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ARCHITECTURAL WALL MIRROR, antiqued segmented plate, 100cm W x 160cm H x 3cm D.

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

Original vintage Calverton Community Centre architectural design drawing featuring images of the building's front elevation, building sections showing office, lobby, common room, canteen, and the semi-basement level rooms, name of J.R. Wallace printed in the bottom, above a stamp of College of Art & Crafts Nottingham School of Architecture, with grade and mark. Good condition, staining, pinholes, roughly trimmed edges on thick paper. Country of issue: UK, designer: Unknown, size (cm): 79x57, year of printing: 1950s.

Black slate mantle clock 32cm h x 32cm w x 14cm d with architectural features including marble columns and pediment and gold decoration. Has key and pendulum.

Two matching pairs of ornamental carved wall decorations depicting arrows and a quiver painted green 71cm h x 27cm w, one pair quiver with sword and one pair quiver with axe by Douglas Brickwood, Specialist Architectural Wood Carver.

A collection of four books to include Architectural Illustrations of Skelton Church, Yorkshire by Ewan Christian, Architect, Accompanied by a brief descriptive account of the building presentation copy from the Author, Published by George Bell London MDCCCXLVI (1846) - First Edition. Early Man in North-East Yorkshire by Frank Elgee. Printed by John Bellows Gloucester 1930 - First Edition. Findens' tableaux: The iris of prose, poetry, and art for MDCCXL illustrated with engravings edited by Mary Russell Mitford.The Royal House of Stuart by William Gibb - Illustrated by a series of forty plates in Colours. Drawn from the relics of the Stuarts by William Gibb. London MDCCCXC. (1890). First Edition. Includes the full complement of 40 vivid chromolithograph plates on a heavy stock of jewellery, armour, relics etc.

A pair of impressive detailed architectural multi-coloured drawings of Roman triumphal arches of Portugalia and Galliori featuring details of pediments, columns and stone work construction with medallions and descriptions in Latin script , both 25" x 29".

Baluchi ivory and indigo ground prayer rug, the field with architectural design surrounded by a guarded border with repeating star motifsDimensions: Length/Width: 132cm  Depth/Diameter: 83cm

A Continental carved oak cabinet, with decorative panel cupboard doors over a base section with two inline drawers & two further cupboard doors below, the whole of architectural design, 194cm x 122cm

SELTENES GIEBELFRAGMENT, grauer Schist, das Relief in einer mehrgeschossigen Struktur auf in einem doppelt gewölbten Giebel angeordnet, zusätzlich unterteilt durch mit Blattfriesen und geometrischen Mustern dekorierte Architekturelemente, dargestellt sind auf drei Ebenen verschiedenen Szenen aus dem Leben des Buddha; an der Spitze die Dipankara Szene die Buddha stehend zwischen grüßenden Adoranten zeigt, auf der zweiten Ebene Buddha auf einem rechteckigen Thron unter den Zweigen eines Ashoka-Baums sitzend, die rechte Hand in abhaya mudra, mit der linken den Saum seines Gewandes greifend, die dritte Ebene zeigt ihn in einem architektonischen Rahmen beim Bodhi-Baum stehend und begleitet von zahlreichen Bewunderern, 74 x 45, GANDHARA, PAKISTAN, 2./3.Jh. Provenienz: Privatsammlung seit 1974A rare gray schist fragment of a gable relief. Pakistan, Gandhara. 2nd/3rd century.With three registers arranged in a multi-storied structure within a double-arched gable separated by architectural structures decorated with leaf borders and geometrical pattern depicting scenes from the life of the Buddha, illustrated at top the Dipankara scene with Buddha standing surrounded by greeting attendants, the second tier shows Buddha seated at center on a square throne beneath the branches of an Ashoka tree with his right hand raised in abhaya mudra and the left clutching the end of his robe surrounded by monks and attendants, the third tier within an architectural nichedepicting Siddhartha at the Bodhi tree accompanied by several attendants. The relief pierced with two holes originally concealing pins for attachment. All finely carved.Provenance: Private German collection since 1974.

