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A GEORGE II MAHOGANY MIRROR CIRCA 1740 The architectural dentil carved pediment centred with carved leaves, the crossbanded frame with outset corners 137cm high, 77cm wide, 9.5cm deep Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:There are later metal wall fixings that extend beyond the size of the frame.There is a noticeable chip to the top left moulding, a vacant hole to the upper part of each side, some fine cracks to the crossbanded veneers, some darker staining to the back of the pediment, the leaf carved crest missing the tips of some leaves and others re-modelled, some restoration and dowel marks to the base of the central crest, the dark staining possibly covering other repairs.The mirror plate is later. The backboards have cracks, one is missing and there are vestiges of applied paper.The upper area of the mirror is darker brown, the lower area probably more frequently polished.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer

JAMES FERRIER PRYDE (BRITISH 1866-1941) ARCHITECTURAL CAPRICCIO Oil on canvas 41.5 x 31cm (16¼ x 12 in.)Provenance: Private Collection, Milo Cripps, 4th Lord Parmoor (1929-2008), from whom purchased by Robert Kime      Condition Report: There are three very minor losses each circa. 1-2mm to the lower right quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise no obvious significant condition issues. Condition Report Disclaimer

A CARVED GILTWOOD MIRROR 18TH CENTURY AND LATER The architectural pediment and frame carved with a pierced shell, foliate scrolls and a trellis ground, the bevelled plate re-silvered and possibly original, the gilding revealing a yellow and red bole ground 274cm high, 142cm wide, 20cm deepProvenance:Gerald Tyrwhitt-Wilson, 14th Baron Berners (1883-1950), Faringdon House, Oxfordshire; and by descent from Lord Berners's companion Robert Heber-Percy toSofka Zinovieff (b. 1961), by whom sold; Christie's, London, 12 April 2018, lot 50, where described as George IV, with a subsequent saleroom notice analysing the two layers of gilding strataWith Jamb, London, (who undertook the removal of the late 19th century gilding by dry-stripping to reveal the 18th century gilding), where purchased by Robert Kime, 2022. It is difficult to attribute the mirror to a particular carver / gilder, though it is likely that the maker was London-based, and probably well-established as the scale, complexity and quality suggests that it was probably part of a major commission for a large house from an established maker. The British and Irish Furniture Makers Online lists ten carvers and gilders active in London in the second quarter of the 18th century, any of whom may be candidates for the manufacture of this mirror: of the group, perhaps the most likely is William Walters or Waters (fl. 1732-42), who supplied giltwood furniture and mirrors for Benjamin Mildmay, Earl Fitzwalter at Moulsham Hall, Essex, for Charles Wyndham at Petworth House, and for the Earl of Leicester's London house; also to be considered is Henry Joris (fl. 1739), who worked with Paul Petit on the magnificent frame for Frederick the Great of Prussia; the other makers' reputations are less prominent, although Robert Johnson (fl. 1737-49) who was recorded at the Golden Head, Frith St, St Ann's, made frames for Petworth House; Charles Groves, fl. 1750, 'at the Golden Head, the further End of Brownlow Street from Drury Lane'; Robert Pulsford (fl. 1749), of Knightsbridge; Thomas King, carver and gilder of Long Acre (his stock-in-trade sold in October 1742); Christopher Mason, carver and gilder of Charles Court (fl. 1749); Stephen Maren, carver and gilder of New Compton St, Soho (fl. 1749); Christopher Hammond, frame maker and gilder of Phoenix Court, Long Acre (fl. 1732); Godwin Prince, who advertised 'all sorts of cabinet & Upholsterers work in General, Likewise Carving & Gilding ... near Durham Yard, in the Strand' (fl. c. 1749) (British Museum, Heal 28.181).The rectangular 'tabernacle' design of mirror frame is derived from designs of the 1720s by the architect James Gibbs (1682-1754). These depend on overmantel designs by Inigo Jones which were published in Isaac Ware's Some Designs of Mr Inigo Jones and others (1731) - notably pl.31. Ware's book was highly influential in the development of English architecture and interiors in the 18th century. It brought together a collection of designs by two of the most important architects of the 17th and 18th centuries: Inigo Jones and William Kent. Jones was a leading figure in the introduction of Italian Renaissance architecture to England, while Kent was a leading exponent of the Palladian style, as promoted by his patron, the influential Italophile Lord Burlington: many of the books' designs were taken from interior schemes devised by Kent at Burlington House.FOR THE FULL DESCRIPTON AND PROVENANCE, PLEASE CLICK HERE.SALEROOM NOTICE:The catalogue entry is now 'A CARVED GILTWOOD MIRROR, 18TH CENTURY AND LATER' Condition Report:Overall there are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:Holes to the back from previous wall fixings and some other vacant holes, with later modern hooks.The mirror plate is later and is backed with paper.There are some repairs including a later strut support to the back of the crest.There is evidence of old worm. There are some chips and knocks, for example to the tips of leaves, some with restoration.The overall patina has vestiges of the stripped gilding, bole, gesso and underlying wood.The not inconsiderable process of dry stripping means that some old repairs have restricted the extent of removal of the gesso so that the level of carved detail revealed has slight variances (for example the left side of the architectural pediment, compared to the right side).  Some inaccessible areas of carving retain a little more gilding than other more accessible areas.The upper ledge is later ebonised with vacant holes and marks to the centre suggesting that there was previously a carved element corresponding to the carving directly below this area.As per the provenance note, the surface was dry stripped of gilding circa 2018-2021.   Please see the condition report additional images for the document of analysis dated April 2021.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer

WALTER RICHARD SICKERT (BRITISH 1860-1942) SCUOLA DI SAN MARCO (OSPEDALE CIVICO) Oil on canvas 38 x 46cm (14¾ x 18 in.)Painted circa 1895-96. Provenance: Private Collection, Miss Ethel Sands, Lady Thurso Maltzhan Gallery, London (by 1971) Private Collection, Lady Weiss Her estate sale, Christie's, South Kensington, The Manor House, Little Marlow, Buckinghamshire, 15 September 1998, lot 336 Sale, Sotheby's, London, 4 July 2001, lot 11, where purchased by Robert KimeLiterature: Wendy Baron, Sickert, London, 1973, p. 327, no. 141 (dated to c. 1901) Wendy Baron, Sickert Paintings and Drawings, New Haven & London, 2006, p. 220, no. 103.4 (illustrated) The present work was painted in 1895-96, during Sickert's first of many visits to Venice. Arriving in May 1895, he spent prolonged periods in the city until September 1896, taking a studio on the Calle dei Frate, a residence he would return to on all his subsequent trips. Like generations of artists before him, Sickert was fascinated by the historic architecture and shimmering canals. In addition to the very famous and much-illustrated sites such as San Marco or the Rialto Bridge, Sickert also painted numerous views of lesser-known buildings and picturesque backwaters. As Wendy Baron highlights in her book Sickert Paintings & Drawings, the lack of precise dating in Sickert's Venetian works adds to the challenge of understanding the exact chronology of his paintings. Nonetheless, this exploration of recurring themes and places reveals Sickert's deep connection with Venice and his artistic journey in capturing the city's timeless charm.Repetition is a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter. Sickert's paintings were frequently executed in his studio from drawings and photographs and he showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different results that might yield. The Scuola Grande di San Marco, with its grand façade, is one of Venice's most significant architectural sites. It dates from the fifteenth century and was designed by Pietro Lombardo , Mauro Codussi , and Bartolomeo Bon . The situation alongside the Ponte del Cavallo on the Rio dei Mendicanti canal provided Sickert with an ideal composition and it became one of his favoured views during his first visit. Sickert produced six paintings of the subject, each showcasing a slightly different artistic technique ranging from intensely bright colouration with strong reflections to the present example, rendered in soft, feathery tones. There is no sharpness to the painterly brushwork and the colours are muted with the use of subtle layering. Condition Report: Not relined. Visible stretcher marks recto. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise in generally good condition.  Condition Report Disclaimer

A WILLIAM & MARY OAK GLAZED 'PEPYS' BOOKCASE OR CABINET LATE 17TH CENTURY The interior with adjustable shelves 213cm high, 107.5cm wide, 40cm deep Literature: O.F. Morshead, 'The Colleges of Oxford and Cambridge: Magdalene College, Cambridge. II - The Pepys Library', Country Life, 3 March 1928, pp. 300-308. A. Oswald, 'Ludstone Hall, Shropshire - III: The home of Mr. and Mrs. M.H. Rollason', Country Life, 25 January 1952, pp. 222-225. K-M Walton, 'An Inventory of 1710 from Dyrham Park', Furniture History, 1986, pp. 25-80. K. Loveman, 'Books and Sociability: the case of Samuel Pepys's Library', The Review of English Studies, April 2010, pp. 214-233. This bookcase or cabinet is part of a select group of late 17th century tall glaze-fronted case-furniture, the most important of which is twelve, carved and stained oak bookcases (book-presses) with glass panes, supplied in August 1666 by the London joiner, Thomas Sympson (Simpson, fl. 1662-92), to the celebrated diarist and naval administrator, Samuel Pepys (1633-1703), for his house at York Buildings, Buckingham Street, London (BIFMO). On 23 July 1666, Pepys first records the engagement of Sympson the 'joyner' in his diary: 'Up and to my chamber doing several things there of moment, and then comes Sympson the joyner; and he and I with great pains contriving presses to put my books up in, they now growing numerous and lying one upon another upon my chairs' (Morshead, p. 302). The design, with its architectural features, is geometrically based and the glazing was inspired by the sash window which was introduced in England and Holland around this time. Pepys later bequeathed the bookcases and his important collection of 3,000 books to the library of Magdalene college, Cambridge. The library building was begun in about 1640 but not completed until the end of the century. Funds were raised through subscription with Pepys contributing £60, and other subscribers included the Masters of six of the Cambridge colleges including the mathematician, physicist and astronomer, Sir Isaac Newton FRS (1643-1727). The Pepys bookcases are still in situ; eight line the walls of the library, and four stand back-to-back in the centre of the room. Another pair of related carved oak bookcases was made for the library at Dyrham Park, Gloucestershire, commissioned by William Blathwayt (1649-1717), and described in the 1710 house inventory as: '2 Glass Presses wth Books' (BIFMO). Blathwayt was a friend and colleague of Pepys, as was his uncle, Thomas Povey, whose closet Pepys had admired in the 1660s. Blathwayt probably paid visits to York Buildings and subsequently had glazed bookcases similar to Pepys' made, possibly also by Sympson (Loveman, p. 222). Another possible maker of the Dyrham Park bookcases might be the London joiner, Thomas Hunter of the Angel, Piccadilly, who supplied much of the fine interior woodwork at Dyrham. One of the Dyrham bookcases survives in the Great Hall at Dyrham and its pair is in the Victoria and Albert Museum (NT 452939; Walton, p. 42; W.12:1 to 11-1927). A further carved oak bookcase, formerly at Cuckfield Park, Sussex, was illustrated in Country Life in 1931 (21 November 1931). Charles Sergison purchased Cuckfield Park in 1691. He knew Pepys and his younger brother John through his service to the crown as a dockyard clerk in 1671, and four years later, as clerk to the Clerk of the Acts, whose office was then held jointly by Thomas Hayles and John Pepys (ibid.). Other examples include one formerly at Kingston Lisle, Berkshire (later at Ludstone Hall, Shropshire), photographed by Country Life in 1952 (Oswald, p. 225, fig. 10); and another by repute at Penshurst Place, Kent (ibid., p. 224). While the bookcase offered here is plainer than the preceding examples, it too has been applied with a timber stain presumably to make the oak resemble what was then more expensive walnut or mahogany. Please note: the contents of the cabinet are not included in the sale of this lot Condition Report: Overall with marks, knocks, scratches, abrasions consistent with age and useThere are some quirks in the construction, this may be a sign of adaption or may be a quirk by the cabinet maker - the lateral bars to the doors have visible ends poking through the uprights, these have been cut to create the over-lap to the doors.The glazing has later putty and filler to secure, one glass panel with old crack and split throughThe shelves are certainly laterThe feet probably of the period but with repaired lower sections (the original bases probably lost due to rot),Another quirk is that there are scored lines to the left side roughly where the shelves align, the right side with old vacant nail holes - the purpose of these is unknown.The cornice is almost certainly later overall, there are later blocks to secure it to the top of the cabinet, there are various tacks and nails holding this in all place - the colour is quite dark in this area and appears to have been coloured to match the remaining cabinet (which as the footnote states is probably deliberate)Please see additional images for visual reference to condition Condition Report Disclaimer

