* German Nazarene School. The Coronation of Saint Nicholas of Tolentino, after Raphael, attributed to Joseph von Fuhrich (1800-1876), pencil on laid paper, 23.2 x 15.3 cm (9.2 x 6.1 ins), laid down on modern backing paper, hinge-mounted in modern window mount, inscribed in pencil to lower margin by Michael Jaffé 'Joseph Fuhrich (Keith Andrews)', (mount size 46 x 32 cm), together with Design for a stained glass window, attributed to Johan Anton Alban Ramboux (1790-1866), pencil on cream wove paper, depicting a saint in church robes holding a book and thin staff, within an arched surround, with landscape in the background, pencil annotations in German to right blank margin, sheet size 22.4 x 20 cm (8.85 x 7.9 ins), tipped-on to later grey backing paper, window-mounted, with two small strips of old backing card mounted below with further pencil inscriptions (one giving the name Palma Vecchio), and pencil attribution to the window mount by Michael Jaffé 'Ramboux cf. rare article in Wallraf-Richartz Jahrbuch'QTY: (2)NOTE:Provenance: Michael Jaffé (1923 –1997), art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.The first work depicts the lower portion of Raphael's early Baronci altarpiece, The Coronation of Saint Nicholas of Tolentino (1501), showing the saint standing within an arched architectural chapel, flanked by angels with the devil sprawled at his feet. This Nazarene drawing is almost certainly a copy after the version of Raphael's Baronci altarpiece commissioned in 1791 from the artist Ermenegildo Costantini (active 1776–1791) to replace the Raphael which was largely destroyed in an earthquake of 1789 (Copy of Lower Part of Raphael’s Coronation of Saint Nicholas of Tolentino, 1791, now in the Pinacoteca Comunale, Città di Castello) The present drawing may date from Fuhrich's time in Rome between 1827 and 1829.The pencil inscription in German to the right blank margin of the second drawing reads: 'Nasenflugel zu breit / Augen grossartiger / besonders das obere Augenlid / im .... breiter', translating as: 'side of the nose too wide / eyes greater / especially the upper eyelid / in .... wider'. Ramboux trained initially at the Munich Academy in 1815, and then resided in Rome for extended spells between 1817 and 1827, and 1829 to 1841. In 1844 he became curator of the Wallraf Collection at Cologne.
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* Gill (Edmund Marriner, 1820-1894). The Avon Gorge, St Vincent’s Rocks, the New Hotwell House and the abandoned piers and abutments of the Clifton Suspension Bridge. circa 1850, oil on canvas, signed lower left, 66 x 102 (26 x 40 ins), old Frost and Reed label to verso giving title as 'River Avon & St Vincents Rocks' and stock number (G83), antique-style gilt molded frame (82 x 119 cm), with gilt plaque to lower frame with artist's detailsQTY: (1)NOTE:Provenance: Osmond, Tricks, Regent Street, Clifton, Bristol, Tuesday 9th December, circa 1980, lot 451; Estate of Martin R. Davies, Bristol.To the right of the Clifton abutment, Brunel’s Swiss Cottage is carefully depicted. It was the 'site office’ for the Clifton Suspension Bridge project and its architectural style reflected Brunel’s earlier comparison of the dramatic landscape of the Avon Gorge with alpine scenery, specifically the Simplon Pass. The bridge was to be completed in 1864 as a memorial to the great engineer who died in 1859.
A late 19thC French slate mantel clock, the dial with black chapter ring bearing Roman numerals, eight day movement by L Marli and Ci, bell strike, the case of architectural form, with twin lion's head and ring handles, raised on claw and ball feet, with keys, 34cm high, 30cm wide, 18cm deep.
