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PIRANESI, Giovanni Batista(1720 Venedig - 1778 Rom) Ansicht der antiken Ruine eines römischen BauwerksRadierung. In der Platte signiert "Cavalier Piranesi F". Druckplatte: 43 x 65 cm. Gerahmt & hinter Glas : 62,5 x 82,5 cm. Ansicht der antiken Badeanlagen, der Caracalla-Therme in Rom: "Rovine del Sisto, o sia della gran sala delle term Antoniniane"; aus "Vedute di Roma". Bugfalte, etwas stockfleckig. Italienischer Kupferstecher, Archäologe, Architekt und Architekturtheoretiker; seine Meisterwerke gelten bis heute als Standard für Architekturgrafik. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:05 Uhr (CET) PIRANESI, Giovanni Batista(1720 Venice - 1778 Rome) View of the ancient ruin of a Roman buildingEtching. Signed in the plate "Cavalier Piranesi F". Print plate: 43 x 65 cm. Framed & behind glass : 62.5 x 82.5 cm. View of the ancient baths, the Baths of Caracalla in Rome: "Rovine del Sisto, o sia della gran sala delle term Antoniniane"; from "Vedute di Roma". Buck crease, some foxing. Italian engraver, archaeologist, architect and architectural theorist; his masterpieces are still considered the standard for architectural graphics. Call time 26 | Oct 2023 | expected 17:05 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

 Undeutlich signiert: Architektonische Darstellung eines klassizistischen BauwerksFarblithografie. Bleistiftsignatur. Exemplar: 5/75.Druckplatte: 40 x 60 cm. Gerahmt & hinter Glas : 64 x 82 cm.Nachtrag 21.10.23: Es handelt sich um den Künstler Peter Paul (1943 - 2013) Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:08 Uhr (CET) Indistinctly signed: Architectural depiction of a classicist buildingColor lithograph. Pencil signature. Copy: 5/75.Print plate: 40 x 60 cm. Framed & behind glass : 64 x 82 cm. Call time 26 | Oct 2023 | expected 17:08 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) "Don Quichotte"Siebdruck. Im Druck signiert. Hinter Glas : 50 x 35 cm. In französischer Sprache beschriftet "Il faut le battre contre des moulins! Il faut renverser Troie...il fait être cheval ou fiacre tous les jours! 6 octobre 53, Bon Courage! Votre L-C". Schweizerisch-französischer Architekt, Architekturtheoretiker, Maler, Bildhauer und Möbel-Designer; gilt als einer der einflussreichsten Architekten des 20. Jahrhunderts - 17 seiner Bauten gehören seit 2016 zum UNESCO-Welterbe. Aufrufzeit 26. | Okt 2023 | voraussichtlich 18:39 Uhr (CET) LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) "Don Quixote"Silkscreen. Signed in print. Behind glass : 50 x 35 cm. Inscribed in French "Il faut le battre contre des moulins! Il faut renverser Troie...il fait être cheval ou fiacre tous les jours! 6 octobre 53, Bon Courage! Votre L-C". Swiss-French architect, architectural theorist, painter, sculptor and furniture designer; considered one of the most influential architects of the 20th century - 17 of his buildings are UNESCO World Heritage since 2016. Call time 26 | Oct 2023 | expected 18:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

