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

Original earth tones mixed media collage on paper entitled "Collage B I." Hewitt made buildings with paper and ink lines, included musical notes, architectural plans of Classical buildings, and handwritten words. Signature in pencil on lower right side: Annabel Hewitt. Title in lower center: Collage B I. Housed in a gilded frame with a white mat. Frame size: 34"L x 28"H x 1"W. Artwork dimensions: 23.25"L x 17.25"H. Artist: Annabel HewittIssued: c. 1990Country of Origin: EnglandCondition: Age related wear.

Fine art photographer Alan Blaustein has captured the romantism of Villa Monastero on Lake Como, Italy in a stunningly ethereal representation of this eclectic architectural wonder. This large photograph set on plexiglass is housed in a brown and black marbleized frame that enhances the sepia tones of the photograph. Sight size: 23.10"L x 23.10"H. Frame size: 31.60"L x 31.60"H x 1.60"W. Artist: Alan Blaustein (American, 20th century)Issued: c. 1990Country of Origin: United StatesCondition: Age related wear.

Titled: African Mask. Imposing wall hanging glass sculpture made with sandblasted and oil painted glass pieces bonded together. The architectural latticed geometric layers of painted glass in oranges, yellows and blues contrast with the eye shapes and the chain hanging on the side of the mask. Jay Musler made "African Mask" as part of series influenced by his travels. They embody "spiritual values and the importance of time, nature, and manhood." Etched signature and date. Artist: Jay MuslerDimensions: 25"L x 6.50"W x 45"HIssued: c. 2000Country of Origin: United StatesCondition: Age related wear.

This oil painting represents a large cathedral at dusk seen from the corner of a street where a passerby with a bowler hat and suit walks by a frightened looking woman. The surroundings of the street, the cropped buildings, the highlighted architectural mass, and the sky blend stunningly with earthly colors that give an impression of existential stillness, anxiety and mystery in a style reminiscent of Norwegian artist Edvard Munch. On back of canvas "Dupre et Cie, 141 Faubourg St-Honore, Au coin de la rue Berri." Dimensions: 18.20"W x 24.20"HCondition: Age related wear. Lower part of the canvas has lost paint from touching the original frame.

Steve Hickman (sculptor) - Carved American black walnut, 155mm x 155mm x 30mm, unframed. Steve Hickman uses computerised architectural visualisation.

Medicine.- Surgery.- Vigo (Giovanni da) Opera. Additur chirurgia..., 3 parts in 1, title in red and black, within woodcut architectural border, woodcut initials, a scattered couple of small manuscript notes in ink, tightly bound, some sidelines slightly disappearing into gutter and touching title border, modern calf with red label to spine, light damp-stain lower cover, joints scuffed, [c.f. Wellcome 6614], small 8vo, [Lyon], [for Jacques Berjon by Antoine Vincent], [1540].⁂ One of the early editions of Vigo's work which includes, a surgical treatise by his student Mariano Santo, who achieved fame from his introduction of the so-called "Marian operation" of lithotomy.

Esnauts (Jacques) and Michel Rapilly. Nouveau Plan Routier de la Ville et Faubourgs de Paris Avec ses Principaux Edifices Par M. Pichon, large wall map of Paris, the border decorated with 28 vignettes of architectural and historical sites of interest, including a view of Palace of Versailles, with allegoriacal title cartouche in the upper left adorned with a nymph of the Seine, engraved map by Michel Glot, with some early hand-colouring, on four sheets joined, total 1050 x 1510 mm (41 1/4 x 59 1/2 in), under glass, a few printer's creases and some handling creases, a few small nicks and small losses, surface dirt and toning, framed, M. Pichon, Paris, 1790⁂ Vignettes include: place de Louis le Grand; nouvelle église de la Madeleine; Hotel de Ville; la Sorbonne; Galerie du Louvre du côté de la rivière; La place Royale; Eglise Cathédrale de Notre-Dame; le Palais du Luxembourg.

Malta.- Sovereign Military Order of Malta.- [Bosio (Giacomo)] Histoire des Chevaliers de l'Ordre de l'Hospital de S. Iean de Hierusalem, translated by Pierre de Boissat, 2 vol. in 1, first French edition, engraved architectural title, decorative head-pieces and initials, title laid down, worm hole to title and following 3ff. within image and text, title also with minor losses at margins (touching engraving but no loss) and a small closed tear to foot (affecting engraving, no loss), the following 7ff. also with marginal defect at gutter foot and paper repair (touching text, a few letters lost), 6A2 with a few small holes and paper repairs (loss of letters), first two gatherings possibly washed, some light damp-staining to lower margin, eighteenth century calf with gilt arms to covers, spine gilt with label in vellum, 4to, Lyon, Guillaume Roville, 1612.⁂ First French edition of Giacomo Bosio's important history of the Knights Hospitaller of St. John of Jerusalem, the first complied, originally published in Rome 1594. From foundation in 11th century Jerusalem across their subsequent military campaigns, the work contains much about Malta, Rhodes, Cyprus and the countries of the eastern Mediterranean. Literature: not in Blackmer