GODZILLA (1998) - Model Miniature Building Pieces and Fire Extinguisher - Model miniatures of building pieces and a fire extinguisher from Roland Emmerich's Godzilla. Despite Godzilla being brought to life primarily through CGI, much of the destruction that Godzilla wreaked on New York City buildings was created using model miniatures.This model miniature set consists of one section of the side of a building created in resin and acrylic painted gray and brown to resemble aged stone with sculpted architectural flourishes and rectangular windows, one of which still has a brown frame and shattered clear acrylic window in place; a smaller strip of a matching building section made of resin, and a red and white resin fire extinguisher with black embellishments. The window insert exhibits loosening and the model miniatures exhibit paint chipping and additional cracking beyond their production-made distressing. Dimensions: (largest) 17.5" x 14" x 3" (44.5 cm x 35.75 cm x 7.75 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
Jan Schreuder, Dutch 1904-1964 - #12, 1958; oil on canvas, signed, numbered and dated lower left 'JAN XII 58', numbered and dated differently on the reverse '#12 Diciembre 1956', 90 x 114 cm (unframed) (ARR) Note: Schreuder studied at The Academy in The Hague after which he moved to South American and founded the 'Iuadorea Art Centre' in Quito, Ecuador in 1952. The architectural quality of this work echos 1950s Modernism, harkening back to the legacy of his predecessors of the de Stijl's movement. Condition Report: Please refer to department for condition report
Daniel Pitín, Czech b.1977 - Friday Night, 2011; oil and collage on canvas, signed and dated on the reverse 'D. Pitín 2011', 99.6 x 124.4 cm (unframed) (ARR) Provenace: with Mihai Nicodim Gallery, Los Angeles (according to the copy of the original invoice); private collection, London, purchased from the above Note:Friday Night encapsulates Pitín’s ability to craft psychology charged architectural dystopias. As a leading artist emerging out of post-communist Eastern Europe, Pitín is known for producing multi-layered dark and melancholic theatrical scenes. His work was most recently been exhibited at a solo show titled ‘Time Machine’ at Nocodim Gallery, New York. Pitín’s work is held in several international collections including the Prague National Gallery, Fondazione Copola and Los Angeles County Museum of Art.
An Arts and Crafts enamel and pearl pendant attributed to James Cromar Watt, circa 1905, gold mounted, the central blister pearl collet set and suspended below scrolling motifs each set with translucent enamels, in closed back settings, with freshwater pearl highlights and pendant drops, suspended from an open wirework bale, unmarked, length 6.2cm. £1,000-£1,500 --- James Cromar Watt (1862-1940) was born and grew up in Aberdeen and in 1879 began his training as an architect with W & J Smith of Aberdeen. In the late 1880s he travelled in Belgium, Germany and Italy which inspired his love of Renaissance arts and crafts. On his return he rejoined W & J Smith, and qualified as an architect at the Architectural School of the Royal Academy, London. Watt continued his travels in the 1890s, spending time in Greece, where his love for decoration and craft skills deepened. In the course of his travels, he appears to have begun dealing in works of art, taking a particular interest in ancient metalworks. By 1896, he had resigned his architectural associateship to concentrate exclusively on his work with precious metals. He took a particular interest in developing his skills in the ancient techniques of gold granulation and translucent foiled enamelling, working firstly on large objects, then concentrating on jewellery. Inspiration came from contemporary artists, including Alexander Fisher and Phoebe Traquair. During the First World War, Watt was engaged on secret government work - the true nature of which has never been disclosed. He did not return to jewellery-making - apparently due to failing eyesight - and devoted most of his energies into working with the English architect and goldsmith Henry Wilson, a friend since at least 1905, together completing the bronze tomb of Bishop Elphinstone, co-founder of the University of Aberdeen. He was granted an honorary degree in 1931 by the University of Aberdeen. Watt assembled an important collection of ancient ceramics and artefacts, particularly from China and the Far East, including porcelain, jade, silk paintings, ivories, lacquer work, enamels and bronzes. After his death in 1940, his collection was divided between the Aberdeen Art Gallery and the Royal Scottish Museum. Literature: Charlotte Gere/Geoffrey C. Munn: Pre-Raphaelite to Arts and Crafts Jewellery, pub. ACC, 1996. Beatriz Chadour-Sampson/Sonya Newell-Smith: Tadema Gallery London Jewellery from the 1860s to 1960s, pub. Arnoldsche Art Publishers, Stuttgart 2021. Condition Report In overall good condition. The central mabé pearl of creamy colour with slightly rippled and textured surface. Light surface wear to the translucent and green enamels. Small scratched area to one edge, visible to the reverse, with associated small dark stain to edge of mount, possibly due to an earlier acid test. Gross weight 7.3gm.
LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An exceptional typescript MS, Le Corbusier, ten pages (separate leaves, typed to the rectos only), 4to, Paris, 1st March 1938 (although the place and date struck through in ink by Le Corbusier), in French. The working manuscript, with many holograph corrections, is titled Un Homme Chez Lui ('A Man at Home') and states, in part, 'C'est ici que la notion de liberte prend toute sa force. Au sein de cette organisation saine de la vie des hommes reunis en societe: "La Ville Radieuse", commandee par une discipline acceptee avec joie, la cellule d'habitation s'ouvre derriere une porte de logis. Et ici, la clef tournee, un homme est chez lui. Il est entre. Que fera-t-il? Ce qu'il voudra! Ce qu'il pourra.......Et il sera maitre de son destin, un un sens limite, bien entendu: celui de la libre expression de son imagination. Et nous trouverons alors, au pied du mur, ce terrible "Francais individualiste" dont les mechantes langues et les decides-a-rien-faire levent les fantomes innombrables a chacune de nos propisitions. J'avais mis en exergue a mon rapport sur l'urbanisation de la Ville de Moscou, en 1930, ceci: Je place comme pierre angulaire de toute urbanisation moderne le respect sacrede la liberte individuelle. On m'en avait voulu. Mais qu'importe!.......Cette gageure qui fut proposee dans "Urbanisme" en 1924 elle a ete meme: "La Ville Radieuse". Il existe desormais une doctrine d'equipement des villes dont la clef de voute est: soleil, espace, verdure, en chaque logis. En chaque logis! Voici donc ce que la societe moderne peut apporter a chacun de ses membres, par l'enterprise des grands travaux de readaptation des villes aux besoins d'une conscience nouvelle.......Une telle transformation dans la coupe du logis est une veritable revolution architecturale. Le logis devient une petite maison. Et que m'importe que ces petites maisons soient a dix, rangees les unes au-dessus des autres et qu'elles s'alignent innombrablement au long d'une "rue interienne": l'homme est entre chez lui, il a ferme la porte. Il a recu le choc de set amenagement architectural: grand et puis intime, et tout ce soleil, cet espace et ces verdures que cette reforme a precisement permis de capter. Je dis que cet homme desormais n'est plus jamais le chien battu qui hante les "boites locatives" de nos villes......cet homme chez lui a perdu le souvenir des lourdes tribulations que lui et sa famille ont vecu depuis toujours. Riche ou miserable, c'etait l'absence pour tous des "joies essentielles". Les "joies essentielles" sont apportees a la societe moderne par les techniques modernes, l'invitation urbanistique et la poesie de l'architecture. Ceci n'est pas d'utopie. Depuis 20 ans, des travaux limites ont ete accomplis, fixant les etapes constructives. Chez nous et ailleurs, par nous et par d'autres. Il existe deja des fragments - des jalons, des preuves - de "Ville Radieuse"......' (Translation: 'This is where the notion of freedom comes into its own. Within this healthy organisation of the life of men gathered in society: "La Ville Radieuse" (The Radiant City), governed by a discipline accepted with joy, the living cell opens behind a door of dwelling. And here, with the key turned, a man is at home. He has entered. What will he do? Whatever he wants! Whatever he can.......And he will be master of his destiny, in a limited sense, of course: that of the free expression of his imagination. And then we'll have that terrible 'individualistic Frenchman' at our heels, whose nasty tongues and decide to do nothing raise countless ghosts at every one of our proprieties. In my report on the urbanisation of the City of Moscow in 1930, I wrote the following: I place as the cornerstone of all modern urban development the sacred respect for individual freedom. People were angry with me. But never mind!.......This challenge, which was proposed in "Urbanisme" in 1924, was even called "La Ville Radieuse". There is now a doctrine for equipping towns and cities, the key to which is sun, space and greenery in every home. In every home! Here, then, is what modern society can bring to each and every one of its members, by undertaking the great work of readapting cities to the needs of a new consciousness......Such a transformation in the cross-section of the dwelling is a real architectural revolution. The dwelling becomes a small house. And it doesn't matter to me that there are ten of these little houses, arranged one above the other and lined up innumerably along an "internal street": the man has entered his home, he has closed the door. He received the shock of the architectural layout: large and then intimate, and all the sun, space and greenery that this reform made it possible to capture. I'm saying that this man will never again be the beaten dog that haunts the 'rental boxes' of our cities.......this man at home has lost all memory of the heavy tribulations that he and his family have always endured. Rich or miserable, it was the absence for all of the "essential joys". These "essential joys" are brought to modern society by modern technology, inviting urban planning and poetic architecture. This is not utopia. Over the last 20 years, a great deal of work has been done to define the constructive stages. Here and elsewhere, by us and by others. There are already fragments - milestones, proof - of the "La Ville Radieuse"......'). A rare manuscript of excellent content. A few minor tears and light creasing to the edges of some pages and the final page with a small area of paper loss to the lower left corner. GVille Radieuse (The Radiant City) was an unrealised urban design project designed by Le Corbusier in 1930. It constitutes one of the most influential and controversial urban design doctrines of European modernism.Le Corbusier's essay Un homme chez lui was published in Les Plans de Paris 1956-1922 in 1956.