WOLTZE, Peter(1860 Halberstadt - 1925 Weimar) Stadtmauer mit Teich im SonnenscheinAquarell. Rechts unten signiert. 1916. 49 x 40 cm. Gerahmt : 59 x 50 cm. Blick über den Teich zur Burganlage hinter der Mauer. Architekturmaler in Weimar, studierte in Weimar, Karlsruhe, München, Venedig und Rom. Literatur : Thieme/Becker. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:39 Uhr (CET) WOLTZE, Peter(1860 Halberstadt - 1925 Weimar) City wall with pond in the sunshineWatercolor. Signed lower right. 1916. 49 x 40 cm. Framed : 59 x 50 cm. View across the pond to the castle complex behind the wall. Architectural painter in Weimar, studied in Weimar, Karlsruhe, Munich, Venice and Rome. Literature : Thieme/Becker. Call time 28 | Oct 2023 | expected 17:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Architekturmaler: Toreingang einer BurgÖl/Leinwand/Karton. Unsigniert. Ende 19. Jh. 31 x 35 cm. Gerahmt : 44 x 49 cm. Blick durch den Durchgang des Torhauses hinunter zu einem weiteren Torbogen an einem hellen Tag. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:49 Uhr (CET) Architectural painter: Gate entrance of a castleOil / canvas / cardboard. Unsigned. Late 19th c. 31 x 35 cm. Framed : 44 x 49 cm. View through the passageway of the gatehouse down to another archway on a bright day. Call time 28th | Oct 2023 | probably 17:49 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Emaildose mit Schwarzlotmalerei. 18. Jh., wohl Frankreich. Grisaillemalerei auf hellem Fond, vergoldete Kupfermontierung. 3,5 x 9 x 5,5 cm. Quaderdose mit leicht geschwungenen Seiten und stark gewölbtem Scharnierdeckel. Allseits und im Deckel Architekturdarstellungen, teils mit Staffage. Berieben, 1 Abplatzer alt verfüllt, leicht krakeliert. Aufrufzeit 25. | Okt 2023 | voraussichtlich 16:07 Uhr (CET)Email box with black solder painting. 18th century, probably France. Grisaille painting on light background, gilded copper mount. 3.5 x 9 x 5.5 cm. Quader box with slightly curved sides and strongly curved hinged lid. On all sides and in the lid architectural representations, partly with staffage. Bnished, 1 chipping old filled, slightly crackled. Call time 25 | Oct 2023 | expected 16:07 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

 Laternenuhr. Frankreich. 2. H. 19. Jh."R & Co. Made in Paris" gemarktes Vollplatinenwerk mit Ankergang und Handaufzug. Läuft nicht. Großes, floral graviertes Zifferblatt mit römischen Zahlen, Minutenkranz und vierpassigen Eisenzeigern.Bronze/Messing, vergoldet. H 24,5 cm. 1604 g. Architektonisches Gehäuse im Barock-Stil, offenes Kuppeldach mit großer Metall-Glocke und durchbrochen gefertigten, teils gravierten Zierblenden, auf 4 Kugelfüßchen. Wohl als Export-Artikel gefertigt. Teils berieben.Aufrufzeit 25. | Okt 2023 | voraussichtlich 18:47 Uhr (CET) Lantern clock. France. 2nd h. 19th c."R & Co. Made in Paris" marked full plate movement with anchor escapement and manual winding. Does not run. Large floral engraved dial with Roman numerals, minute ring and four-pointed iron hands.Bronze/brass, gilt. H 24,5 cm. 1604 g.Baroque-style architectural case, open domed roof with large metal bell and openwork, partly engraved decorative panels, on 4 ball feet. Probably manufactured as an export article. Partially rubbed.Call time 25 | Oct 2023 | expected 18:47 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A pair of richly sculptured and architectural, woodsculptured and patinated panels. Circa 1920.Dimensions: (W:62 x H:315 cm)

LUKE ADAM HAWKER, FILLED WITH LIGHT pen, ink, etching ink and oil paint on card album cover, signedNote: this lot includes a signed copy of Luke's best-selling book 'The Last Tree'31cm x 31cmLondon based artist Luke Adam Hawker specialises in drawing on location, working in Pen & Ink, his observations over hours and sometimes days enable the collective layers of the drawing to capture a sense of motion and dynamism, where the frenetic energy of the living breathes life into the surrounding architecture. Through combining his architectural training and draftsmanship with a curious, spontaneous line, Luke creates emotive imagery, truly capturing a sense of place and our position within it. After Graduating from University Luke begun his design career in London, the transition from designer to full time artist was gradual but inevitable. Over recent years Luke has grown a loyal audience across social media, now with over 200,000 followers. Instagram: lukeadamhawker

INKTERAKTIV, LINES CHAOTIC paper on card album cover, signed31cm x 31cmINKTERAKTIV, aka Caro Clarke is a London based Urban Paper Artist. She works mostly with fluorescent paper strips using paper quilling techniques, and playing with paper and light. Born in Paris, France in 1976, she has spent most of her life travelling, finally settling in London in 2006. Following a degree in Art History & Fine Art with an emphasis on paper, bookbinding and packaging, Caro went on to receive a BFA in Graphic Design & Photography from SCAD (Savannah College of Art & Design) in 1998. 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 and her own travels as well as her love for neon lighting, typography, architecture and geometrical patterns. Instagram: inkteraktiv

