1764 Venedig – 1835 ebendaVENEDIGVEDUTE: BLICK AUF DIE KIRCHE SANTA MARIA DELLA SALUTE MIT DER PUNTA DELLA DOGANAÖl auf Leinwand.50 x 75 cm.Beigegeben ein Gutachten von Dario Succi, Gorizia.Diese Vedute bezieht ihren Reiz aus der freundlichen Farbigkeit, jenem südlichen Licht, das über der Lagunenstadt liegt. Die Gebäude, von links beleuchtet, stehen unter einem hellblauen Himmel mit wenigen ziehenden Wolken. Über den Canal Grande hinweg blickt man auf die Basilika Santa Maria della Salute mit ihrer großen weißen Kuppel und einem Teil des Magazins der Dogana. Zahlreiche Figuren bevölkern den Vorplatz im Vordergrund. Der Maler hat diesen Lichtcharakter bewusst zusätzlich durch hohe rot-weiße Segel am linken Bildrand und weitere helle Segel verstärkt. Auch der leicht pastose Farbauftrag, insbesondere an den hellen Stellen, oder bei der Figurenstaffage, trägt zu dieser Wirkung bei. Die Ruhe der Architekturwiedergabe wird durch die Ruderbewegungen der Gondoliere ausgeglichen. Diese Charakteristika erweisen sich für sein Werk als typisch. Als Sohn des Francesco Guardi (1712-1793) widmete Giacomo sich im Gegensatz zu seinem Vater vermehrt dem mittleren Format. Dabei ist die Reduktion der Farbigkeit, verminderte Buntheit und Konzentration auf helle Lichteffekte gegenüber verschatteten Partie, einige Quintessenzen aus des Vaters Werk verdeutlichen. A.R.Literatur: Vgl. Dario Succi, Francesco Guardi. Itinerario dell‘avventura artistica, Mailand 1993, S. 167-190.Vgl. Dario Succi, Guardi, Bd. I. Itinerario artistico, Bd. II. Catalogo dei dipinti e disegni inediti, Mailand 2021. (1390204) (11)Giacomo Guardi,1764 Venice – 1835 ibid.VENICE VEDUTA – VIEW OF SANTA MARIA DELLA SALUTE WITH THE PUNTA DELLA DOGANA Oil on canvas.50 x 75 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.The calmness of the architectural depiction is balanced by the rowing movements of the gondolier. These features are typical of Guardi’s work. In contrast to his father Francesco Guardi (1712 - 1793), Giacomo devoted himself more to the medium-size format. The reduction of colour and concentration on bright light effects in contrast to the shadowed areas, illustrate some essential features from his father’s oeuvre.

Includes Swirled base candle holder, Swirl and Hobnail Large Vase, Large Celebration vase, 2 tapered bud vases and medium architectural vase. Largest piece: 9.5"H x 5" diameter. Issued: 20th centuryCondition: Age related wear.

ITALIAN SCHOOL (18TH CENTURY) FOUR ARCHITECTURAL DESIGNS FOR PALAZZOSetchings with engravingeach 34.2 x 24cm each 60.3 x 49.4cm (framed)(4)Property from a London Collectionoffered for sale without reserve

AFTER WILLIAM ALEXANDER (BRITISH 1767-1816) VIEW OF A PAI-LOOetching with engraving, by J.Chapman, published 1796, by G.Nicol49.8 x 63.8cm 56.5 x 70.3cm (framed)Property from a London CollectionLiteratureSir George Staunton, An authentic account of an embassy from the King of Great Britain to the Emperor of China, London, 1797, p. xxix the scene described; pl. 31, illustrated A pai-loo, the central architectural feature of the present print is a Chinese triumphal arch; a tower or fortress is featured in the right foreground, and a place for performances on the left side as recounted by Sir George Staunton in An authentic account of an embassy from the King of Great Britain to the Emperor of China. The publication was the official report of the 1793 British Macartney Embassy mission, the first British diplomatic mission to China, led by Lord George Macartney. offered for sale without reserve