Johann Baptist Beha (1815-1898), a mid 19th century Black Forest ebonised and boulle work cuckoo clock in arched architectural case with cuckoo door to the hood and enamelled Roman dial, original eight day movement with two bellows to the top and gong on the back door, 32cm wide, 20cm deep, 47cm high***CONDITION REPORT***Overall looks to be in good untouched condition, top of the case is rather matted and overall there is a rather dull finish but otherwise good, some tiny losses to the blue scrolls of the inlay to the lower front, dial a little dirty but otherwise good, minor nicks to the lower corners of the case, side doors look original and movement looks complete, with probably original small brass side catch to the back door, makers label to the inside of the door numbered 303. Not tested for timekeeping or operation but thought to be working.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Bothamley of Boston, a Regency brass inset mahogany hour repeating bracket clock in plain architectural ebony strung case, with painted Roman dial and brass ball feet, unsigned twin fusee eight day movement striking on a bell, 30cm wide, 17cm deep, 47cm high***CONDITION REPORT***Fair condition, looks to have seen some restoration a few years ago but now does have some faults, a small dent and one short split to the left side of the top, dial looks original but a little rubbed and dirty, a horizontal split running through the brass inlay to the front which has the outline of a winged bird that may well be later veneering, vertical splits to both sides, short splits in the back door, original lock fitted to back door with key, movement in good clean working condiiton but not tested for timekeeping.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An Edwardian golden oak eight day bracket clock in arched architectural case with fluted side columns, the arched dial with strike / silent and slow / fast selector dials, unsigned twin fusee movement striking on a single gong, 28cm wide, 19cm deep, 36cm high***CONDITION REPORT***Overall looks to be in good untouched condition, some slight fading to the top of the case and various dust and dirt marks, dial in very fresh bright condition, front door has original lock and working key, back door again with working lock but possibly later key, movement looks complete but not tested for timekeeping, comes with an associated winding key.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An Edwardian marquetry inlaid mahogany eight day chiming bracket clock in architectural case with cast brass finials, the arched brass dial with chime / silent, slow / fast, eight bells / Westminster subsidiary selector dials, probably German movement chiming on eight bells and striking on five gongs, unsigned but numbered 1471, 32cm wide, 27cm deep, 55cm high***CONDITION REPORT***Case looks to have been scrubbed clean at some point and now has a rather raw finish with small dents and abrasions showing throughout, both front finials are loose but present, some small patches to the top of the case, front door locks with working but possibly later key, dial oxidised especially the hands, fret work side panels probably later replacements, one with some breaks, back door with later lock and no key, lacks escutcheon, movement looks rather dusty and dirty but is going although not tested for timekeeping, comes with an associated winding key. Chain fusee.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Timothy Richards, group of three small architectural models, ' Rutland Square, Edinburgh ', ' Charles Dickens house, London ' and ' Reddish House, Salisbury 'reddish rouse - good condition 14cm x 11.5cm wide - Portland Square - balcony loose, 18cm tall x 9cm wide - 48 Doughty Street - has had various repairs, 10cm tall x 4.5cm wide
A 19th Century Dutch Mahogany and Marquetry-Inlaid Wall-Mounted Display Cabinet, inlaid with trailing flowers and leaves, with a moulded architectural pediment above a central glazed door enclosing three oak shelves, all between canted sides with moulded glass panels108cm by 24cm by 108.5cmThe pediment has been reattached, free from any notable damage, with some veneer bubbling, the main cabinet in good overall condition, with functioning lock, door opens and closes squarely, some minor veneer chips and minor splits, general wear.Dimensions, 108cm by 24cm by 108.5cm Depth and height of shelves - 18cm deep, bottom shelf 19.5cm, 15cm, 15cm, 21cm
Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662)"David and Bathsheba"Oil on canvas. 152.2 x 189 cm.Published in the catalogue of the exhibition "Imágenes de un siglo. Luces del barroco. Pintura española del siglo XVII"(Images of a Century. Lights of the Baroque. Spanish Painting of the 17th Century), which took place at the University of Salamanca in 2006.Born in Antwerp, a fact which is documented in his will, Juan de la Corte probably trained in Flanders but developed his career mainly in Spain, especially at the Court in Madrid. As indicated in the exhibition catalogue: "His activity for the Crown of Spain, which continued from 1615, focused mainly on the Buen Retiro Palace, for which he made more than 50 paintings, of which almost all are lost according to the royal inventories."Regarding his favourite themes, Juan de la Corte himself, as reported by the Prado, confessed that he "focused on 'architecture, battles, and countries,' genres in which he was highly valued by his contemporaries." Specifically, the "proliferation of architectural perspectives" is a prominent aspect of his work, which can be seen by taking a visual stroll through the artwork we have here.It is interesting to note that, as the catalogue states, the biblical and historical paintings of Juan de la Corte generally form part of series, some of which have King David as the protagonist, one of the most iconographically rich characters of the Old Testament, as in the case of this painting.In the same collection as this painting, there is another signed by Juan de la Corte depicting David defeating Goliath, and the same subject is developed in another canvas, dated 1639, that is in a private collection. In their catalogue of the artist's work, Ángulo and Pérez Sánchez also recorded a depiction of David and Bathsheba on the throne which was in the Buen Retiro and would also have been part of a series dedicated to the biblical king.As they continue to describe in the aforementioned catalogue:"The scene we see here shows the moment when David observes Bathsheba, the wife of General Uriah, bathing in the garden as narrated in the Book of Kings (11.11,2-5). David fell in love with her and ordered her husband to fight in the most dangerous place on the battlefield, thus making sure he was killed. The prophet Nathan later reproached the king for his adultery, telling him that he would not escape the wrath of God, even if he repented. Generally, the scene takes place outdoors, in a garden where Bathsheba washes her feet in a basin or pool while being attended to by her maidservants. In this depiction, Juan de la Corte adheres to the conventional iconographic model, although he undoubtedly distinguishes himself from most Spanish painters of his time by portraying Bathsheba almost naked, covered by veils or semi-transparent cloths. One of her maidservants combs her long hair, and another brings her a tray with a pearl necklace, while from one of the windows of his palace, on the left, King David attentively observes the scene.In the case of this painting, the architecture and landscape in which the painter has placed the scene is also remarkable, giving us the chance to appreciate a good example of a Spanish garden from that time.Juan de la Corte tended to frame his scenes in architectural backgrounds, frequently taken from prints by artists such as Vredeman de Vries and Cornelis Galle. Examples of the former served as models for his garden scenes."Bibliographical references:- "Imágenes de un siglo. Luces del barroco. Pintura española del siglo XVII". Salamanca, 2006.- Museo del Prado. (s.f.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda
Attributed to Paul Vredeman de Vries (Antwerp, 1567 - Amsterdam, 1617)"Interior of a Cathedral"Oil on panel.81 x 99 cm.Paul Vredeman de Vries was an important Flemish painter specialising in architectural scenes, particularly interiors of churches.His artistic career was closely linked to that of his father, the painter and engineer Hans Vredeman de Vries (1527-1607). He trained with him, as his interests as a painter lay in perspective and his father mainly painted architectural scenes. Together, they completed large assignments.He worked in Danzig from 1592 to 1595 where his father was employed in the design of defensive works.He worked in Prague from 1596 to 1599 where he painted the ceilings and the reception rooms of Emperor Rudolf II’s castle. In 1600, he settled permanently in Amsterdam. During this time, he created paintings of architecture, gardens, and church interiors.His style is characterised by delicate and meticulous ornamentation, superb treatment of perspective, and poetic vision.In addition to collaborating with his father, he worked with other artists such as Frans Francken the Younger, Jan Brueghel the Elder, Dirck de Quade van Ravesteyn, Pieter-Franz Isaaksz, and Adriaen van Nieulandt.In summary, Vredeman de Vries created unique compositions that merged biblical narratives with architecture and decorative elements characteristic of the Netherlands, often collaborating with other prominent painters.