Surgery.- Vigo (Giovanni da) The most excelent worckes of Chirurgery...traunslated into Englishe. Whereunto is added an exposition of straunge termes and unknowen symples, belongyng unto the arte, second edition in English, black letter, text in two columns, title within woodcut architectural border, woodcut initials, [par.]3-6, 2F4 and final 16 leaves (including final blank) supplied from another, shorter copy, skilful restoration to title, including small loss to border at upper corner restored in manuscript, a few marginal repairs, just touching text to G3, a few tears into text neatly repaired (repair obscuring some text to U5), Y3-4 & 2C5 repaired with loss to a few letters, the odd small stain, obscuring a couple of letters to I1, occasional contemporary ink marginalia, water-staining, some light browning, contemporary blind-stamped calf over wooden boards, neatly rebacked and recornered, preserving original spine, brass catches (lacking clasps), rubbing to spine ends and joints, endpapers renewed but with most of original pastedown with contemporary ink inscription preserved, [STC 24721; cf. G&M 5559.1], Edwarde Whytchurch, 1550.⁂ Vigo's surgical compilation, first published in 1514. "The first complete system of surgery after that of Guy de Chauliac. It contains an account of gunshot wounds and a section on syphilis" (G&M).The English translation by Bartholomew Traheron first appeared in 1543.

[Wilcox (Thomas)] A very godly and learned exposition, upon the whole Booke of Psalmes, title within woodcut architectural border, woodcut head-pieces and initials throughout, ink numeration to rectos in early manuscript hand, and ink notes and markings to endpapers in various hands, title with small tears and chips at edges affecting border with small losses, lacking Z2 and Z7, B8 small tear blank inner margin, minor creasing and or very small chips or worming to corners and edges, browning, some gatherings working loose, gutter splitting, hinges broken, contemporary limp vellum, heavily toned, [STC 25626], 4to, by Thomas Orwin for Thomas Man, 1591.⁂ This edition rare at auction. An enlarged edition of, A right godly and learned exposition, upon the whole Booke of Psalmes (1586; STC 25625)

Bible, Hebrew.- [The Old Testament], 4 vol. in 8, collation: I: [pi]1, I-648, I-88 (with blanks 398 & 648); II: I-568 (with blank 568); III: I-608 (with blanks 605-8); IV: I-308, 314, 32-658 (with blanks I86-8, and 654-7, but lacking final blank 658), four titles within woodcut architectural borders, woodcut cartouches, 1 title strengthened with tape at inner gutter, vol. IV small printing flaw to 341r and small tear to 623, just touching headline, occasional spotting or light staining, lightly browned, 1 vol. text block neatly split in two, 17th century blind-stamped calf, later small labels (or remains of) to spines, a few covers detached, worn, but serviceable, 16mo (c.111 x 75mm.), Antwerp, Christopher Plantin, 1566.⁂ A rare appearance at auction of a complete set of Plantin's first Hebrew Bible. The type was cast after the matrices of Daniel van Bomberghen, obtained by his nephew Cornelius van Bomberghen, who was Plantin's business partner. The 4to, 8vo, and 16mo editions were all printed in the same year. The text is based on Bomberg's second Rabbinic Bible, printed in Venice in 1524-25. The set is composed of the Pentateuch (Chamisha Chumshei Torah), the Writings (Ketuvim), Earlier Prophets, and Later Prophets. Literature: Adams B1229; Darlow & Moule 5099 (note).

A collection of reference books, Mrs C.W. Earle, More Pot-Pourri From a Surrey Garden, Mrs C.W. Earle, A Third Pot-Pourri, H.V. Morton, In Search of England, Laurence Weaver, Memorials and Monuments, Harry Batsford and Charles Fry, The English Cottage, B. Weinreb Architectural Books Ltd. The Small English House, A Catalogue of Books, W. Andrews & Elsie M. Lang, Old English Towns, Harold Clunn, The Face of the Home Counties, John Harvey, The Gothic World, Gertrude Jekyll, Colour Schemes for the Flower Garden, Gertrude Jekyll, Wood & Garden, Gertrude Jekyll, A Gardener's Testament, Gertrude Jekyll, Home and Garden, Somerville & Ross, Experiences of an Irish R.M. William Cobbett, Rural Rides Volume 2 (15)

A collection of Architectural related books, Bill Risebero modern architecture and design an alternative history, Arthur T Bolton the architecture of Robert and James Adam volumes 1 & 2, Christopher Hussey English Country Houses Volumes 1-4, John Gloag The Englishman's Castle, Thomas Sharpe English Panorama, John J-G Blumenson Identifying American Architecture, Daniel R Snodderly Ithaca and its Past, (12)     

A collection of seven architectural drawing books (7)

A MOC Model Lego style architectural model of the Taj Mahal, built with original instruction booklet; a Mould King Lego style Marble Run kit in sealed pictorial box (2)

An architectural plan of Twickenham RFC stadium, facsimile signature indistinct, 114 x 228 cm

A pair of Napoleon III style figural chenets, with patinated amorini mounted at each end, standing on architectural oak leafed swagged draped architectural bases with an adjustable central cone with pineapple finial, 41 cm high.

An Adam-style brushed steel and polished brass fire grate, 20th century with urn finials, pierced frieze, and fluted architectural supports, 86 cm wide x 61 cm deep x 61 cm overall height.