Frederick Goodall, RA (British, 1822-1904)Portrait of Rica sitting in the bay window of Graeme's Dyke with pencil in hand and sketch book with a kitten oil on panel 55.9 x 45.1cm (22 x 17 3/4in).Footnotes:ProvenanceThe sitter.Bequeathed to her god-daughter, mother of the present owner, thence by descent. Private collection, UK.Alice Federica Goodall, known as Rica, was born in March 1876 which dates this portrait to the early 1880s. Goodall exhibited two portraits of his daughter at the Royal Academy, in 1894 and 1898. In both of these portraits Rica appears a young woman, they are near full-length portraits of her dressed in elegant blue and white dresses and appear in all aspects the work of a proud father.Graeme's Dyke, or Grim's Dyke as it is now known, is a storied house designed and built for Frederick Goodall by renowned architect Richard Norman Shaw between 1870 and 1872 at Harrow Weald. The house was sold by Goodall to Robert Heriot, partner in the private bank C.J. Hambro & Son, in 1880 who owned the property for ten years before it was acquired by Sir William and Lady Gilbert. Gilbert, one of England's foremost dramatists, famous also for his collaborations with Sir Arthur Sullivan, made several architectural additions to the house and created a small home farm in which Jersey cows, pigs and poultry were kept. Lady Gilbert turned her attention to the neglected grounds, creating formal gardens, the results of which can still be seen today. The house is currently used as a hotel and in recent years has been used as a location for filming. It has featured in, among other productions, The Saint (1962), Doctor Who: The Evil of the Daleks (1967), EastEnders (2003) and Little Britain (2004).For further information on this lot please visit Bonhams.com

THOMSON (JOHN)Illustrations of China and its People. A Series of Two Hundred Photographs, With Letterpress Description of the Places and People Represented, 4 vol., FIRST EDITION, 96 plates of photographic illustrations, publisher's maroon morocco-grain cloth gilt, bevelled edges, corners bumped, rebacked, g.e., folio (480 x 360mm.), Sampson Low, 1873-1874Footnotes:One of the most extensive photobooks of nineteenth-century China. It is thought that only 750 sets were published. Thomson's original photographs are beautifully reproduced by 'autotype', a form of collotype patented by the publisher Sampson Low to maintain the high level of resolution of the original albumen prints. Between 1870 and 1872 Thomson 'undertook four distinct journeys, up the north branch of the Pearl River, up the River Min to the area around Foochow (Fuzhou), to Peking (Beijing), and finally up the great Yangtze (Yangzi) River. The photographs taken on these journeys form one of the most extensive photographic surveys of any region taken in the nineteenth century. The range and depth of his photographic vision mark Thomson out as one of the most important travel photographers' (ODNB). Images include Imperial China, portraits of high government officials, and spectacular architectural and scenic views, showing 'the many sides of China: sweeping landscapes, royalty and ruling classes, merchants and economic activity, everyday life, and the faces of men, women and children' (Western Travellers in China, 91).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Élément architectural en bois peint polychrome et doré représentant le Sauveur mort soutenu par un AngeItalie, d'après Bartholomaeus Spranger (1546-1611) et Hendrick Goltzius (1558-1617), début du XVIIIe siècleLe Christ flanqué de huit têtes de putti ailés (accidents, manques, restaurations)135 x 96 cmA polychromed and parcel-gilt wood architectural element depicting the Dead Saviour supported by an angel, after Bartholomaeus Spranger (1546-1611) and Hendrick Goltzius (1558-1617), Italian, early 18th century. Christ with eight winged putti heads (accidents, missing parts, restorations)Footnotes:L'artiste qui a réalisé cet ensemble s'est fortement inspiré du tableau de Bartholomaeus Spranger (1546-1611) de 1587 conservé au Rijksmuseum à Amsterdam et de la gravure d'Hendrick Goltzius (1558-1617)L'élément architectural ici présent devait probablement faire partie d'une chapelle privée.For further information on this lot please visit Bonhams.com