THE LONDON POLICE, A DOG WITH LYRICS permanent marker on card album cover, signed31cm x 31cmThe London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Hollands capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing traveling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world... Instagram: thelondonpolice

λ&nbspJOHN PIPER (BRITISH 1903-1992) URBAN READING Watercolour, ink and gouache Signed (lower centre) 63 x 56cm (24¾ x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with lot the previous lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Urban Reading, with its mix of red brick Victorian architecture and earlier Bath stone archway. The chimneys in the distance represent the iconic Huntley and Palmer's biscuit factory which, until production ceased in 1976, was a significant part of Reading's economic life. By contrast, the landscape creeping in at the left hand side hints at the town's rural connection and wider situation in the Berkshire landscape. The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum.  Condition Report: Executed on white wove paper, with two strips of additional paper joined with tape at the top and bottom of the sheet as per the original condition. The sheet is later taped to the overmount along each edge and there are remnants of old hinging tape at points along each edge. The sheet has discoloured slightly verso. There are multiple artist's pinholes to each corner, the one at the lower right corner has become enlarged over time. There is a short 1.5cm tear to the sheet running off the edge, three quarters of the way down the left hand side. There is some light undulation to the sheet. Otherwise, in good original condition. Framed under glass. Condition Report Disclaimer

λ&nbspJOHN PIPER (BRITISH 1903-1992) RURAL READING Watercolour, ink and gouache Signed (lower left) 66.5 x 56cm (26 x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with the next lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Rural Reading. The blue running through the centre of the composition represents the importance of the Kennet and Thames rivers on which the town is situated. The foreground is adorned with bulrushes and snake's head fritillaries, both of which are common along the river banks.The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum.     Condition Report: Executed on white wove paper with two additional strips of paper added at the top and bottom and taped verso as per original condition. The sheet has then been later taped to the overmount along each edge verso. Remnants of further old tape also visible verso. There are two artist's pinholes to the upper corners and one to the centre of the lower edge. A few faint horizontal creases running across the work, visible mostly in a raking light and a couple of very small flecks of paint loss to one of the creases just below the centre of the upper edge. Otherwise, in good original condition, the colours very vibrant. Framed under glass. Condition Report Disclaimer

Attributed to Maynier et Pinçon, a fine Art Deco multi-gem-set and enamel brooch, circa 1925, designed as a spray of flowers, leaves and berries, within a scalloped circular frame on a horizontal bar, set with circular-cut diamonds, outlined in black enamel, and accented with cabochon rubies, sapphires and emeralds, mounted in platinum, length 6.5cm, French assay mark for platinum, partial French maker's marks for Maynier et Pinçon, caseMaynier et Pinçon were based at 10, Rue Castiglione in Paris, and were one of the capital's most prestigious jewellery workshops. Later known as the training ground of the jeweller Pierre Sterlé, jewels made by Maynier et Pinçon appeared in the cabinets of Boucheron, Linzeler et Marchak and Marzo at the seminal 'Exposition Internationale des Arts Decoratifs et Industriels Modernes', which took place in Paris in 1925. The abbreviation of the fair's rather long title gave its name to the bold new aesthetic that was reflected in the jewels and objects exhibited there, as well as their architectural surroundings - 'Art Deco'. Though it is widely reported that Maynier et Pinçon produced important jewels for these famed jewellery houses in the mid 1920s, documented examples of the workshop's jewels are extremely scarce, making this extraordinary jewel an exciting rediscovery from one of the unsung heroes of Art Deco jewellery, made at one of the great turning points in jewellery design history.The combination of carved or cabochon rubies, sapphires, emeralds and diamonds with accents of black enamel was a defining 'Art Deco' jewellery design aesthetic of the mid 1920s, and can be seen in designs by Cartier, Lacloche Frères, Mauboussin, Boucheron and Marzo, often used for stylised, geometric depictions of flowers and birds. Cf.: Pierre Contreau et al., Le Grand Négoce, organe du commerce de luxe français: Exposition des arts décoratifs 1925, Paris, 1925, pages 11, 19, 29 and 35, for stylised floral jewels of comparable style and technique exhibited at the 1925 fair by Mauboussin, Boucheron, Lacloche and Marzo. Cf.: Laurence Mouillefarine and Véronique Ristelheuber, Lacloche Joaillers, Paris, 2019, p.168-9 and 183 for additional mid 1920s jewels by Lacloche of comparable design, and p.265 for a later platinum, ruby and diamond bracelet later made by Maynier et Pinçon for Jacques Lacloche in 1938.