Giovanni Battista Ramenghi,genannt „Il Bagnacavallo“, 1521 – 1601MARIA MIT DEM KINDE, DEM HEILIGEN HIERONYMUS UND DEM HEILIGEN FRANZISKUSÖl auf Leinwand. Doubliert.95,5 x 74,5 cm.In plastisch verziertem Holzrahmen.Beigegeben ein Gutachten von Emilio Negro, Bologna, ohne Datum, in Kopie.Im Hochformat die zentrale Darstellung der sitzenden Maria in der ihr zukommenden klassischen Farbtrias, auf ihrem Schoß das nach rechts gewandte Jesuskind. Links der Heilige Hieronymus in kardinalrotem Gewand mit Geißelstein, rechts der Heilige Franziskus mit schlichtem Holzkreuz; alle vier Personen werden durch einen feinen Nimbus bedeutungsvoll hervorgehoben.Anmerkung:Vergleichbar mit dem vorliegenden Gemälde ist etwa Maria mit dem Kinde und Heiligen in der Pinacoteca Nazionale in Bologna von ca. 1545 - 1550, oder auch Paulus mit Johannes dem Evangelisten in der Kirche Santa Isaia in Bologna, wobei der Künstler bei unserem Gemälde auf die architektonische Eingliederung verzichtet und sich auf die Darstellung der Personen konzentriert. (1371621) (13)Giovanni Battista Ramenghi,also known as “Il Bagnacavallo”, 1521 – 1601THE VIRGIN AND CHILD WITH SAINT JEROME AND SAINT FRANCIS Oil on canvas. Relined.95.5 x 74.5 cm.Accompanied by an expert’s report by Emilio Negro, Bologna, n.d., in copy. Notes:The Virgin and Child with Saints held at the Pinacoteca Nazionale in Bologna dates to ca. 1545 - 1550, or Paul with John the Evangelist in the Church of Sant’Isaia in Bologna, compare well with the present painting. In the present painting, the artist forgoes the architectural integration and focuses on the representation of the figures instead.

A post modernist Murano glass candlestick, circa 1985, architectural form with a blue stem and projecting panels, 33cm high Of a similar style to Ettore Sottsass

A post modernist Murano glass table centre piece, circa 1985, architectural form with a wide blue dish above a stepped panelled base and finial tips, 35cm wide, 19.5cm high Of a similar style to Ettore Sottsass

An Art Deco glass vase, dated 1.2.29, the tall black glass rectangular vase with etched geometrical and architectural design, signed in red lower left, 50cm high A. Riecke, Russian artist in Paris was in charge of glass decoration in the very famous restaurant "LA COUPOLE" in the 1930s

A George III gilt-bronze mounted musical bracket clock, by George Prior made for the Turkish Market, London, last quarter 18th century, the architectural case painted with polychrome floral swags and sprays on a green ground, surmounted with a cut-glass sphere above a facetted dome flanked by flambeau urn finials and cut-glass spheres to corners, above two conforming gilt-bronze capped faceted columns, the sides with fabric lined pierced scrolling foliate panels and swing handles, the reverse with arched glazed door, on a moulded plinth base with scrolling foliate feet, the white enamel dial with Turkish numerals, signed GEORGE PRIOR LONDON, with two subsidiary dials above, one inscribed CHIME / SILENT, the other with list of tunes SABAC HAFFIF / MINUETT / SAMAHE / SONG, within shaped floral decorated surround within gilt borders, enclosed within floral cast bezel, the three train fusee movement striking on a bell and playing four tunes on ten bells, the backplate signed Geo Prior London, with pendulum and case key, 67cm high, 40cm wide, 23.5cm deepProvenance: The Property of a LadyPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.    Footnotes: Note: George Prior, 1735-1814, was well known for exporting clocks to the Turkish market in the late 18th century. After the establishment of trade with the Ottoman Empire, British diplomats in the late 17th century began presenting clocks as gifts to Ottoman officials, leading to a break in the dominance of the French and Swiss in the market for timepieces. This eventually resulted in a high demand for British clocks and lucrative export businesses such as that of George Prior. Such was his success in this area that the word coined by the Turkish to describe a British-made timepiece, 'Pyrol', is a derivative of his surname. He is listed as being active in 1765-1812 at 31 Prescot Street, Goodman's Fields, London, when he was succeeded by his son Edward - Looms, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, N.A.G. Press, 630pp.     

A Victorian mahogany quarter repeating bracket clock, by Barraud & Lunds, second half 19th century, the case with an architectural top above a cavetto moulding, on a ogee cushion moulding above a plinth, on four bun feet, the circular silvered dial with Roman numerals signed BARRAUD & LUNDS 41. CORNHILL. LONDON, and numbered 4058, with Silent/Chime function, the three train chain fusee movement with quarter strike on carillon of eight bells, striking the hour on coiled gong, the backplate stamped BARRAUD & LUNDS CORNHILL LONDON 4058, with pendulum, case key, and winder, 49cm high, 33cm wide, 22cm deep  Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.          Footnotes: Note: The first official Barraud workshop was founded by Paul Philip Barraud, b.1752. The Barraud family included several respected horologers including Paul Phillip's father Francis Gabriel, to whom he was apprenticed in 1767. On his death in 1820, Paul Phillip's sons John and Frederick Joseph took over manufacture and in 1830 moved 'Barraud & Sons' to 41 Cornhill. The company was renamed 'Barraud & Lund' in 1838 when J.R. Lund was taken into partnership and remained until 1864, when after his death it was changed to 'Barraud & Lunds', with his sons being taken into the business. It remained with this name but changed address in 1884 to 49 Cornhill. 