Cabinet en placage de noyer, ronce de noyer et bois divers de la fin du XVIIe siècleDe forme rectangulaire à décor marqueté d'étoiles dans des frises d'encadrements sur les deux portes; ces deux portes ouvrent sur un intérieur comprenant dix tiroirs et deux vantaux démasquant un théâtre architecturé, deux panneaux mobiles dissimulent dix petits tiroirs.Il repose sur une base d'époque postérieure ouvrant à deux portes et encadrée par deux colonnes torses.H. 148 cm - L. 98 cm - P. 47 cmA late 17th century walnut, walnut burl and various wood veneered cabinetRectangular in shape with inlaid decoration of stars in framing friezes on the two doors; these two doors open onto an interior comprising ten drawers and two leaves revealing an architectural theatre, two movable panels conceal ten small drawers. It stands on a later period base opening to two doors and framed by two twisted columns.For further information on this lot please visit Bonhams.com

• BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (lots 139-158)Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 151-156), the still-lifes he worked on in his studio (lots 143-150), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 139-142). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 157 &158). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lots 151- 154).139BERNARD MYERS (BRITISH 1925-2007)PLANETARY COMPOSITIONS I & IIoil pastel on thin paper(i) 56 x 43cm; 22 x 17in (ii) 43 x 56cm; 17 x 22in (both unframed)(2)

• LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 83-90) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies, he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. But uninspired by the conventional approach offered, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include highly charged views of the River Barle and Chuggaton in Devon (lots 83 & 84), Rothbury, Northumberland (lot 85) and Glen Etive, Scotland (lot 87). But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Lucca cathedral (lot 88), which combines a massing of architectural elements with swirling weather conditions. Another influence was Chaim Soutine, whose distinctive style permeates much of Marr's later output. 83 LESLIE MARR (BRITISH 1922-2021)BARLE IN WINTERsigned and dated Marr / 63/4 lower leftoil on canvas91.5 x 91.5cm; 36 x 36in106 x 106cm; 41 3/4 x 41 3/4in (framed)ExhibitedLondon, Portland Gallery, Leslie Marr, A Centenary Exhibition, 2022, n.n.The River Barle runs north across the border between Devon and Somerset, a few miles west of Marr's home at Higher Chuggaton where he lived between 1963 and 1970.

A mother-of-pearl and tortoiseshell mounted snuff box, early 18th century, unmarked, of oval form, the hinged cover inlaid with a central jovial figure framed within an architectural setting flanked by scrolling foliage, initialled MB to reverse, 8.1cm wide; a tortoiseshell and mother-of-pearl mounted circular pill box, 18th century, with a a lady in flowing dress to pull-off cover, 3.5cm diameter; and a gilt-brass mounted tortoiseshell box, early 19th century, inlaid with floral sprays and with scrolling thumbpiece, 3.8cm high, 7.5cm wide; 4cm deep (3)  

A George II inlaid walnut architectural floor standing corner cupboard, second quarter 18th century, 225cm high, 100cm wide, 48cm deepProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.

An Austrian musical mantel clock with automation, early 19th century, the painted wood architectural case surmounted with a giltwood eagle above two lions and scrolling foliage, on two alabaster columns with giltwood Corinthian capitals and two caryatid columns of figures with feathered headdresses holding birds in front of a triptych mirror, on a painted breakfront base with gilt-brass foliate mounts on two alabaster and two brass bun feet, the skeletonised dial with central repousse gilt-brass automaton of of Vulcan's forge with a pair of amorini making Cupid's arrows, on the quarter hour one hammers an arrow on the forge while the other grinds the arrowhead, the white enamel chapter ring with Arabic numerals signed Ferdinand Strahal in Tabor, the three train movement striking on two coiled gongs, the base containing mechanical musical box with 4.5 inch cylinder with pendulum, 73cm high, 38cm wide, 16.5cm deep (VAT charged on hammer price)Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece.   