Law.- Coke (Sir Edward) The Third [& Fourth] Part of the Institutes of the Laws of England, together 2 vol., first edition of Third Part, second printing of Fourth Part, each with engraved portrait by I.Payne and titles with woodcut architectural border, partly printed in black letter, Third Part with final Epilogue leaf and with 16pp. Table not called for by ESTC, contemporary ink inscriptions to verso of portrait at head causing small hole where partly erased, light water-staining to upper edge, contemporary calf, rubbed, edges worn, rebacked, Fourth Part cropped shaving a couple of head-lines, some light browning but generally clean, modern roan-backed cloth, both with new endpapers, [Wing C4960 & C4930; cf.PMM 126], by M.Flesher for W.Lee, and D.Pakeman, 1644-48; and 2 others, law, folio (4)

NO RESERVE Architecture.- Whistler (Laurence) Sir John Vanbrugh. Architect & Dramatist 1664-1726, lightly browned, endpapers lightly foxed, original decorative cloth, gilt, spine lightly sunned, a few marks, 1938 § Goode (Patrick, editor) and others., The Oxford Companion to Architecture, 2 vol., illustrated throughout, in colour, original pictorial boards, still encased within original cellophane wrapping, OUP, 2009 § Horn (Walter) and Ernest Born, The Barns of the Abbey of Beaulieu at its Granges of Great Coxwell & Beaulieu St. Leonards, illustrations and diagrams, some in colour, original cloth, dust-jacket, some light toning and surface soiling, University of California Press, Berkeley, 1965; and 35 others architectural history, v.s. (39)

ARIOSTO (Ludovico): 'Orlando Furioso...': Venice, Vincenzo Valgrisi, 1572: title page within ornate architectural border (small oval inkstamp centre right and early handwritten provenance above imprint), water stains to first and final few quires, a few leaves in sig A remounted and with some wormholes round inside edge affecting some words, full page woodcut illustrations, ornaments on chapter headings, without final leaf bearing printer's device to verso, front flyleaves removed, near contemporary continental calf with 3 raised bands, spine gilt with label, worn with corners bumped, scattered smudges and stains, 4to. (1)

Paul R. Workman Italianate Interior with Seated Female Figure, Architectural Vista Beyond signed to verso, oil on canvas, 105cm x 95cm

HASUDA SHUGORO: A GREEN PATINATED BRONZE VASEBy Hasuda Shugoro (1915-2010), sealed Shu Japan, 20th centuryThe cylindrical body rising from a straight beveled foot to a tapered-cylindrical neck, engraved at the midsection with a grid pattern on either side of a raised rib, and finished with a greenish patina. The base sealed SHU (Hasuda Shugoro).With a wooden box, inscribed Seido ko yahazuguchi (Bronze vase with shaft-shaped mouth) and signed Shugoro and sealed Shu Condition: Excellent condition. Provenance: Dutch collection. Previously auctioned at Christie´s New York in Japanese And Korean Art on 18 March 2008, lot 69, sold for USD 2,500. Check if identical or near identical Weight: 1,311 g Dimensions: Height 24.5 cmHasuda Shugoro (1915-2010) was a prominent Japanese sculptor. He studied at the Tokyo School of Art, graduating in 1938. His work gained recognition at the 5th Nitten exhibition in 1949, and he received Nitten's Hokuto prize in 1953. Shugoro co-founded the Creative Crafts Association in 1961 and became an assistant professor at the Tokyo University of the Arts. His sculptures, known for their architectural form, were selected as official gifts for the prime minister of West Germany and the president of Mexico. Shugoro received prestigious awards, including the Mombudaijinsho in 1959 and the Japanese Order of Cultural Merit in 1991. His works are held in various notable collections.Auction result comparison: Compare to two other vases by Hasuda Shugoro at Christie´s London, in The Japanese Aesthetic on 15 May 2013, lot 174, sold for GBP 3,250, and in Christie´s New York, in Japanese and Korean Art on 22 September 2005, lot 249, sold for USD 2,880.