An early Victorian silver milk jug by Thomas Hughes Headland, London 1843, of baluster design with engraved architectural style cartouches, and c-scrolls, birds and floral foliage, scrolled handle, on three scroll legs, 13 cm high, weight 160 grams

A collection of assorted British transfer-printed meat platters, plates and dishes, 19th century, including a large meat dish, printed and hand-coloured with flowers, with a turquoise moulded border, unmarked, 51.5cm wide; a Victorian Copeland imari platter, 43cm wide; a Samuel Alcock and Co 'Toronto' or 'Florentine China' meat dish, printed in black, printed beehive factory mark, 50.5cm wide; a pair of Wedgwood sauce tureen stands with the armorial of the Perceval Family (Earl of Egmont), 21.5cm wide; a large Spode blue and white armorial soup tureen stand, with 'Spectemur Agendo' motto, printed factory mark, 34cm diameter; a Thomas Godwin (Burslem) 'Medina' plate, circa 1840-5, printed architectural cartouche factory mark enclosing the pattern name, 27cm diameter; a Rogers 'Musketeer' plate, impressed factory mark, 25cm diameter; a John and William Ridgway 'British Scenery iii' soup plate, printed title, circa 1820, 25cm diameter; a Riley 'The Rookery, Surrey' plate, 25cm diameter etc

A collection of tablewares including blue and white transfer printed items and black and white printed items mainly with an architectural theme Condition Report:No condition report available.

Assorted architectural plaster panels Condition Report:No condition report available.

A sandstone fan and scroll architectural ornament, a framed tile piece, purportedly from the Bapistry at Canterbury Cathedral, a Glasgow Institute of Architects medallion, dated 1868 and a wooden carved acanthus scroll Condition Report:Available upon request

A large quantity of unframed prints and engravings largely of an architectural interest, many being mounted; together with a selection of mixed architectural plans, including Cooper's Tearooms, Muchals Castle, Helensburgh Conservative Club etc. Condition Report:Available upon request

GROUP OF ARCHITECTURAL PRINTS and etchings Condition Report:Available upon request

A LARGE REGENCY MAHOGANY BREAKFRONT WARDROBEEARLY 19TH CENTURYinlaid with ebonised stringing, the architectural pediment above a pair of doors enclosing six slides, above two short and two long drawers, flanked by cupboards each with shelves, a hanging rail and a hinged lidded compartment, with gilt brass rosette handles268cm high, 252.2cm wide, 60.2cm deep ProvenanceKenneth Neame: An Enduring Legacy.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

AN ARCHITECTURAL 'DOLLS HOUSE' ROOM INTERIORLATE 19TH CENTURYthe Georgian style interior with wood panelling, a panelled door, an architrave and surmount, fireplace, display shelf niches and floorboards, with a glazed cover and pair of doors, together with some contents including: a trestle table, benches, a Pembroke table other furniture, rugs, vases and other items, on a stand (A lot)92cm high, 54cm square

A CARVED WALNUT PANEL OF JUPITERFRENCH OR ITALIAN, 17TH CENTURYthe classical god standing on a plinth with a thunderbolt in his right hand and astride an eagle, with an old paper label '399', together with a carved oak architectural lion's mask fragment (2)40.4cm high (max)ProvenanceFrom the collection of Phillip Allen (1938-2022).PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A 19thC black slate mantel clock, the circular enamel Roman numeral dial, with copper chapter ring, eight day, movement stamped Ordy French Make A354, bell strike, the case of architectural form, with gilt heightened carved leaves, scrolls, etc., the case 33cm high.