A collection of architectural and writing instruments, comprising: a French silver and ebony mounted twelve inch folding rule, with Paris hallmarks for 1775-1781, engraved Lennel a La Sphere a Paris, 32.5cm long total; a late Victorian silver ten inch ruler, Chester, 1898, Cohen & Charles, 26.5cm long; a folding pillar compass, in a silver-mounted leather case, London, 1882, Louis Dee; a Russian silver nib holder, Moscow, 1860, Cyrillic FV maker's mark, the sliding cover with black enamelled decoration, 6.9cm long; a pencil holder, with indistinct mark, 9.4cm long; a silver plate and enamel triple pencil, 10cm long; a plastic dip-pen holder, 17cm long; another dip-pen, 17.8cm long; four other retractable pencils; and a French leather notepad holder, marked in gilt LENOIR 14. RUE ROYALE, 15.6cm high (lot)

Jean Després (1889-1980)a Modernist silver box and cover, octagonal section with circular aperture, the circular cover with architectural finial,etched J Després, stamped marks,7.5cm. wide7.4 ozt (total), (2)

A large and impressive 19th Century French mahogany cheval mirror, of architectural form, the rectangular plate within ogee moulded frame, the stand with triangular pediment and plain frieze, classical columns supports with acanthus capitals, reeded and panelled bases, 170 x 23 x 235cm high.Provenance: Godson & Coles, 92 Fulham Road, London

A Victorian rosewood bookcase, the architectural pediment above a pair of glazed doors enclosing adjustable shelves, the base with a cushion frieze drawer and two further glazed doors enclosing adjustable shelves, column sides, raised on turned feet, 113 x 49 x 202cm high.

A Regency rosewood cabinet, of drop centre architectural form, the central raised pediment with brass putti embellishments flanked by galleries, above a central two-door cabinet enclosing shelves, flanked by single door cabinets enclosing shelves with pilaster classical columns, raised on brass bun feet, 92 x 36 x 52cm high.

A 19th century scumbled pine freestanding corner cupboard, the architectural cornice over a pair of arcaded panelled doors, opening to three shaped shelves, upon the base with a pair of cupboard doors opening to a single shelf, upon bracket feet, 217cm H x 120cm W x 65cm D (at fault)

An early 20th century French mantel clock, architectural ebonised and inlaid case, white enamel dial, Roman numerals, twin winding holes, made in Paris; an Art Deco oak Westminster/Whittington chime mantel clock, silvered dial, Arabic numerals, three winding holes; two other oak mantel clocks (4)

A cast iron x-frame table, the oak top with six panels, scroll feet, 46cm high, 90.5cm wide, 135cm long; an oak tilt top table, turned architectural supports, screw fasten, 72cm high (2)

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

CRANAGE, DHS, An Architectural Account of the Churches of Shropshire, parts 2-8 only, 1895-1906. With other books on Shropshire (box)

Early 20th Century mahogany cased two train eight day architectural mantel clock in Romanesque style with brass face, having Roman silver chapter ring, strike silent and advance dials. 43cm high approx.(B.P. 21% + VAT) Overall good condition. Appears complete with pendulum and key.

19th Century Irish regulator style 8 day longcase clock, having circular Roman painted face marked 'John Donegal, Dublin', with seconds dial, architectural hood above arched waist door on a panelled base. 8 day two train movement, striking on one bell. Complete with two weights and pendulum. 12" diameter circular face. (B.P. 21% + VAT)  Clean and presentable, some chips, marks and discolouration to the face.  Tip of wafer/locator missing.  Movement is very dusty and cobwebbed.  Case has a few marks in places commensurate with age and wear.