Architectural Association 1912 to 1914 drawings (x38) A range of detailed architectural drawings featuring various buildings in the UK and the continent. Noted many featuring Devon and Somerset but also France and Italy. Full list supplied by vendor.

A group of eight architectural drypoint etchings, to include a market before a castle, signed indistinctly (lower right), 39 x 40cm, a work by Percy Robertson, a view of Bellagio, a view of Big Ben and others (8)please see additional images

A group of five architectural etchings, to include: Alfred Bentley, market scene, signed (lower right), 24 x 18cm; an etching of the facade of a state building, indistinctly signed (lower right), 26 x 21cm; Gertrude Keeling, Winchester College Cloisters, signed (lower right), 26 x 30cm; an etching of Paris market scene, and another (5)

VICTORIAN BLACK SLATE MANTEL CLOCK LATE 19TH CENTURY in architectural case with gilt chapter ring, eight day movement36.5cm high

A costume design by Edith Head for Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's (Paramount 1961). A mixed medium costume design for Audrey Hepburn by Edith Head. The sketch features a full-length Audrey-like figure in a light pink full-length gown with a full skirt and fitted bodice, similar in likeness to the cocktail dress Audrey wears in the film. The figure wears a tiara, earrings, and elbow-length gloves, and holds a cover-up in her right hand. The dress is drawn with glittering surface embellishment on the bodice and skirt; however, this design differs from the scoop neckline and calf-length hemline worn in the film. Edith's design is a sophisticated evening gown, featuring a bateau neckline with an ankle-length hem. The sketch is signed by Edith Head at the bottom left corner. Audrey wears a pink dress upon returning from an evening with José, soon to find out her brother Fred is dead and going into a traumatic physical fit of grief. The bright color and embellished design was a contrast to her character’s previous outfits of understated elegance.This sketch was likely a conceptual sketch for Audrey as Holly Golightly, the dress in the film is cocktail length and designed by French couturier Hubert de Givenchy. Breakfast at Tiffany’s was a film that defined Audrey’s timeless style and the refined elegance that was Givenchy’s signature. The pink dress showcases architectural construction with a fitted princess-seamed bodice and a gathered skirt that is as buoyant as Audrey’s charming smile. The facet foil back crystals, the guipure fan tassels, and the vibrant pink add up to a defining moment in fashion where women were feminine, sleek, distinct, and articulate in how they dressed.The design worn in the film was a part of Givenchy’s 1960 fall show with well-known clientele Lee Radziwill and model Capucine wearing the embellished design in black. Audrey asked if the design could be made in pink specifically for the film, only two of these pink design confections were made. A rare design that showcases the artistry of French haute couture and the beautiful Audrey Hepburn as Holly Golightly. Audrey’s Givenchy wardrobes while they evolved in each film collaboration have become a timeless reference to elegance and glamour in both film and fashion. This lot comes with a DVD/Blu-Ray of the film. 

A costume design by Edith Head for Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's (Paramount 1961).A mixed medium costume design for Audrey Hepburn by Edith Head. The sketch features a full-length Audrey-like figure in a light pink full-length gown with a full skirt and fitted bodice, similar in likeness to the pink cocktail dress Audrey wears in the film. The figure wears a tiara, earrings, and elbow-length gloves, and holds a cover-up in her right hand. The dress is drawn with glittering surface embellishment on the bodice and skirt; however, this design differs from the scoop neckline and calf-length hemline worn in the film. Edith's design is a sophisticated evening gown, featuring a bateau neckline with an ankle-length hem. The sketch is signed by Edith Head at the bottom left corner.Audrey as Holly Golightly wears a pink dress upon returning from an evening with José, soon to find out her brother Fred is dead and going into a traumatic physical fit of grief. The bright color and embellished design was a contrast to her character’s previous outfits of understated elegance.This sketch was likely a conceptual sketch for Audrey as Holly Golightly, the dress in the film is cocktail length and designed by French couturier Hubert de Givenchy. Breakfast at Tiffany’s was a film that defined Audrey’s timeless style and the refined elegance that was Givenchy’s signature. The pink dress showcases architectural construction with a fitted princess-seamed bodice and a gathered skirt that is as buoyant as Audrey’s charming smile. The facet foil back crystals, the guipure fan tassels, and the vibrant pink add up to a defining moment in fashion where women were feminine, sleek, distinct, and articulate in how they dressed.The design worn in the film was a part of Givenchy’s 1960 fall show with well-known clientele Lee Radziwill and model Capucine wearing the embellished design in black. Audrey asked if the design could be made in pink specifically for the film, only two of these pink design confections were made. A rare design that showcases the artistry of French haute couture and the beautiful Audrey Hepburn as Holly Golightly. Audrey’s Givenchy wardrobes while they evolved in each film collaboration have become a timeless reference to elegance and glamour in both film and fashion.This lot comes with a DVD/Blu-Ray of the film.