Two Whitefriars architectural glass slab brick paperweights, in twilight colourway, designed by Geoffrey Baxter, shown in the 1969 Whitefriars catalogue, pattern number 6, 17cm x 8cm.

Two large pedestal architectural table or floor lamps

M SHAFER, pair, of gilt framed and glazed watercolours, labelled to gilt mount, "Arras & Louvrain" signed lower left "Louvring Belgium Shafer, and the other arras France; and Quantity of framed and glazed black and white lithographs, prints etc of architectural interest; and an Antique style map, "Hertford", AND a quantity of unframed black and white etching prints of architectural buildings and landscapes and another modern print

Set of three framed and glazed architectural prints, "View of the Guild Hall, Grocers Hall etc", each 45 x 29cm see images for details

Set of 8 bamboo gilt style frames and glazed botanical prints, all faded, 35 x 45cm; and a framed and glazed print of two goats, signed in pencil , Denise Brown 4/75, and letter verso from artist, and a quantity of architectural digest magazines and Oxford Book of Trees and other ephemera

Framed and glazed architectural prints, a silhouette in a maple frame, and After Reynolds, a lithograph print of The Most Reverent Markham, Archbishop of York; and four framed and glazed watercolours, including one by Andy Le Poidevin, Peaceful Waters Cricklade, 1985; and a quantity of other various pictures and prints, all pictures with general various wear and fading; see images for details and condition

Alessandro Mendini'Poltrona di Proust' armchair, designed 1978, executed 1983Painted wood, painted fabric upholstery.109 x 92 x 92 cmHand-painted by Prospero Rasulo. Together with a certificate of authenticity from the Alessandro Mendini Archive. Footnotes:ProvenanceHeal's, Tottenham Court Road, LondonAcquired from the above by the present owner, 1984ExhibitedMobili Italiani Moderni, Robot Sentimentale, Rome, May 1983Heal's, London, 1984LiteratureRosa Maria Rinaldi, 'Memphis e Alchimia', Domus, no. 646, January 1984, p. 55Andrea Branzi, The Hot House: Italian New Wave Design, London, 1984, pp. 123, 126Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 63, 65, 116Peter Weiss, Alessandro Mendini: Objetos, proyectos, construcciones, Milan, 2001, pp. 100-01, 119Glenn Adamson and Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 41Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts Houston, New Haven, 2020, pp. 75, 121Bonhams wishes to thank the Alessandro Mendini Archive for their assistance with the cataloguing of the present lot.Bomba Estetica The Proust Chair defines post-modernism in much the same way Gerrit Rietveld's Red Blue chair defined modernism.Rietveld took the rules of the De Stijl group as his parameters. He worked within a palette of primary colours (plus black, grey and white) and used only straight lines, to produce an economical design that served as the blueprint for modernism. Marcel Breuer's design for apprentice pieces to be made in the Bauhaus workshops is clearly derivative, his tubular steel furniture less economical, in design thus cost, whilst Ludwig Mies van der Rohe's addition of cushions to structure lacks the material integrity of Rietveld's chair. More was less so the Red Blue chair remains the Platonic ideal of the modernist chair.Alessandro Mendini's Proust Chair similarly defined post-modern. His painting of a kitsch monster-piece with a pointillist detail of a work by Paul Signac signalled a relativism between high and low culture. Rather than being its arbiter, the post-modern architect should accommodate the taste, even the bad taste, of the client. A found object, the chair also signalled the architect's wider obligation to accommodate the city as ready-made. It is a hotch-potch of different styles, mosaic colours and people which, rather than being bulldozed and built anew along rational lines as Le Corbusier advocated, should be added to it in accordance with its citizen's physical needs and emotional desires.The Proust is a big chair, as dominant in even the grandest interior as in the history of architecture. The first five or six were jointly painted by Pierantonio Volpini and Prospero Rasulo and mostly sold to museums. New York gallerist Rick Kaufman called the Proust 'the best chair I had ever seen' and began retailing it to the public. Others followed.To meet demand, Franco Migliaccio was employed to paint the next batch of chairs. His early brushwork followed Paul Signac's pattern before morphing into his own style. Jesus Moctezuma took over in 1981 using a brighter palette. Claudia Mendini followed in the mid-80s whilst in a nod to the chair's monumental status, two were painted to resemble bronze.Mendini estimated upwards of thirty Proust chairs were produced under the auspices of Alchimia but the one in this sale is unusual in two ways. Produced in 1983, its decorator has been identified by Atelier Mendini as Prospero Rasulo. In Mendini's 'Story of the Proust Chair', no mention is made of Rasulo decorating chairs beyond his initial collaboration with Volpini so this late reprise is anomalous. Second, the chair has a cushion and, although Mendini documented variations to the seat over the years, he made no mention of a cushioned version.After researching this chair, Beatrice Felis, together with Fulvia and Elisa Mendini, have determined that it was 'made for the performance Robot Sentimentale conceived by Alessandro Mendini with Alchimia and performed at the MIM showroom in Rome in 1983'. Beatrice Felis adds that the hitherto undocumented cushion 'rewrites' the story of the Proust Chair.The Proust has a huge architectural and aesthetic charge; Alessandro Mendini described it to me as a 'bomba estetica.' That bomb exploded late modernism and in the void was built the post-modern world we live in today. Moreover, the story of the Proust Chair, like the movement the chair has come to symbolise, continues to be told and, in this case, retold.Designer and author, Nick Wright is the writer of Cut and Shut, The History of Creative Salvage.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