Missal (Augsburg Use). Missale secundum ritum Augustensis ecclesie diligenter emendatum & locupletatum: ac in meliorem ordinem q[u]e antehac digestum, [Dillingen: Sebald Mayer], 1555, [28], 471 leaves (of 472), lacking final blank ooo6 (as often), woodcut illustrations throughout by Matthias Gerung, including main title with the arms of Bishop Otto Truchsess von Waldburg, the Bishop’s vestments and Christ holding a chalice to receive his blood, at bottom five patron saints of Augsburg (Afra, Dionysius, Hilaria, Narcissus and Digna), to verso a full-page woodcut of the Virgin and Child with Saints Ulrich and Afra (dated 1555 to upper right corner), full-page woodcut facing the beginning of the main text of the Missal (with artist's monogram at foot), containing a central scene of the Adoration of the Sacrament of the Altar by the Apostles, Evangelists and Doctors, set within an architectural border with the Coronation of the Virgin and Saints at top, and in the bottom socle a small rectangular woodcut of the Last Supper, 10 full-page woodcut decorated part-titles using the same border, each with a different woodcut scene at the foot, numerous woodcut initials throughout, including two large ornate sets (measuring 93 x 75 mm and 63 x 54 mm), smaller initials (33 x 31 mm), and approximately 61 small woodcut illustrations, text printed in red and black in 4 different sizes of gothic type in two columns (except the prologue, calendar, verse to priests and colophon), 34 pages of printed music on red staves within vertical double rules, metal-cut calligraphic initials in red, the canon quire printed on vellum, with full-page crucifixion woodcut, large historiated initial, and paschal lamb roundel, title close-trimmed at head, folios 166-168, 390, 392-394, 460-461, and 463-463 with paper repairs to lower margins (not affecting text), burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, old printed auction catalogue description tipped in to front endpaper (dated 30/X/1980, Sotheby's), 20th century antique-style blind-ruled full pigskin, with clasps, thick folioQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Brunet III, 1766; Dodgson II, 218.14; Hollstein X, 73-77; VD-16 M-556; Weale-Bohatta 109.A celebrated masterpiece of illustrated liturgical printing, and the greatest technical and artistic production of Sebald Mayer, Dillingen’s first printer, as well as the most significant achievement of the artist Matthias Gerung in the medium of woodcut. This famous Missal according to the Augsburg ritual, whose bishopric was once the richest in Christian Europe, was printed by order of Bishop Otto Truchsess von Waldburg-Trauchburg and completed two months before the Peace of Augsburg on 25 September 1555 between Catholics and Lutherans, signed by Ferdinand I and the Germanic Electors. Otto Truchsess von Waldburg-Trauchburg (1514-1573) founded a university in 1549 in the Bavarian town of Dillingen in order to contribute to the development of the Catholic Counter-Reformation in Germany. At the same time he provided it with the most valuable propaganda tool: in 1550 he brought in from Ingolstadt the printer and typographer Sebald Mayer, who continued to practice his art there until 1576.

Brooke (Ralph). A Catalogue and Succession of the Kings, Princes, Dukes, Marquesses, Earles, and Viscounts of this Realme of England, since the Norman Conquest, to this present yeere 1622. Together with their Armes, Wiues and Children; the times of their Deaths and Burials, with many of their memorable actions. Collected by Ralph Brooke, Esquire, Yorke-Herauld, and by him inlarged, with amendment of diuers faults, committed by the printer, in the time of its authors sickness, [London: William Stansby], 1622, title within elaborate architectural woodcut border, numerous woodcut coats of arms, woodcut initials, contemporary annotations by Thomas Delay and possibly others, his ownership signature in several places, occasional light toning, further later ownership name of W. Sharpe to lower margin of title, burgundy morocco gilt bookplate of W. A. Foyle Beeleigh Abbey (offset to endpaper), all edges gilt, later calf, covers with centre foliate design in blind, morocco label to spine, edges a little rubbed and scuffed, small folio QTY: (1)NOTE:ESTC S126175; STC (2nd edition) 3833. The first edition was published in 1619 bearing 'to this present yeere 1619' on the title.

Weever (John). Ancient Funerall Monuments within the united Monarchie of Great Britaine, Ireland, and the Islands adiacent, with the dissolued Monasteries therein contained; their founders, and what eminent persons have beene in the same interred, 1st edition, London: Thomas Harper, 1631, engraved portrait frontispiece, engraved additional title with architectural border, 6 full-page woodcut plates, further woodcut illustrations in text, errata leaf, index at end, 20th century armorial bookplate of W. Rolleston Saunders to rear pastedown, bookplate of 'W. R'. to front pastedown, 20th-century calf gilt (endpapers and blanks renewed), folio (285 x 185 mm)QTY: (1)NOTE:Cox III, p. 463; STC 25223; Upcott p. 20.