(Caroline Fox and Davies Gilbert) Royal Cornwall Polytechnic Society. A granderised collection of the first reports thought to be Caroline Fox's own. First annual report 1833 to the fifth annual report 1837, in one volume, with extra bound in letters, original sketches, plans, architectural drawings, etc, full pebbled red calf, rubbed to extremities and joints, 4to, gilt edge, vg, Jane Trathan, Falmouth, 1833-1837.First bound letter (MS) with the title "First Prospectus of the Falmouth Polytechnic Society, in the Spring of 1832" detailing the society's aims and objectives, with a list of lead members; this appears to be in the hand of Davies Gilbert himself, using examples from the Science Museum, the close top of the capital 'I' for instance, and the angularity of the lower case letters firmly suggest it is, without it being signed; Followed by (as a frontis) an original ink and wash portrait of Davies Gilbert and indeed flat signed by Gilbert.'Report of the Cornwall Polytechnic Society 1833,' List of Members, Laws of the Society, proceedings of the General Meeting, bound in watercolour sketch of a Cornish mine, an ink and wash sketch of 'Loss of the Prince of Wales, 1804', ink sketch 'Park of Whitby Abbey', prizes awarded, watercolour still life of flowers initialled RJ 1833, list of subscribers, watercolour plan of a greenhouse, Chart of Gothic Architecture, ink and wash sketch titled 'A Method of Ventilating Mines'.'The Second Annual Report of the Cornwall Polytechnic Society 1834,' watercolour portrait of a bearded man with a large ruby on his hat, 'A Mineralogical Sketch of the Island of Banca' (Bangka Island, Indonesia), a ground plan of Ashfield estate, engraving of a Dipping Needle Deflector, ink sketch of a Hydrostatic Lock, ink and watercolour chart on Cornwall, engravings of the 'Cheese Wring' in Bodmin, engraving of The Royal Academy Medal 1837.'The Third Annual Report of the Royal Cornwall Polytechnic Society 1835,' ink sketch of the Polytechnic medal, ink sketch of Laocoon and Sons, watercolour Jack Knife, , engraving of a ruined abbey, engraved portrait, watercolour coastal scene, ink sketch of capital punishment in a schoolroom, 'Lines of equal magnetic inclination' map of the Uk and Ireland, 'Two Treaties on the Natural History of the Pilchard' by Jonathan Couch, meteorological diagrams (x2) with a fold out engraved '...Register Kept at Ashfield near Falmouth...1835', a fold out engraved chart titled 'A Chronological Chart of the Wars of the British Empire, From the Revolution in 1688-9 to 1855', four architectural plans for The Royal Polytechnic Hall, Falmouth.'The Fourth Annual Report of the Royal Polytechnic Society 1836,' newspaper clipping of a general meeting, watercolour of seaweed specimens, still life of flowers x2, engraving of Queen Victoria.'The Fifth Annual Report of the Royal Cornwall Polytechnic Society,' hand drawn magnetic chart of the UK and Ireland by Robert W. Fox, hand drawn magnetic chart of the Atlantic, ink sketch of crows, ink sketch of knights, an original hand drawn map signed by Edwin Fox and titled 'Recent discoveries in the Artic Regions by Parry, Franklin, Ross and Buck', graphite sketches of models of Trewethey Stone and Dungerthis Monument, a linear map between Falmouth and Truro with detailed key, watercolor botanical sketch.The work concludes with a letter written in the same hand as the first, detailing the rise of three other 'Polytechnics' since the inception of the Falmouth Society; and a printed announcement for the 'Sunderland Polytechnic Society', 1838.This is a work of huge historical significance concerning the development of science and art, which propagated from the inception of the Falmouth Polytechnic Society and was indeed granted Royal patronage from King William IV in 1835. A singular and important work. John Stengelhofen (1939-2020). Coming from London, he trained as an architect in the meticulous modernist aesthetics of the mid-century Architectural Association. He found Cornwall, moved there and never left. Active in the early years of the Trevithick Society, he was primarily responsible for the introduction of the Society’s Journal in 1973. He left mainstream architecture in the County Architects's department to pursue academic research at the newly-established, Institute of Cornish Studies, establishing himself as a generous, but authoritative lecturer on Cornish industrial archaeology along the way. He used his architectural skills to design Wheal Martyn China Clay Museum, then becoming its first Director in 1975. He moved to the National Maritime Museum in charge of their outstation at Cotehele, with the Tamar sailing barge Shamrock. During his period as President of the Royal Institution of Cornwall, 1984-1986, he had a major hand in the acquisition of the adjacent premises enabling the Royal Cornwall Museum to expand. He co-founded Twelveheads Press in 1978 to publish well-researched books on Cornish and other industrial history. Always generous with both skills and information, he was active in the Cornish Buildings Group for fifty years where he made a substantial contribution to the quality and protection of the built environment of his beloved Cornwall. Latterly he returned to his love of modern design, in the form of research into twentieth century Cornish architecture and architects, and produced as a last collaborative project, a visionary, affordable development in Hayle with impeccable eco credentials, where he made his home.