BOOK: The Builders' Journal and Architectural Record, No 5, 1902. Specification for Architects, Surveyors and Engineers when specifying: and for All Interested in Building. Annually.

A pair of Louis XVI style ormolu and grey marble five light candelabra with scrolling branches and urn shaped stems on architectural plinths 26cm wide, 63cm high***CONDITION REPORT***Slight matting and oxidisation of the ormolu, lacking wax pans, one chip to the top right corner of one base plinth, other minor chips elsewhere.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. 

J. King of St Albans. A William IV mahogany bracket clock in architectural case with flower and scroll appliqué motifs and painted Roman dial, unsigned twin fusee movement with anchor escapement striking on a bell, 33cm wide, 19cm deep, 48cm high***CONDITION REPORT***Overall of a rich dark reddish mahogany tone, a little darker at the appliqués, one small broken section to the top applied moulding with a crack running through the scroll below, dial rather crazed with some flaking at the centre and scratching to the right, a split running vertically down the case below 5.30, bevelled glazed side panels with a little loss of veneer to the right side, back door with plain glass, both locks look original and come with a key but reluctant to work, movement looks complete but not tested for timekeeping, pendulumn has lost its base retaining mount, later 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. 

A Vienna style mantel clock, with a cream enamel Roman dial, enclosed by a gilt decorated glazed hinged door, in a domed architectural case, 56cms high.

Architectural photograph. Framed and glazed. H.33 x W.42 cm.

19th century watercolour architectural study, Tintern Abbey, label to verso “Written on reverse of painting - 11th July 1844, Tintern Abbey towards the east.”. Framed. 24.5x34cm

A Selection of Literature and Ephemera From the Estate of Peter Cushing - comprising - 'County Borough of Bournemouth, Souvenir of the Irving Collection Illustrated', one wire-bound soft back volume entitled 'Stain Stipple Scumble', 'Bombed Churches as War Memorials' one soft back volume published by The Architectural Press, 1945, 'The Characters of Charles Dickens, portrayed in a series of original watercolour sketches by "Kyd"' one loose leaf sheaf, and a mini 'Golden Thoughts booklet Verses by Allan Junior' (5)

A large architectural bracket clock, 2nd quarter of the 19th century, the case with arched pediment and eboinsed string inlay and rosewood cross bands, brass grills and handles to each side, standing on brass ball supports, enclosing a plain white enamel 8" dial with black painted Roman chapter ring, eight day twin gut wire fusee movement. H47cm, W30cm, D18cm

A George III Figured Mahogany Wardrobe, with architectural cornice, surmounted by an urn, the fluted frieze with central patera and fitted with a hanging rail enclosed by a pair of fielded panel doors, the base fitted four small drawers on bracket feet, 52ins wide x 26ins deep x 82ins high

19th century Walnut Cased ' Penny in the Slot ' Upright Polyphon, the architectural pediment with applied white metal badge of entwined horns, above a single glazed doors with pierced fretwork spandrels and flanked by turned pilasters, opening to reveal the mechanism and disc, with drawer below and crank handle, raised on a matched cabinet, together with a scrolling metal Polyphon Disc stand holding 19 further discs, cabinet measures 69cm wide x 42cm deep x 212cm high

Late 19th century oak & walnut striking mantle clock, the dial with silvered chapter ring (with Arabic numerals) and pierced brass mounts, bevelled glass window, the case of architectural form with barley twist columns and pagoda top (finial a/f). (Measures approx 61cm high)

A collection of Victorian and later Staffordshire pottery, to include animal figures and architectural models

A large collection of mainly Edwardian postcards, to include military, architectural, topographical and real photographic.