Antoni Sulek(1951-1988)A collection of works on paper, 15 in total, of an abstract, figural, and architectural nature,signed and dated circa '82,mixed media; gouache, crayon and ink on paper,all approximately 21 x 30cms. (15)

After William Theed (British, 1804-1891): A third quarter 19th century artificial stone bust of Achilles together with a matching pedestal en-suitethe bust and pedestal apparently unmarked, circa 1860the classical warrior modelled full face looking slightly to dexter, wearing an elaborate helmet cast with twin griffins and anthemia above a frieze of hunting hounds, the feathered plume supported by a recumbent sphinx, raised on a circular moulded socle, the pedestal of plain columnar form terminating in a moulded base, traces of later grey painted paint, the bust 84cm high, the pedestal 104cm high (2)Footnotes:The original marble bust of Achilles by William Theed was part of a commission made for Prince Albert, consort of Queen Victoria in 1856. The commission, costing £504 (the bill dated 14 March 1857, for 'six colossal busts after the antique supplied by William Theed') comprised 'Juno' of the Ludovico Collection in Rome, 'Aesculapius', 'Alexander of the Capitol', 'Venus of Arles' 'Roma' and 'Achilles', all of which were made to be displayed in the gallery above the grand entrance and marble hall at Buckingham Palace.Numerous attempts were made to create a new building material from the 17th century onwards with architects searching for a usable, malleable but tough substitute for stone. Coade stone, marketed by its maker Mrs Eleanor Coade as the first ever 'artificial stone', was a mix of clay, terracotta, silicates and glass which was fired for four days at a time in incredibly hot kilns. First marketed at the turn of the 1770s, it was a tough and hard-wearing material which offered new opportunities for fine-detailed decoration. Coade initially went into partnership in 1769 with Daniel Pincot who had a business making artificial stone in south London. However, the pair soon fell out and by 1771 Coade had dismissed Poncot and substituted him with the sculptor John Bacon, whose inspired designs and workmanship helped establish the Coade Artificial Stone Company as the leading firm in the field. The success of Coade stone was also aided by changing architectural taste as more architects like Robert Adam were looking for a way of applying increasingly delicate ornament to their buildings. Coade offered the most reliable way of achieving this and her stone was soon used by the leading architects of the day, including Adam, Sir William Chambers, Sir John Nash, Sir John Soane, and James Wyatt. It proved suitable not only for all sorts of architectural details, but also for monuments, sculptures, ornaments and garden furniture. By the 1840s, tastes had changed and the Coade manufactory subsequently closed its door. However numerous other factories continued to produce variants of high fired artificial stone substitutes during the subsequent decades of the 19th century and the offered bust and pedestal after a model by Theed exemplifies the Neo-Grec revival style which became fashionable in the 1860s.This lot is subject to the following lot symbols: TPTP 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

A French early 18th century Louis XIV walnut fauteuilWith scrolled downswept arms, on channelled S-scroll legs, with a shaped and scrolled H-stretcher, 66cm wide x 74cm deep x 103cm high, (25 1/2in wide x 29in deep x 40 1/2in high)Footnotes:ProvenanceThe present lot previously formed part of the collection of Murray Adams-Acton, an esteemed furniture and architectural historian, academic and author, who was arguably most renowned for a work entitled Domestic Architecture and Old Furniture, first published in 1928. The offered chair thereafter passed by descent within the family.This lot is subject to the following lot symbols: TPTP 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

A late George II or early George III mahogany open armchairin the Chippendale Director tasteCirca 1760, with a shaped C-scroll and scrolled acanthus carved toprail above a pierced interlaced and 'gothick' arched splat, with scrolled arms, above an 18th century gros-point needlework upholstered drop-in seat, on square section legs, with splayed rear legs and an H-stretcher, 72cm wide x 60cm deep x 101cm high, (28in wide x 23 1/2in deep x 39 1/2in high)Footnotes:ProvenanceThe present lot previously formed part of the collection of Murray Adams-Acton, an esteemed furniture and architectural historian, academic and author, who was arguably most renowned for a work entitled Domestic Architecture and Old Furniture, first published in 1928. The offered chair thereafter passed by descent within the family.This lot is subject to the following lot symbols: TPTP 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

A large late 19th century carved and stained walnut chiming bracket clockthe dial signed Huxtable Newton Abbotthe rectangular case of architectural form, the broken pediment centred by a fluted shell motif, the ribbon tied floral swag frieze above pair of stop-fluted ionic pilasters on moulded plinth base, the sides with floral pieced sound grills, the arched silvered Roman dial below slow/fast and strike/silent subsidiaries with pierced hands, the brass four pillar triple chain fusee movement chiming on four small steel gongs and striking on a large gong, with brass pendulum and key, 84cm high This lot is subject to the following lot symbols: TPTP 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

A decorative rosewood and later marquetry inlaid architectural tea caddyparts 19th century with later inlaid decoration of rectangular form depicting the front, back and side facades of a pedimented Georgian house with faux hipped roof and sash windows, the front with steps leading to a pedimented front door, with hinged lid opening to a compartmented interior, the twin lids with ivorine turned knopped finials, 12.5cm high, 20.3cm wide and 12.6cm deepFor further information on this lot please visit Bonhams.com

A Victorian marble and slate three piece clock garniture, the clock of architectural form circular dial set with Arabic numerals and flanked by columns, height 29cm (3).