A late 19thC German oak cased mantel clock, square brass dial with foliate spandrels, silvered chapter ring bearing Roman numerals, Junghans eight day movement with coil strike, the case of architectural form, with pendulum, no key, 37cm high, and 27cm wide.

A 19thC Continental parcel gilt architectural pediment, carved with cherubs and rococo scrolls, 29cm x 58cm.

A pair of Timothy Richards plaster architectural bookends, modelled as the Baden Baden Theatre and Opera House, 17cm high. (AF)

Five 19thC gilt wood architectural elements, each with foliate carving.

A late 19thC Hamburg American Clock Company walnut cased mantel clock, circular brass dial with enamel dial bearing Arabic numerals, eight day movement with coil strike, the case of architectural form, with pendulum and key, 38.5cm high, 26cm wide.

A late 19thC French slate and green onyx mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, thirty hour movement, the case of architectural form, with pendulum and key, 31cm high, 28cm wide.

A French 19thC gilt wood architectural element, carved with a bust of a gentleman within a shield and foliate scroll mount, 30cm wide.

A Victorian mahogany bracket clock, by W Greenwood, Leeds and Huddersfield, circular silvered dial bearing Roman numerals, eight day movement with coil strike, the case of architectural form, with brass finials and fluted quarter pilasters, fabric backed grilles to the front and sides, raised on brass bun feet, with pendulum, no key, 42cm high, 25cm wide.

WILLIAM STRANGE KINGSTON 12-INCH SQUARE DIAL LONGCASE CLOCK, the dial having pierced gilt spandrels and silvered chapter ring, set with Roman numerals, subsidiary seconds dial and date dial before a twin weight pendulum driven bell strike movement (pendulum and weights included), within a reproduction oak case, architectural capped hood with single glazed door, joined oak style four-panel long trunk door, on a carved corbel stepped base, 217cms H, 48cms WProvenance: private collection Denbighshire

Oak cased desk top perpetual calendar, architectural top and plinth base, 27x19cm, working and another similar beeahc cased calendar, 25x16cm, working.Qty: 2

Walnut cased desk top perpetual calendar, architectural top, plinth base, 33x26cm, working.

Black marble mantel clock, enamelled chapter-ring, visible escapement, French eight-day cylinder movement, signed, but concealed by sixth bell, plain architectural casing, slight breakfront form, 38cm. Description amended 15.33, 22/09/23 Condition report:This is not French, movement is by Hurt & Wray, Birmingham. Winds, ticks and strikes correctly but we haven't ran it for a long time to see about gain/loss, case is in good condition, dial cracked at 9. Additional images have been uploaded to the lot page on our website for you to view.

Julian Chichester Agostino Mirror adds instant architectural interest to any wall. It has a bevelled frame with a reeded detail in antiqued brass with distressed mirror plate finish 200 x 100cm  (Apt 16)

A Russian niello silver case84 zolotniki mark, assay master Viktor Vasilyevich Savinsky, 1863 date mark, the reverse with an architectural niello work landscape, opening to a gilt interior,11.5cm wideCondition ReportSlightly dented. Wear to the gilt interior. Minor losses to the niello decoration around the engraved initials to the front.