A George III and later mahogany breakfront bookcase, with architectural pediment, the upper part enclosed by astragal glazed doors with cupboards under on a plinth base237 x 197 x 39cm

Joseph Mallord William Turner RA (1775-1851) The Entrance to Bishop Vaughan's Chapel, St David's Cathedral, Wales signed and inscribed in Turner's hand to the reverse 'Bishops [sic] Vaughan Chapel St David's Cathedral / W Turner' watercolour 32.5 x 24.5cm Provenance: A Suffolk country house collection since at least 1990 The present, hitherto unrecorded, composition draws upon Turner’s 1795 tour of South Wales and is the only fully worked up watercolour of St David’s, Pembrokeshire. His South Wales Sketchbook (Turner Bequest XXVI) includes four architectural studies which relate to his visit to St David’s, two of which are inscribed with Turner’s own title in his hand – St David’s: Part of the Ruins of the Bishop's Palace (folio 35); “Bishops [sic] Throne, St Davids Cathedral ” (folio 36); “Bishops Vaughan [sic] Chapel “ (folio 37) and St David’s: Porch of the Great Hall of the Bishop’s Palace (folio 40). The itinerary of Turner’s summer tour of 1795 is transcribed in another hand on the inside front cover and first two flyleaves of the sketchbook and details his journey starting at Wells, Somerset, making his way to Wales and visiting Picton Castle just before St David’s. Setting out from Haverfordwest, Turner travelled ’36 miles and back’ and disappointingly noted in his own hand ‘no inn ‘ (ibid, first flyleaf verso, p. 3 of itinerary). Judging by Turner’s own annotations which designated all places with 'good inns’ along the way with an ‘x’ (see Andrew Wilton, ‘Inscriptions by Turner and Another Hand: A Welsh Itinerary and Notes 1795 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J. M. W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012) Haverfordwest was a good place to stay which is perhaps why Turner returned there after his trip to St David’s. This watercolour is closely based on the preparatory sketch of the same subject in the South Wales Sketchbook (folio 37, 26.4 x 20.3cm, see illustration below). That sketch which Turner himself inscribed with the title “Bishops Vaughan [sic] Chapel “ in the bottom right corner is similarly inscribed as the present watercolour on the verso “Bishops Vaughan [sic] Chapel St David’s Cathedral ” (see illustration below). The view, in fact, depicts the entrance to Bishop Vaughan’s Chapel with the ruins of St Mary’s Chapel in the left foreground. The chapel was built in 1509 for Edward Vaughan (Bishop 1509-1522) as his chantry chapel and burial place and was dedicated to the Holy Trinity, the name under which it is now known. The effigy which appears in the foreground of both works is that of John Hiot, Archdeacon of St David’s from 1400-1419. Turner depicted the intricate architectural detail with extraordinary accuracy, also recording the poor state of the building and the unroofed condition of the North Choir and Chapel Aisles as they were in 1795. The viewpoint, however, that he chose is taken from the North Chapel Aisle and so attests to Turner’s imaginative use of lighting and perspective as the small door to the right would, in fact, be invisible from this angle. The present watercolour epitomises Turner’s early architectural drawing and was almost certainly worked up from the preparatory sketch back in his London studio as a private commission for one of his patrons or friends. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Watercolour with pencil underdrawing on laid paper watermarked J Whatman. Watermark is visible under raking light. On paste board, in a modern acid free mount. Hinged at the top with tape. Had previously been stuck down onto another support. 12 blobs of animal based adhesive to verso. Faint graphite marks to the reverse. A tiny tear on the left hand side about third way up from the bottom. A little tear on the right hand side, third of the way down. A fracture in top right corner. Creases in bottom left and right corners. Faint polishing marks seen in reflected light inside the arch and in bottom left corner. A small abrasion inside the arch on the right hand side. Area of discolouration in the sky across most of the top edge. Insect damage near the centre of top edge. Small brown spots of foxing visible in the sky. Paper little discoloured, but colours are good. Under raking light 5 tiny spots of mould visible mostly in the bottom half. Slight dents along the right edge. Indentation near top left corner. Wetransfer link for high resolution images: https://we.tl/t-DxHWxadHla

M Bower: (British 20th C): water colour still life with flowers in a basket, signed and dated 1902, 42 x 61cm, framed; a modern architectural print etc