Religion in Cornwall. Nine works. 'The Cornish See & Cathedral. Historical and Architectural Notes,' second edition, original red cloth with gilt decorations and lettering, ex libris label, later uniform library dj, frontis, pp.93, vg, Heard and Sons, Truro, [c.1887]; 'Historical Sketch of the Parish of Saint Neot...Including the Life of Saint Neot, Together with a Description of the Parish Church and its Windows, and the Ballad of Tregeale,' original pebbled cloth with gilt lettering to front board, gutta percha perished with detached text block, toning to endpapers, good to vg, W. A. Axworthy, Paignton, 1894; Bernard Walke. 'Twenty Years at St. Hilary,' third edition, original cloth, later dj, vg, Methuen & Co, London, 1936; 'The Sermons Preached at the Cathedral, Truro. During the Octave of the Jubilee of the Consecration November 3rd-10th, 1937 with Other Records,' original cloth vg, [1938]; With five other works. (9)John Stengelhofen (1939-2020). Please see lot 1 for provenance.
Arthur William Lancelot Brewill (1861-1923) and Basil Edgar Baily (1869-1942) Architectural plans for The Hedgehog Inn, Canal Street Nottingham & The Wesleyan Church, Balderton Hand-drawn and coloured containing descriptions and signed by the architects, The Hedgehog Inn plan dated 1896. Each 45cm x 62cm.
RUSKIN, John. 'The Stones of Venice,' Three volumes bound in one, half polished calf with marbled boards, splitting of joints to head of backstrip, toning throughout as expected due to cheap paper, plates, good, John W. Lovell Company, New York, n.d.An interesting copy of Ruskin's monumental work that not only explores the architectural history of Venice, but also delves into broader themes of art, society, and the human spirit.
Charles Baily (10 April 1815 – 2 October 1878) Architectural Drawings for JW and H Branston Malthouse, Spital Lane, Newark Eleven individual sheets, dating from 1873-1874, each depicting the brewery premises exterior and interior, plans consisting of:Brewery Premises (exterior overview); Block Plan of New Maltings showing Drains; Plan of Foundations; Plan of Bottom Working Floor; Plan of Middle Floor, Malt Store and Garners; Plan of Top Working Floor and Kilns; Plan of Finished Roofs; Elevation Next Siding; Section thro: A,B,C, D, E, F, G and H; Columns Carrying Wrought Bearer of Gangway Across Court; and Block Plan showing Proposed Sidings. Most sheets signed by the architect and putting his address as 16 Marketplace, Newark-on-Kent. Each sheet measuring 64cm x 97cm. A superb example of Victorian industrial achitectural drawings. The Brewery Premises sheet and sheet 8 both of substantial tears which would benefit from stabilizing. Some accretions on other pages and tears to the peripheral areas, but illustrations are in good order.
C R Ashbee interest, a personal copy of G F Watts book, from the library of C R Ashbee, given in 1905 by Alec Miller, with a letter by MillerNote: Glasgow born Miller worked at the Guild of Handicraft under Charles Robert Ashbee from 1902 until the dissolution in 1908, as head of the woodcarving and modelling division, after which he joined Will Hart in setting up Miller and Hart Architectural Sculptors and Carvers
Architectural interest, a J. Halden & Co Ltd Manchester presentation case of drawing instruments, circa early 20th century, with lift out top section velvet lined containing twenty-three electrum and ivory instruments, electrum instruments marked E.E. James and ivory marked Halden, the second lift out tray containing measuring tools, contained within a mahogany case and plush-lined lid with engraved plaque 'E.E. James', 10.5cm high, 37cm wide, Ivory Act Exemption Certificate Number W796LK5Q
Architectural interest, a J.A. Reynolds case of drawing instruments, circa early 20th century, with lift out top section velvet lined containing electrum and ivory instruments, contained within an oak case and plush-lined lid with engraved plaque 'H.L. Roberts Birmingham March 19th 1907', 9cm high, 37cm wide, Ivory Act Exemption Certificate Number 6EHJAZGS
Pair of Arts & Crafts unusual garden planters, cast iron bases and architectural metal upper sections (some minor damage). Measuring 103cm high x 55cm wide appx. This pair match a much larger example of similar design that we are selling under lot number 1526, from the same large private residence. (2) One off base due to cracking & Cold conditions.