Four Italian style wooden architectural panels

Framed architectural interest engraving depicting the Claustro del Monasterio de Lupiana

19th Century walnut veneered mantel clock set in an architectural type case

A METTLACH, VILLEROY & BOCH STONEWARE TOBACCO JAR, decorated with Gothic revival architectural elements throughout base and cover, crown like finial, the base having applied relief figures of pipe smokers and similar motifs, model number '116' to the base within an applied cartouche, with photographs of the jar and other paperwork (1 + wallet of photographs) (Condition Report: appears in good condition, no obvious damage, some minor fairing faults to applied decoration, gilding worn on finial)

Pevsner, Nikolaus - A collection of The Buildings Of England series architectural guides, two boxes. [2]. [W]

19th Century, British School, oil on canvas, Sailing boats before an architectural backdrop, damage to the canvas, 31cm x 51cm overall

ARCHITECTURAL GARDEN WALL MIRRORS, a set of three, aged white painted frames, 76cm x 42cm. (3)

ARCHITECTURAL WALL MIRRORS, set of three, 112cm high, 48cm deep, regency style, aged white painted metal frames (3)

ARCHITECTURAL GARDEN FRAMES, a set of three, 160cm high, 67cm wide, Gothic style, aged metal. (3)

ARCHITECTURAL GARDEN MIRRORS, 60cm H x 32cm W, a set of four, Regency style, arched metal frames, aged finish. (4)

ARCHITECTURAL WALL MIRRORS, 160cm high, 67cm wide, set of three, Gothic style arched design aged painted, metal frames. (3)

Turkish Yuruk indigo ground rug, the field decorated with geometric architectural designs, the guarded ivory border with repeating stylised plant motifsDimensions: Length/Width: 181cm  Depth/Diameter: 95cm

Victorian cast iron garden planter along with antique stone Corbel, architectural interest

A late Victorian black slate and veined marble cased mantel clock of architectural form having an enamel chapter ring with Arabic numerals, and eight day movement, striking on a gong, width 33cm

An unusual and desirable Mahogany cased longcase clock, the 12 1/2" diameter circular silvered face having a sweep minute hand having Arabic numerals, unusually the hours being indicated by an inset sub-dial with Roman numerals set above the six o'clock position, the seconds being indicated on an upper inset dial with Arabic numerals. The one train weight driven movement having a dead-beat escapement and maintained power during winding. The case is attractively plain with an architectural pediment, 20 3/4" wide x 10" deep x 82 1/4" high. The clock has been running for two weeks and appears remarkably accurate to within a few seconds per day.

dated 1881 and initialled D.A.F.P, with penwork Romanesque architectural detail to the sides and leather handles, height 48cm, width 15cm, depth 16cm. *CR Worm holes throughout, losses to base, corner of roof and spire, faded.

each with a carved architectural motif/feature, the largest 31cm x 23cm (4). *CR Wear commensurate with age and use.

the upper half with Classical architectural features to three shaped shelves behind arched glazed doors, over a panelled two door cupboard base, height 229cm, width 130cm, approx. depth 55cm. *CR One glazed door need some adjustment on the hinges.

the 6.5" brass dial with silvered chapter ring and fast/slow dial on a two train movement by Muller & Co, striking the quarters to a gong, the case with glass side panels and carved with architectural details, pendulum, winder and case key present, height 46cm, width 31cm. *CR Cleaned condition, winds and strikes but functionality not guaranteed beyond day of sale.

Airfix 1/12 scale Bentley 4.5 litre plastic model kit (started, incomplete, most parts present but missing 4 of the 5 spoked wheel hubs. Tyres as new with clear and chromed parts, A/F). Also a Constructo Modelismo 1/90 scale plank on frame wooden "Lady Smith" Yorkshire 1906 fishing steamer kit (started, missing keel and hull formers, accessories factory sealed) and an MB Crafts Ship In A Bottle kit (unstarted, appears complete). Also included 8 damaged 1/72 scale pewter WW2 fighter aircraft models and a tin of Bayko architectural building blocks, parts and instructions.

A Collection of Yorkshire and Other Periodicals, including: Yorkshire Archaeological Society Journal, Associated Architectural Societies Reports and Papers, Yorkshire Philosophical Society Annual Reports etc. (qty: 5 shelves) [Hugh Murray Collection]. 

VALERIA NASCIMENTO (born 1962); 'Coral', an organic sculpture/wall piece formed by handmade individual porcelain elements on a wooden base, inscribed signature dated 2021, diameter 19cm.“Nature is full of recurring patterns and rhythms, spirals, waves, petals, leaves. My inspiration is drawn mostly from the natural world, though my work carries references to both architectural and botanical forms. Inspired by underwater ecosystems, the Coral series combines separate porcelain elements to form a cohesive organic group.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.