A Victorian Gothic Revival white metal and gilt white metal bridesmaid's brooch designed by William Burges for Gibson, circa 1863, the circular brooch with central cross motif set with lapis lazuli, coral and malachite, engraved Gothic script initials between the coral and malachite cabochons reading '+.J.C.G.', unmarked, white metal pin (possibly replaced), 46mm diameter. Footnote:The Rev’d John GibsonBorn on 23 July 1815 in Stratford, Essex, the second son of John Gibson, an early Victorian manufacturing chemist, and his wife Ann (Nanny) Harrison. Rev’d Gibson was a scholar-clergyman who became Dean of Jesus College, Cambridge, Chair of the Cambridge Architectural Society and, in 1857, was instituted to the Rectory of King’s Stanley, Gloucestershire. He was instrumental in the Gothic Revival-inspired restoration of the Choir and Tower of Jesus College Chapel, which included input from A W N Pugin and Sir John Sutton, as well as organ cases for churches in this country and continental Europe.He was a personal friend of William Burges who, in 1863, designed a bracelet and other items of jewellery marked simply “Gibson” on the original design sketches now held in the V&A library, London. Pencil annotations state that six of this design were to be executed in silver. According to Burges' diaries, a Birmingham silversmith named Wakeman executed these designs (“Wakeman did Gibson jewly”, Burges’ Abstract of Diaries).We believe this brooch was a gift to the bridesmaids at the Rev’d Gibson’s marriage to Caroline Bendyshe, great-niece of Admiral Lord Nelson, on 28 January 1864 at the church of St James the Less, Parish of St John, Westminster. After their marriage, their friendship continued with Burges visiting Gibson and his wife at King’s Stanley the following year (“To Gibson at Stonehouse”, Burges’ diary abstract).For further information about the Rev’d John Gibson, please see The Revd John Gibson Gothic Revivalist – An Extended Chronology by Philip J Wells. Condition report:All stones are present and secure. The top coral has been reset, with the collet setting a different colour (yellow metal as opposed to white metal to the other three). The pin is secure and works well. Gross weight - 20.9g.

APPROXIMATELY 170 LOOSE EARLY 20TH CENTURY AND LATER POSTCARDS mainly holiday greetings, topographical, architectural, three ships, birthday greetings, etc, predominantly GB (170)

Beattie (William) The Danube, Illustrated in a Series of Views taken Expressly for this Work by W. H. Bartlett, London and New York: Virtue & Co, 4to, full embossed calf gilt, AEG, engraved frontis and title page.Not collated. Some clear wear to the volume. Rubbing and bumping to the binding, with damage to the spine and guttering. Internally, there is foxing and some tearing in places, as well as ink and previous seller's inscriptions to front endpaper. The architectural and topographic engravings are generally in good condition, with some spotting around the edges of the sheets; please contact Chorley's if you require them to be formally collated.

Nicolas Dorigny (1658-1746)Psyches et amoris nvptiae ac fabvlaTen Mythological Scenes after Raphael, with title pagedepicting Venus, Cupid, and others in an architectural settingengraving37.5cm x 65cm Qty: 10 Clear wear to all artworks, including foxing, spotting and creasing, especially around the borders. Unframed.

A Victorian black marble effect wooden cased mantel clock. With an 8 day movement, pierced gilt metal dial with printed Arabic numerals, ormolu mounts and architectural features. L43cm x D18cm x H28cm

A contemporary two door pine wardrobe. Opening to reveal hanging area, raised over a single long drawer raised on a plinth base, with architectural cornice above. L113.5cm x D56.5cm x H202cm

An Elizabeth II silver openwork brooch, oval with a seahorse amongst weeds, sponsor's mark and retailer's mark of George Tarratt Ltd, hallmarked Birmingham 1955, designed and signed by "Geoffrey G. Bellamy"; together with two silver fob sporting medals (not inscribed); and a cased silver medal for architectural merit to "J.C. Cole...1922", the brooch 4.3cm long, 2.2.oz. (4)

A carved giltwood and gesso overmantel mirror, 19th century, of architectural form, the glass plate flanked by a pair of leaf-capped pilasters,98cm wide 122cm high