Kensington School, early 20th century study of Geoffrey Chaucer from an Architectural Stone Carving. The subject is carved with Chaperon Hood within elaborate cartouche. Blind Stamp 'ESK' lower left (Examined South Kensington). Size incl. frame: 47.5cm Width: 39.7cmFoxing and marks are to the interior of glass and mount. The paper is in good condition.
CHINESE CARVED HARDWOOD COFFEE TABLE, AND AN EASTERN FOLDING TABLE the rectangular tabletop carved with a scene of figures amongst trees and architectural features, with glass top and on curved supports, along with a folding table, the octagonal top carved with foliate designsthe Chinese table 109cm wide Qty: 2
Thomas, Cecil Walter (British, 1885-1976); b. London ENGLAND, The Royal Institute of British Architects, 1919, a silver award medal by C.W. Thomas, decorated column supported by two lions, rev. named (Board of Architectural Education, Awarded to Elie Mayorcas, School of Architecture, Architectural Association, London, 1932), 89mm, 296.66g (cf. BM Acq. 1978-82, p.87, 156). Extremely fine; in green fitted case of issue by Cecil Thomas, 7 Gloucester Terrace, Sth. Kensington, S.W. £200-£300 --- Provenance: J. Spencer Collection, DNW Auction M12, 30 May 2012, lot 9 Elie Mayorcas (1908-95) was a prominent member of the ‘Festival of Britain’ generation of architects who came to the fore in the 1950s.
Ramshaw, Wendy Anne Jopling (British, 1939-2018); b. Sunderland ENGLAND, The Millennium Experience, 1999/2000, a mixed media openwork stainless steel and nanocrystalline diamond VIP medal with a central shaft in gold by Wendy Ramshaw for the New Millennium Experience Co, abstract clock-face inspired by architectural drawings for the Dome, Greenwich, the central shaft representing the Meridian line, 73mm, 35.38g (The Medal 37, pp.132-3). Mint state, very rare; in original magnetic grey plastic holder/display mount [made from recycled yoghurt pots] with descriptive information on an internal chrome-plated steel disc £150-£200 --- Provenance: bt Simmons, November 2002 These multi-level die-cut medals were given to visiting heads of state, VIPs and executives of the New Millennium Experience Co. Analysis of the gold in this medal has shown it to be 14ct. The New Millennium Experience Co was established in February 1997 and funded by income generated by the National Lottery. After a number of cases of alleged fraud and a pursuant review of its operations, the NMEC entered voluntary liquidation in December 2001.
GUILLIM (John): 'A Display of Heraldrie: manifesting a more easie accesse to the knowledge thereof then hath beene hitherto published by any, through the benefit of method, whereinto it is now reduced by the industry of Joh. Guillim purseuant of armes...': FIRST EDITION, 2nd issue: London, printed by William Hall for Raphe Mab., 1611: title page within architectural woodcut border (laid down and with some losses to foreedge, a few early ink markings at head): numerous woodcut armorials, a few full page, many with early hand colouring: colophon dated 1610, 2 or 3 leaves with long closed tears, scattered minor stains and smudges but a good copy overall, 19th century vellum covered boards with black morocco label, edges red, small folio: together with a 1679 edition of the same work, some leaves repaired, plate of Lord Belasyse not present but 3 plates not called for by Lowndes bound in, contemporary blind ruled calf boards sometime rebacked, folio. (2)
Foster (Norman). Catalogue Foster and Partners, 1st edition, Munich: Prestel, 2005, numerous colour illustrations, original cloth in acetate dust jacket, jacket slightly discoloured, large 4to, together with;Jodidio (Philip), Zaha Hadid: Complete Works 1979-Today, 1st edition, America: Taschen, 2020, original cloth in dust jacket, as new in original plastic wrapper, large 4to, plusNash (Eric P.), Manhattan Skyscrapers, 1st edition, New York: Princeton Architectural Press, 1999, numerous colour and monochrome illustrations, some light marginal toning, original cloth in dust jacket, large 4to, and other modern architecture reference, mostly original cloth in dust jackets some original wrappers, Large 4to/ 8vo, G/VGQTY: (4 shelves)
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