WASSILY KANDINSKY (1866-1944)Milieu jaune signed with the artist's monogram and dated '34' (lower left); signed with the artist's monogram, inscribed and dated 'No. 597 1934 - 'Milieu jaune'' (on the reverse)oil and tempera on panel64.6 x 81.3cm (25 7/16 x 32in).Painted in Paris in March 1934 Footnotes:ProvenanceNierendorf Gallery, New York, no. 28.Hilla von Rebay Collection, Westport (acquired by 1945).Nina Kandinsky, Paris.Galerie Maeght, Paris, no. 9433 (acquired from the above by 1970).Private collection, Europe (acquired from the above in 1975).A gift from the above to the present owner in 1983.ExhibitedLondon, April 1937. (Possibly) Bern, Kunsthalle Bern, no. 0060.New York, Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 15 March - 15 May 1945, no. 146. Paris, Galerie René Drouin, Kandinsky, Époque parisienne, 1934-1944, 2 June – 2 July 1949, no. 43.Paris, Galerie Maeght, Kandinsky, November 1953, no. 42. Paris, Galerie Maeght, Kandinsky, Période parisienne, 1934-1944, 1969, no. 1 (later travelled to New York).Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky, Gemälde 1900-1944, 10 July – 27 September 1970, no. 129. Humlebaek, Louisiana Museum of Modern Art, Wassily Kandinsky-Paul Klee, 30 October 1971 – 9 January 1972, no. 31. Charleroi, Palais des Beaux-Arts, Wassily Kandinsky rétrospective, 29 January – 12 March 1972, no. 38. Zurich, Galerie Maeght, Kandinsky, April 1972, no. 45. Paris, Musée d'Art Moderne de la Ville de Paris, Hommage de Paris à Kandinsky, La conquête de l'abstraction, l'époque parisienne, 7 June – 30 July 1972, no. 16. LiteratureThe artist's handlist, Vol. IV, no. 597. W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, no. 434 (illustrated p. 385). H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, Vol. II, 1916-1944, London, 1984, no. 1034 (illustrated p. 934).His admirable eye, merging with his faint veil of glass to form perfect crystal lights up with the sudden iridescent glitter of quartz. It is the eye of one of the first and one of the greatest revolutionaries of vision.- André Breton in his preface for the catalogue of the 1938 Kandinsky exhibition organised by Peggy Guggenheim in London, translated by Samuel Beckett.A conjuror of sublime artistic realms, Wassily Kandinsky was limitless in achieving grand and adventurous compositions. But in the harsh grounds of reality – namely, Europe in 1933 – he once again found himself torn between worlds. Kandinsky and his wife Nina's uprooting from Berlin had been sudden, spurred by the Nazi regime's coordinated attack on Modern art, which culminated in the closing of Kandinsky's beloved Bauhaus school. As a Russian-born artist whose fame was then more pronounced in Germany than in France, Kandinsky encountered in Paris a strange hybrid of novelty and familiarity. Cubism was enjoying a fervent resurgence, the Surrealists were transforming the definition of art, and the Abstraction-Création movement was revitalising austerity and constructivism in art. But none of these dogmatic movements, with their rigid formulae and manifestos, wooed Kandinsky. While he extracted certain stylistic and technical innovations from his peers, he ultimately sought freedom and solitude in his wholly individual style. The present work was created at the outset of Kandinsky's richly prolific Paris period, commencing in 1934 after a six-month hiatus due to his and Nina's relocation. In his new studio at Neuilly-sur-Seine, Kandinsky generated a body of work that exploded with vision and colour, introducing a fresh vocabulary of forms grounded in the infinite complexity of the natural world. Despite his being forced to leave Germany at the brink of its demise, these paintings - the first of which was aptly titled Montée gracieuse ('Graceful ascent') - exude optimism, sentimentality and faith in the future. Toiling in relative seclusion, Kandinsky reaffirmed his persona as a painter of worlds, concocting grandiose visions of words, sounds and organisms, distilled by his unique and highly spiritual painterly formula. Milieu jaune presents to the viewer a celestial vision, which at once feels universal and deeply personal. The background throngs with the cosmic force of some omnipotent entity made of glowing yellow starlight, encased in swirling vortexes of lavender and pink. To the lower centre, a purple crescent moon rendered with compass-like exactitude rises like an omen over a conservatory dome bathed in daylight, housed behind a proscenium archway one might access via the floating rungs beneath it. These architectural forms conjure a grand temple in an Arcadian realm, immortalised by their constructive frameworks and yet undulating in a rhythmic trance. Indeed, the central diagonal lines seem to evoke successive chords in a symphony, while the alternating colour planes in the nearby pentagon conjure a tinkling melody, anchored by the steady percussion of the short, staccato lines to the upper centre. These tantalising currents, made tangible through the repeated hints of gateways and ladders, generate an ultimate odyssey of contemplation. The viewer – guided by divine light – is invited to step up into the painterly realm and explore its glimmers of interlinking narratives and settings. The Surreal notion of physically inhabiting an artwork captivated Kandinsky since childhood, as he would later call upon the viewer to 'take a walk' in his paintings, 'to compel him to forget himself, to dissolve himself in the picture' (Kandinsky quoted in W. Grohmann, op. cit., p. 31). Concurrently, the resemblance between Kandinsky's semi-circular and oval forms to eyes invokes a sense of omnipotence, as we the all-seeing viewers take stock of the artist's grand design. This overwhelming sense of gazing upon a primordial universe is a powerful incantation of Kandinsky's abstraction, which was crafted according to 'the totality of natural laws governing the cosmos' (Kandinsky quoted in W. Grohmann, ibid., p. 224). In Paris in the 1930s, Kandinsky's new focus on scientific, biological and cosmic motifs brought that motive to fruition, in the spirit of his friends Paul Klee and Jean (Hans) Arp, as well as Surrealists such as Salvador Dalí and Joan Miró. Indeed, the playful sequence of undulating semicircles to the lower left could convey fairy-tale toadstools, or the interlocking segments of a caterpillar-like entity on the brink of its imminent metamorphosis. 