Early 20th Century oak architectural two train mantel clock with urn finial, gilded and gold finish face, with gilded claw feet.(B.P. 21% + VAT)

Modern Seiko Japanese quartz movement gilt finish architectural design mantel clock.(B.P. 21% + VAT)

Early 20th century walnut two train architectural presentation mantle clock with a plaque dated 1913. (B.P. 21% + VAT)

Wethered, H N & Simpson, T - The Architectural Side of Golf The Knightshayes Court Edition - signed by Joyce, Lady Heathcote Amory, publ'd by Grant books 1995, reprint of the 1929 edition, publishers complimentary copy for F Hawtree, No.24 of 565 copies, bound in full red Morocco leather and c/w red cloth slipcase, overall (V/G)

An Edwardian oak cased mantel clock, circular enamel dial bearing Arabic numerals, eight day American movement, New Haven USA, with coil strike, the case of architectural form, raised on brass bun feet, with pendulum and key, 32cm high, 23cm wide.

A late 20thC Elliott green onyx cased mantel clock, square brass dial with cherub spandrels, silver chapter ring bearing Roman numerals, clockwork movement, the case of architectural form, 16cm high, 14cm wide.

A massive Blashfield stoneware tazzacirca 1890 129cm high by 150cm diameterJohn Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for "Improvements in the Manufacture of China, Pottery, Bricks" and other articles, made for the most part from clay and again in 1860 for "improvements in burning pottery and china ware". He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875.Garden ornament

▲ Simon AllisonCourtyard Gates 225cm high by 136cm wide each gate panel 68cm wide Lots 52-109 are from a private UK collection formed between 2010-2014Simon Allison Simon studied at Canterbury School of fine arts (New Zealand) before coming to the uk. As well as being an accomplished sculptor he runs the Lockbund foundry and gallerySculpture, Architectural 

Hooker, Richard "Of the Laws of Ecclesiastical Politie", London, printed by William Stansbye [1622], engraved architectural title by William Hole, woodcut head pieces and initials, in five books, containing 'Certayne Devine Tractates and Other Godly Sermons ...', with engraved tp 'A Learned Discourse of Justification, Works and How the Foundation of Faith is Overthrown', London, printed by W Stansby, 1622, engraved tp 'Five Learned Sermons', printed by W Stansby 1622, engraved tp  'Two Sermons Upon Part of St Iudes Apistle (sic)', London, printed by W Stansby, 1622, engraved tp, book 2 of the Laws has loss halfway down the page and some text missing, the whole book is annotated in ink in the margin, possibly 18th century, the preface page 1 is loose, the ffep tp containing 'to the reader' is separated, a date inked 1799 on ffep, later binding full leather, front and back boards detached, some loss of leather to the backstrip and boards 

Architectural Design Magazine, bound vols, in grey cloth, for the 1950's and some loose copies (2 boxes) 

A set of six silver City of Bath Hanoverian picture-bowl teaspoons depicting notable architectural landmarks, Sheffield 1979 by Roberts & Belk & retailed by Mallory of Bath, in fitted case; & a Christopher Milton Stevens “Theatre Royal” spoon with lyre terminal, the oval bowl with heavy cast ancient Greek theatrical mask, 19.5cm long, London 1983, in fitted case. (2 oz).

A Mid 19th Century Regency Giltwood Pier Mirror with Half Pilasters Either Side, Architectural Cornice Over a Panel with Scrolling Foliate and Floral Design in Low Relief. Original Paper Pictorial Trade Label for L Caprani of Liverpool Verso. 48.5cm (MAX) x 64cm high and 10cm Deep

A Late 19th Century Continental Bracket Clock of Architectural Form and with Ormolu Mounts, with Original Instructions Dated 17th March 1890 when Retailed by Swinden and Son. With Pendulum and Two Keys, Clock 55cms High

A print after Arthur Rackham, a further print of Newcastle Quayside and three other architectural examples/ (5)

STEEL ENGRAVING PRINCE ALBERT MEMORIAL AND ONE OTHER ARCHITECTURAL PRINT, 74CM (H) X 63CM (W) / COLLECTION LOCATION: PULBOROUGH (RH20), FULL ADDRESS AND CONTACT DETAILS WILL BE PROVIDED TO WINNING BIDDERS.

Renaissance Esterhazy trunk, Rectangular form with lid. Original lock and iron key. Oak wood with walnut. The front with rich architectural and ornamental intarsias in different fruit woods, partly with pyrography. In the central windows the coat of arms from the Esterhazy family in contrepartie technique. Iron side grips and hinges. The top with two feet. Inside two sections. Part missing. Damages. 17th century. 205 x 87 x 75 cm.