A large collection of prints to include architectural prints and maps (qty) (a/f)

A box of cycling magazines, Tour De France, Cycle Sport, Pro Cycling and Architectural Digest magazines plus a box of fashion design magazines and motorcycle posters **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

Bowl with flared petal-shaped lip bearing two alternating symbols resembling a heart and a star. The outside painting shows a hunting scene with one man and one rider and several animals running across patches of grass, some architectural structures in the background. The bottom shows a mark with year of production.Please have a look at the daylight pictures

Two Large Victorian Framed Oil on Canvas Portraits of a Lady and a Gentleman. Provenance: Rev. Edmund Jackson M.A. Gilmorton Rectory. The Leicestershire Architectural and Archaelogical Society. 1896. Hon. Local Secretary, Lutterworth District (University of Leicester website)

French- early 20th century 8-day brass cased eight-day mantel clock and pair of pierced brass vases, clock case with an architectural pediment and pierced scrollwork on a recessed plinth raised on bracket feet, two part dial with a decorative centre and enamel chapter, Arabic numerals and spade hands, rack striking movement striking the hours and half hours on a coiled gong. With pendulum.Dimensions: Height: 32cm  Length/Width: 20cm  Depth/Diameter: 19cm

Chippendale (Thomas).The Gentleman and Cabinet-Maker’s Director …..Leeds: The Chippendale Society, 2005, numbered Subscribers Edition, limited to 87 copies, large folio, dust jacket;French Architectural Woodwork. Models de Menuiserie, choices Parmi ce que Paris offre de plus Nouveau …Paris: Chez Bance Aine, éditeur M. D’Estampes, 182(?), large folio, (6), 24 pages, seventy-four engraved plates including title dated 1825, some foxing, modern half morocco binding by Shepherds of London;Androuet du Cerceau (Jacques), Ouvre de Jacques Androuet dit Du Cerceau. Meubles.Paris: Edouard Baldus, no date, heliogravure title page and fifty-one heliogravure plates of furniture, sheet size 395mm x 295mm, loose in original cloth-backed folder with original label to upper board (‘Les Editions Guerinet’ - R. Panzani). (3)

A late 20th century architectural form wall mirror 132 cm high

Eric Gill, architectural study, pencil drawing, 21cm x 16cm, gilt frame

A 19th Century model of a domed building, possibly an architectural model, with a dome top above columns and an angled structure, 36cm wide, 40cm high

A late 19th/ early 20th century French black marble mantel clock, the case of architectural form decorated with cast brass classical mounts and inset Sienna marble panel, two-train movement behind two-piece dial consisting of white enamel chapter ring with Arabic numerals and unusual blue centre, matched brass fleur-de-lys hands.Condition Report: Clock currently ticking and hands moving accordingly (this does not constitute a guarantee), approximately 32 cm x 25 cm x 15 cm.

Two folders of 19th century engravings relating to Liverpool, predominantly architectural. [2]. [W].

After Inigo Jones (1573 - 1652) An architectural plan for the west front of Old St Pauls Cathedral, lithograph, "Copy of an original design in the British Architectural Library" inscribed on label verso, in card mount and gilt frame under glass, 65 cm x 58 cm overall [Jones was the first significant architect in England and Wales during the early modern period.]

A 20th century Victorian style varnish wood architectural birdcage. The bird cage having three finial top tower sections over a main gated entrance. Measures approx. 73cm tall. 

A collection of four architectural etchings and photographs, signatures include Graham Clilverd, Albany Howarth etc.

A Whitefriars smoky glass architectural slab - length 17cm

Bedford Lemere & Co.. Aberdeen and Commonwealth "One class" Line of Steamers. Album mit 18 Original-Photographien. Um 1920. Vintages, Silbergelatine. Maße von ca. 21 x 16 cm bis 24 x 29 cm. Quer-Folio. Lwd. d. Zt. mit DIllustration (mit großen Defekten und Anschmutzungen, HDeckel und Bindung nicht mehr vorhanden). Einige Photographien mit Blindstempel. Meist auf der Unterlage handschriftlich betitelt. - Enthält insbesondere Innenansichten eines Dampfers der Aberdeen and Commonwealth Line, darunter verschiedene Kabinen-Typen, Krankentrakt, Speisesäle etc. - Bedford Lemere & Co. war zwischen 1870 und 1930 das führende englische Unternehmen für Architekturphotographie. Die Firma erlangte zudem besonderen Ruf für Photographien von Innenräumen von Ozeandampfern. - Eine Photographie lose. Teils etwas berieben und ausgesilbert und leicht fleckig. Wohlerhalten. Album with 18 original photographs. Vintages, silver gelatin. Oblong folio. Contemporary cloth with cover illustrations (with large defects and soiling, binding no longer present, back cover missing). - Some photographs with blindstamp. Mostly titled by hand on the backing. - Contains in particular interior views of a steamer of the Aberdeen and Commonwealth Line, including various types of cabins, hospital ward, dining rooms, etc. - Bedford Lemere & Co. was the leading English company for architectural photography between 1870 and 1930. The firm also gained particular renown for photographs of ocean liner interiors. - One photograph loose. Partly somewhat rubbed and silvered and slightly stained. In good condition.

Architektur - - Charlotte u. Peter Fiell. Domus Volume I-XII. 12 Bde. Mit zahlr. meist farb. Abb. Köln, Taschen, 2006. 4°. Je ill. OKt. in ill. OUmschlag. Die einflussreiche Architektur- und Designzeitschrift domus wurde 1928 von dem Mailänder Architekten Gio Ponti gegründet. Das aufwendig gestaltete Magazin präsentiert einige der aufregendsten internationalen Design- und Architekturprojekte. Der zwölfbändige Reprint enthält ausgewählte Highlights von 1928 bis 1999. - 8 Bände noch eingeschweißt. Sehr gute Exemplare. Architecture - 12 vols. With numerous mostly col. illustrations. Each ill. orig. hardcover in ill. orig. wrappers. - The influential architecture and design magazine domus was founded in 1928 by Milanese architect Gio Ponti. The lavishly designed magazine presents some of the most exciting international design and architectural projects. This twelve-volume reprint contains selected highlights from 1928 to 1999. - 8 volumes still shrink-wrapped. Very good copies.