Architecture.- Vitruvius Pollio (Marcus) De architectura libri decem, edited by Guillaume Philandrier, second de Tournes edition, title within woodcut architectural border, β4 privilege in civilité type recto and with medallion portrait of Philandrier verso, folding letterpress plate at p.178, numerous woodcut illustrations in text by Bernard Salomon, woodcut decorative initials, final f. with woodcut printer's device recto, otherwise blank, spotted, occasional staining, mostly lightly browned, later calf, gilt, laurel wreath centre-pieces and single filet border, sympathetically rebacked (spine in compartments), corners restored, some staining, rubbed and marked, [Adams V910; Cartier, de Tournes, 664; Cicognara 721; Fowler 414], small 4to, Lyon, Jean de Tournes, 1586.⁂ 'Reprint of the Lyon edition of 1552 with illustrations from the original plates.' (Fowler).

Annotated rhetoric.- Quintilianus (Marcus Fabius) Institutionum oratoriarum libri XII, declamationum liber, 3 parts in 1, woodcut architectural titles, the second and third with central woodcut printer's device, woodcut historiated and decorative initials of varying sizes, woodcut printer's device to final verso, some occasionally extensive early ink inter-linear notes in a minute hand (some fading), occasional early ink marginalia and underlining, penultimate index f. with repaired tears within text (minor loss) and marginal repairs, final f. with extensive marginal repairs, some foxing, including titles, occasional staining, lightly browned, 17th century sheep, rebacked in lighter modern calf in compartments with red leather label, corners worn, covers wormed, [Adams Q60], folio, Paris, Michel de Vascosan, 1538.

A 19th Century needlework sampler worked by 'Charlotte Freeman aged 9 in 1850', having biblical, architectural, and botanical motifs surrounding a central religious verse, in a running floral border, 41.5 x 41.5cms, in a bird's eye maple veneered frame.