An architectural panel, carved teak "Elephants among plant windings", medallions "Birds composing rosettes", Indian, 19th C., minor faults and defects, wear, modern wooden base with iron spikes, Dim. - (total) 32,3 x 27,4 cm; (painel) 32,3 x 97 cm

CONSTITVUIÇÕES | SINODAES DO BIS- | PADO DE VISEV FEITAS, | E ORDENADAS EM SYNODO PELO | ILLVSTRISSIMO, E REVE- | rendissimo Senhor Dom Ioão Manoel | Bispo de Viseu, & do Conselho de | Sua Magestade.- Em Coimbra: Por Nicolao Carualho Impressor da Vniuersidade, 1617.- [24], 377, [3 br., 2, 2 br.], 156 p.: 1 portada gravada; 27 cm.- E., Third edition of the «Sinodaes Constitutions» of the Diocese of Viseu, the first two having been printed in 1527 and 1555, respectively, under D. Miguel da Silva and D. Gonçalo Pinheiro. The last 156 pages are part of the “Regulation of the Auditorio Ecclesiastico”. The copy, slightly cropped, preserves the architectural allegorical frontispiece, copperplate print, slightly handled and with imperfect margins, which is missing in most copies; outer corners with small flaws in the first 12 leaves. It is, however, complete and, in general, clean. Full flexible parchment binding, a little wofrn and lacking free endpapers. Inocêncio II, p. 107. Arouca, C 556.

CIAMPINI, Giovanni Giustino.- DE | SACRIS ÆDIFICIIS | A CONSTANTINO MAGNO | CONSTRUCTIS. | SYNOPSIS HISTORICA | JOANNIS CIAMPINI | ROMANI...- Romae: Apud Joannem Jacobum Komarek Bohemum Typographum, & characterum Fusorem apud S. Angelum Custodem. M DC XCII [1692].- [16], 217, [3] p.: 1 portada grav., XXXV gravuras; 32 cm.- E., Giovanni Giustino Ciampino (1633-1698), Italian cleric, art historian and archaeologist, born in Rome, graduated in Law from the University of Macerata; Ciampino embarked on historical and archaeological studies, having published two master works, profusely illustrated: the first on the art of mosaics (Vetera monumenta..., Rome, 1690) and the present one (De sacris ædificis...), a history of the Early churches built in Europe and Asia (Italy, Palestine and Constantinople) under the aegis of Emperor Constantine I the Great. Original edition, illustrated with an allegorical frontispiece and 35 icopperplates prints, printed separately, of which 28 are foldable. The prints represent architectural and artistic aspects of the different temples. Very clean copy, keeping all prints very fresh and well folded. Contemporary binding, full sheepfskin, with traces of wormholes and missing pastedowns. Cicognara, 3672.

COLLECTION OF ARCHITECTURAL FRAMED PRINTS

Ca. 1100-1200 AD.A rectangular-shaped terracotta tile adorned with intricate details. The upper face is graced by a symphony of design, with delicate low relief motifs evoking the timeless beauty of four-petaled flowers, nestled within an ornate floral border. The expanse surrounding these motifs comes alive with an array of intricate vegetal patterns. The Seljuks, a distinguished Turkic dynasty, emerged as a formidable force in the 11th century. Hailing from the vast steppes of Central Asia, they forged an empire that spanned a vast expanse, stretching from Persia to Anatolia. Flourishing during the medieval era, the Seljuks were renowned for their military prowess, intricate architecture, and a distinct artistic style that amalgamated various cultural influences. Their legacy resonates through the ages, marked by architectural marvels such as the Great Mosque of Isfahan and the iconic Sultanhanı Caravanserai, showcasing their profound impact on the realms of art, architecture, and diplomacy.Size: L:84mm / W:145mm ; 880g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

ARCHITECTURAL WALL MIRRORS, a pair, aged metal frames, 92cm x 76cm each. (2)

ARCHITECTURAL WALL MIRROR, black painted metal frame, gilt painted detail, 135cm x 110cm.

Ormond Gigli (1925–2019) was an American photographer known for his versatile and imaginative approach to photography. He gained recognition for his iconic photograph "Girls in the Windows," which captured a group of young women looking out of the windows of a brownstone building in New York City. This photograph is celebrated for its creativity, composition, and the sense of curiosity it evokes.Key points about Ormond Gigli and his work:1. **"Girls in the Windows":** Gigli's most famous photograph, "Girls in the Windows," was taken in 1960. It features 43 models positioned in the windows of a vacant brownstone building on New York's East 58th Street. The photograph is characterized by its innovative composition and the juxtaposition of the women against the architectural backdrop.2. **Visual Storytelling:** Gigli was skilled at creating visual narratives in his photographs. He often incorporated elements of storytelling and theatricality into his images, infusing them with a sense of drama and intrigue.3. **Fashion and Commercial Photography:** Gigli had a successful career in fashion and commercial photography. He worked with major fashion magazines and brands, capturing stylish and evocative images that reflected the spirit of the times.4. **Variety of Subjects:** Throughout his career, Gigli explored a wide range of subjects, from portraits to landscapes, architecture, and street scenes. His photographs often carried an element of surprise or an unexpected perspective.5. **Innovative Techniques:** Gigli was known for his innovative techniques, including his ability to create dynamic compositions and use light and shadow to enhance the mood of his photographs.6. **Career Development:** Gigli's early interest in photography led him to study at the School of Modern Photography in New York. He later worked as an assistant to prominent photographers, which contributed to his development as an artist.7. **Legacy:** Ormond Gigli's photographs continue to be celebrated for their creativity, visual impact, and ability to capture a sense of time and place. His work is considered a reflection of the dynamic and evolving nature of photography as an art form.8. **Exhibitions and Recognition:** Gigli's photographs have been exhibited in galleries and museums internationally. His contributions to photography have earned him a place among the notable photographers of his era.Ormond Gigli's ability to infuse his photographs with imagination, theatricality, and unexpected compositions set him apart as a photographer who constantly sought innovative ways to tell stories through images. His legacy lives on through his iconic photographs and his influence on the art and practice of photography.Measures 24 x 24.