Architektur - - Sammlung von 1 Original-Zeichnung und über 60 Original-Graphiken mit architektonischen Darstellungen. Verschiedene Techniken: u.a. lavierte Federzeichnung, Kupferstich und Radierung. Blattmaße von 40,5 x 26,5 bis 56 x 82,5 cm. Enthält: Anonymer frz. Künstler. Une Académie. Original-Zeichnung. Mit Wasserzeichen von J. Honig. - Giovanni Battista Piranesi. Veduta del Pantheon d'Agrippa oggi Chiesa di S. Maria ad Martyres. (gebräunt und (braun-)fleckig, mit Läsuren). - Karl Friedrich Schinkel. Saal in dem Trauerspiel König Yngurd. Act I. (mit hinterlegten Einrissen) - Johannes Blaeu/Pierre Mortier. Pantheon nunc vulgo La Rotunda. Pantheon ou la Rotonde à Rome. - 48 Bll. nach Karl Friedrich Schinkel. Wohl aus Sammlung architektonischer Entwürfe, 1858 (mit Defekten). - 23 Bll. überwiegend von Deneufforge. Architecture - Collection of one original drawing and over 60 original prints with architectural representations. Various techniques: including wash pen drawing, copper engraving and etching. Contains: s.o. - Browned due to their age. Partly with defects.

Architektur - - Ernö Goldfinger. Works. Widmungsexemplar mit zahlreichen architektonischen Abb. London, Architectural Association, 1983. 128 S. 25 x 25 cm. Ill. OBroschur mit DTitel (etw. bestoßen). Erstausgabe. - Im 2. Bll. mit wohl eh. Widmung Goldfingers. - Erstes Werk aus der Reihe der "Works" der Architectural Association. - Das Buch wurde zeitgleich mit der umfassenden Ausstellung veröffentlicht, die ebenfalls von James Dunnett und Dr. Gavin Stamp bei der Architectural Association ausgewählt und gestaltet wurde. Es enthält zahlreiche fotografische Abbildungen, Pläne und Skizzen von Goldfinger. Einige der Fotos wurden von André Kertész aufgenommen. Erno Goldfinger ein in Ungarn geborener britischer Architekt, der seit 1934 in London lebte und zu einer der einflussreichsten Persönlichkeiten der britischen Moderne wurde. Sein monumentaler Entwurf für Elephant and Castle im Süden Londons aus den Jahren 1959-1963 war bei den Einheimischen so unbeliebt, dass der Autor Ian Fleming den Namen Goldfinger für einen der Schurken in seinen James-Bond-Romanen wählte. - Wenige Bll. etw. fingerfleckig. Insgesamt äußerst wohlerhaltenes u. reich illustriertes Widmungsexemplar. Architecture - presentation copy with numerous illustrations. Ill. orig. brochure(somewhat bumped). - First edition. - With handwritten dedication by Goldfinger. - First work in the Architectural Association's "Works" series. - The book was published to coincide with the comprehensive exhibition also selected and designed by James Dunnett and Dr Gavin Stamp at the Architectural Association. It contains numerous photographic images, plans and sketches of Goldfinger. - A few pages somewhat fingerstained. Overall very well preserved and richly illustrated presentation copy.

Photographie - Architektur - Design - - Sammlung von 25 Original-Photographien mit architektonischen und gestalterischen Motiven. Um 1950-70. Verschiedene Techniken, u.a. Silbergelatine. Maße von ca. 29,5 x 40,5 cm bis 12,5 x 17,5 cm. Enthält u.a. : 7 Photographien von Gerhard Ullmann (1935-2012). - 1 Photographie des Bauhaus Archivs Dessau mit Abbildung eines Verbindungsganges in der Bundesschule des ADGB Bernau, gestaltet von Hannes Meyer und Hans Wittwer. - 4 Photographien der Aktienbaugesellschaft für kleine Wohnungen, Frankfurt, mit Abb. des Baublocks Nordend. - 5 Photographien des Sprengel Museums Hannover mit Abbildungen von Ladengestaltungen von Robert Michel. - 3 Photographien mit Abb. von Stühlen und Sesseln, darunter eine der Gebrüder Thonet A.G. mit Stuhl von Mies van der Rohe und eine der Vono Limited, Staffordshire, mit dem Vono Delta Chair. - 1 Photographie mit Abb. eines Entwurfs der J.P. Morgan Headquarters von Kevin Roche, John Dinkeloo and Ass. - Teils mit kl. Gebrauchsspuren. Insgesamt gut erhalten. Architecture - Design - Collection of 25 original photographs with architectural and design motifs. Around 1950-70. Various techniques, including silver gelatin. - Contains among others : 7 photographs by Gerhard Ullmann (1935-2012). - 1 photograph of the Bauhaus Archive Dessau - 4 Photographs of the Aktienbaugesellschaft für kleine Wohnungen, Frankfurt. - 5 photographs of the Sprengel Museum, Hanover, with illustrations of shop designs by Robert Michel. - 3 photographs with illustrations of chairs and armchairs, including one by Gebrüder Thonet A.G. with chair by Mies van der Rohe and one by Vono Limited, Staffordshire, with the Vono Delta Chair. - 1 photograph with illustration of a design of the J.P. Morgan Headquarters by Kevin Roche, John Dinkeloo and Ass. - Partly with small traces of use. Overall well preserved.