Boxed set of early 20th C French Splendides Blocs - Cubes, Construction paper lithographed architectural blocks, cylinders and roof finials

Eclectic selection of old books to include; ‘The Flowers and Gardens of Japan’ Painted by Ella Du Cane described by Florence Du Cane, Adam & Charles Black, London with colour plates. ‘Architectural Rendering and Classic Orders’ compiled by James Hall, International Textbook Company, 1924. ‘Flowers of the Field’ by Rev C. A. Johns, London, 1899. ‘The Prairie Chief’ by R. M. Ballantyne, James Nisbet & Co, London, 1886. ‘Hans Andersen’s Fairy Tales’ with twelve illustrations by Helen Stratton, London. ‘The Boys Froissart’ by Madalen Edgar, George G. Harrap & Co, London, in St. George Secondary School Bristol binding. ‘The Football Encyclopaedia’ edited by Frank Johnston, London, 1934. ‘Stories from the Faerie Queene’ by Lawrence H. Dawson, George G. Harrap & Co, London. ‘Shorter advanced Trigonometry’ by C. V. Durell, G Bell and Sons, London, 1948. ‘A First Course in Mechanics with answers’ by W. G. Borchadrt, Rivingtons, London. 1950. ‘Heat’ & ‘Light’ by A. E. E. McKenzie. ‘Biological Drawings’ by Maud Jepson, three vols. ‘Kidnapped’ by Robert Louis Stevenson, Macmillan, London, 1946. ‘Far from the Madding Crowd’ by Thomas Hardy, Macmillan, London, 1934. ‘The Approach to Teaching’ by Herbert Ward, G. Bell & Sons, London, 1946. ‘The Essentials of Psychology for Student Teachers’ by A. H. Allsopp, J. M. Dent and Sons, London. ‘Activity in the Primary School’ by M. V. Daniel, Basil Blackwell, Oxford, 1947. ‘The Natural Development of the Child’ by Agatha H. Bowley, E & S. Livingstone, Edinburgh, 1950. ‘Everyman’s Library’ by Ernest Rhys. ‘Hilaire Belloc’, Penguin Poets, 1958. ‘Twenty Scottish Tales & Legends’ edited by Cyril Swinson, London, 1942. ‘Edward Jenner’ by Boswell Taylor, Macmillan, London, 1950. W. E. Johns including; ‘Sergeant Bigglesworth C.I.D’, ‘Spitfire Parade’, ‘Biggles Breaks the Silence’, ‘Biggles takes a Holiday’, ‘Biggles in the Orient’ & ‘Another job for Biggles’. Arthur Mee The King’s England books with; ‘Warwickshire’ (x2), ‘Counties of Bedford and Huntingdon’, ‘Kent’ & ‘Northamptonshire’. Total qty books 38. Buyer to collect or arrange own transportation. (38)

*A South Staffordshire enamel etui, circa 1770, tapered case of oval section with gilt metal mounts, painted on both sides and to hinged lid with picturesque landscapes featuring architectural features and ruins with figures, the illustrations on a pink ground within gilded volute borders with raised gilt dot decoration between, push button hinged lid enclosing a pair of scissors (tarnished) and an ivory aide-mémoire, lacking other tools, a few fine cracks to top of lid, 9.5 x 4 cm (3.75 x 1.5 ins)QTY: (1)NOTE:Provenance: The David & Sarah Battie Collection.Ivory Act registation reference: L1CCJME4.

* Gothic oak wall bracket, 18th century, of architectural form with dome raised on turned columns, an arched aperture flanked by columns and pierced trefoil and quatrefoil decoration with curved spindle base, approximately 105 cm highNOTE:Provenance: The David & Sarah Battie Collection.

* A South Staffordshire enamel etui, circa 1770, tapered case of oval section with gilt metal mounts, painted on both sides and to hinged lid with classical riverscapes featuring architectural ruins, sailing boats, and figures, the illustrations on a deep blue ground within gilded volute borders with raised gilt floral and dot decoration between, a few fine cracks, hinged lid enclosing a pair of brass dividers, lacking other tools, push button mechanism loose, and with adjacent small chip, a few fine cracks, 10 x 5 cm (4 x 2 ins)QTY: (1)NOTE:Provenance: The David & Sarah Battie Collection.

A large collection of various 19th/early 20th Century framed magic lantern negatives/slides; mostly depicting religious, social and historical architectural scenes. Some by Maison De La Bonne Presse, Paris.     (1 box) Further Details: Some general wear and tear commensurate to age.