Paris Lyon Méditerranée, often abbreviated as PLM, was a French railway company that operated in the late 19th and early 20th centuries. It was one of the major railway networks in France and played a crucial role in connecting Paris, Lyon, and the Mediterranean region. Here's an overview of Paris Lyon Méditerranée:1. Formation and Expansion: Paris Lyon Méditerranée was formed in 1857 through the merger of the Paris and Lyon Railway Company and the Lyon and Mediterranean Railway Company. This merger created a unified rail network that connected the capital city of Paris with the city of Lyon and extended southward to Marseille and other Mediterranean destinations.2. Railway Infrastructure: PLM developed an extensive railway infrastructure, including tracks, stations, and workshops along its route. The company constructed major railway stations such as the Gare de Lyon in Paris, which served as a gateway to the southern regions of France. These stations were architectural landmarks, exhibiting grand designs and serving as transportation hubs for domestic and international travelers.3. High-Speed Services: PLM played a pioneering role in the development of high-speed rail services. It introduced the first electrically powered trains in France and implemented innovative engineering techniques to improve train speed and efficiency. These advancements enabled faster and more comfortable journeys between Paris, Lyon, and the Mediterranean cities.4. Cultural and Economic Impact: The PLM network had a significant impact on both cultural and economic aspects of the regions it served. It facilitated the movement of goods, fostering trade and economic development in areas along its route. Moreover, PLM's efficient transportation system facilitated the growth of tourism and contributed to the popularity of destinations such as Lyon, Marseille, and the French Riviera.5. Legacy: The PLM network operated until 1938 when it was nationalized and merged with other French railway companies to form the Société Nationale des Chemins de fer Français (SNCF), the national state-owned railway company in France. Although PLM no longer exists as an independent entity, its legacy lives on in the railway infrastructure and transportation systems that continue to connect Paris, Lyon, and the Mediterranean region.The Paris Lyon Méditerranée railway company played a crucial role in the development of rail transportation in France, connecting major cities and facilitating travel and trade between the capital city and the Mediterranean region. Its innovations and contributions to the railway industry have had a lasting impact on France's transportation infrastructure and helped shape the cultural and economic landscapes of the areas it served.Measures 18 x 24.Mounted to linen.

Quebec, located in eastern Canada, is a province rich in history, culture, and natural beauty. Here's an overview of what makes Quebec a unique and captivating destination:1. Historic Quebec City: Quebec City, the capital of the province, is a UNESCO World Heritage site and one of North America's oldest cities. Its charming Old Town, known as Vieux-Québec, is enclosed within fortified walls and offers a glimpse into its European heritage. Visitors can explore historic sites such as the iconic Château Frontenac, the Citadelle of Quebec, and the picturesque Place Royale.2. French Influence: Quebec is predominantly French-speaking, and its French heritage is deeply ingrained in its culture, language, and cuisine. The province offers a distinct blend of European and North American influences, creating a unique atmosphere and vibrant cultural scene.3. Natural Beauty: Quebec is blessed with diverse and breathtaking landscapes. From the rugged beauty of the Laurentian Mountains to the stunning coastal regions along the St. Lawrence River and the picturesque Charlevoix region, there are numerous opportunities for outdoor activities such as hiking, skiing, snowboarding, kayaking, and whale-watching.4. Festivals: Quebec is renowned for its lively festivals and events. The Quebec Winter Carnival, held in Quebec City, is one of the world's largest winter celebrations, featuring snow sculptures, ice canoe races, parades, and various cultural activities. The Montreal Jazz Festival, Just for Laughs Comedy Festival, and the Quebec City Summer Festival are other popular events that showcase the province's rich arts and entertainment scene.5. Gastronomy: Quebec is a haven for food lovers, known for its diverse culinary offerings and farm-to-table cuisine. Traditional Quebecois dishes such as poutine (fries topped with cheese curds and gravy), tourtière (meat pie), and maple syrup-infused delicacies are staples of the local cuisine. Montreal is particularly renowned for its vibrant food scene, offering a wide range of international cuisines and world-class restaurants.6. Unique Architecture: Quebec showcases a blend of architectural styles, ranging from the historic structures in Old Quebec to the modern designs found in cities like Montreal. The iconic Fairmont Le Château Frontenac in Quebec City, the Notre-Dame Basilica in Montreal, and the Montmorency Falls suspension bridge are just a few examples of Quebec's architectural gems.7. Warm Hospitality: Quebecers are known for their warm and friendly nature, providing visitors with a welcoming and hospitable experience. The province's rich cultural heritage and strong sense of community contribute to a memorable and enjoyable stay.From its historic cities to its stunning natural landscapes, Quebec offers a captivating mix of history, culture, and outdoor adventures. Whether exploring the cobblestone streets of Quebec City, skiing in the Laurentians, or savoring the province's delectable cuisine, visitors to Quebec are sure to be enchanted by its charm and distinct French-Canadian identity.Measures 24 x 36.Mounted to linen.