Architektur - - Programm der Deutschen Bau-Ausstellung Berlin 1931. 9. Mai - 9. August. Mit zahlreichen photogr. Abbildungen, Plänen und Grundrissen. 2 Bll., 11 S., 43 Bll. 4°. OKlammerheftung in OUmschlag (dieser vom Block gelöst, innen sowie kl. Risse etw. unfachmännisch restauriert, bestoßen u. fleckig). Seltenes Programm zur Deutschen Bau-Ausstellung in Berlin, welche vom 9. Mai bis 9. August 1931 auf dem Ausstellungsgelände am Kaiserdamm stattfand. Vorgestellt werden in umfangreiche Abteilungen versch. Wohn- und Bauformen, Baustoffe, es werden Vergleiche vom internationalen zum deutschen Städtebau gezogen u.a. - Druck durchgehend in Rot. - Die Klammerung etw. rostig, vereinzelt etw. braun- bzw. stockfleckig, wenige hs. Annotationen in Bleistift. Insgesamt wohlerhaltenes u. sauberes Exemplar sowie historisch interessante Dokumentation zu Architektur- und Baugeschichte der Weimarer Republik. Architecture - With numerous photogr. illustrations, maps a. ground plans. Orig. stapled binding in orig. wrapper (detached from the block, the wrapper inside and small tears somewhat unprofessionally restored, slightly bumped and stained). - Rare program for the German Building Exhibition in Berlin, which took place from May 9th to August 9th, 1931. - Printed in red throughout. - The staples a little rusty, a few brown or foxing spots, some handwritten annotations in pencil. Altogether well-preserved and clean copy as well as historically interesting documentation on the architectural history of the Weimar Republic.

Architectural photographs that beautifully captures the sunlight on the elegant lines of the buildings. One photo was taken by Bob Geldberg. Includes, architectural photographs of North Dade Justice Center, Miami City Hall, and Miami Beach City Hall. Captured by Bob Edelson (American, b. 1934) and Pat Fisher. All photographs are mentioned in the 1991 book, 70 Years of Miami Architecture, by Millas J. Aristides, published by the Bass Museum of Art. Each photo is housed with a white mat. Mat size: 16"W x 20"H. Photo size: 14"W x 11"H.   Artist: Bob Geldberg, Bob Edelson, Pat FisherIssued: c. 1980sCountry of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good.

Includes a box with 14 pieces from 2007 The Bass Museum Exhibition: Promises of Paradise. 1 silver print photograph of Miami Daily News Office: Freedom Tower in Miami, 1 architectural plans of The Bass Museum of Art checkpoint, 1 architectural support floor plans of The Bass Museum of Art, and Architectural Charrette Elevation From The Park. Promises of Paradise Memorabilia box: 11"L x 9"W x 3.25"H. Miami Daily News Office Freedom Tower: (mat size) 16"W x 20"H; (print size) 14"W x 11"H. The Bass Museum of Art Checkpoint: 46"W x 35.8"H. The Bass Museum of Art Support Floor Plans: 41.5"W x 36.5"H. Charrette Elevation From The Park: (mat size) 28"W x 22"H; (print size) 24"W x 18"H. Issued: 20th centuryCountry of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good.

Includes 1 silver pint photograph of Miami Cutler Ridge Showroom, 1 colored photographic print of Cargo Clearance Center Facade, 1 architect watercolor painting of 42nd Street Parking Structure, and 16 Architectural Charrette Design of South Pointe. Miami Cutler Ridge Showroom: (mat size) 16"W x 20"H; (photo size) 14"W x 11"H. Cargo Clearance Center Facade: (mat size) 16in W x 20in H; (photo size) 11in W x 14in H. 42nd Street Parking Structure: 39.5"L x 18.5"H. South Pointe Park: 24.25"W x 18.25"H. Studies for South Pointe: 36"W x 24"H. Block Study of South Pointe: 36"W x 24"H. The Harbor: 36"W x 24"H. Miami Beach, Florida: 42.50"W x 30"H. Phase One Master Plan with commercial: 42"W x 30"H. Option One and Option Two: 41.50"W x 30.25"H. Scenes South Pointe, Miami Beach, Florida: 36"W x 24"H. Street Frontage: 36"W x 24"H. Charette Elevation Studies, South Pointe: 36"W x 24"H. Regional Shopping District: 24"W x 36"H. Retail Districts: 24"W x 36"H. Retail design with Proposed Retail: 24"W x 36"H. Public Spaces South Pointe: 36"W x 24"H. Parking Studies: 36"W x 24"H. South Pointe, Miami Beach: 42"W x 30"H. Issued: 20th centuryCountry of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good.