France, late 15th century A.D. Composed from six rectangular glass panels with painted geometric and architectural imagery, later suspension loops to the upper corners. 1.4 kg, 37 x 35 cm (14 1/2 x 38 in.). UK trade, 2018. Ex central London gallery. [No Reserve]

Circa 15th-17th century A.D. Rectangular with lead came framing; composition from elements of various designs including a female bust with ornate collared gown; two lower legs; a right hand; various facial details; heater shields with heraldic designs; goat emerging from woodland; architectural elements; and other types. 2.09 kg, 48.5 x 42.5 cm (16 3/4 x 16 3/4 in.). Ex central London gallery. [No Reserve]

12th-13th century A.D. Architectural column capital modelling curled acanthus leaves, rising from a narrow stem, curving outwards and away from each other. Cf. Lassalle, V., ‘Les chapiteaux, l’organisation du décor et quelques particularités architecturales de l’église Notre-Dame, à Saignon (Vaucluse)’ in Archéologie du Midi médiéval. Tome 20, 2002, pp.37-55, for similar capitals with foliate interlaces, fig.4; Franklin, J.A., ‘The Romanesque Sculpture of Norwich and Norfolk: The City and its Hinterland – some observations’ in British Archaeological Association, 2015, vol. XXXVIII, pp.135-161, figs.9, 10; Fogg, S., Architecture and Ornament, 22 October-19 November, 2020, London, 2020, figs.2,4 and especially 24, from France. 118.4 kg, 46 cm high (18 1/8 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Accompanied by an academic report by Dr Raffaele D’Amato. [No Reserve]

Circa 17th-18th century A.D. Depicting a wild bird perched in a trellis covered in fruiting vine leaves, crowned by an architectural capital, some restoration. Cf. Pluis, J., The Dutch Tile: Designs and Names, Leiden, 1997, p.625, for a similar set. 4.7 kg total, 13 x 13 cm each (5 1/8 x 5 1/8 in.). Acquired 1990s-early 2000s. East Anglian private collection. [20]

Circa 17th-18th century A.D. Mainly composed of geometric, figural and foliate designs and details from an architectural capital; together with blank tile and a number of glazed medieval tiles. 11.6 kg total, 11 x 11 - 13.5 x 13.5 cm (4 3/8 x 4 3/8 - 5 3/8 5 3/8 in.). Acquired 1990s-early 2000s. East Anglian private collection. [29]

Late Period, 664-332 B.C. With integral square base and shallow socket to the top of the head; Bes shown standing nude with hands on hips, bearded and with grotesque features, protruding tongue, lattice to the rear of the head; face restored. Cf. similar statue in the collection of the Louvre under accession no.N 437 (IM 228 ; S 962). 1.6 kg, 32.2 cm high (12 3/4 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Due to its size, this is more probably an architectural and devotional item than a purely amuletic one, probably from a domestic context. It is an ambitious example of moulding in the round in faience (glazed composition). [No Reserve]

1st-2nd century A.D. Comprising a circular medallion from an architectural frieze, representing a mask crowned by vegetable curls and volutes, the edges marked with a double line. 1 kg, 19.5 cm (7 3/4 in.). Acquired from Millon Arts D'Orient. Property of a Ruislip, UK, gentleman, by inheritance. The medallion partially corresponds to some faces visible on the clay antefixes on the temple of Isis in Pompeii. The antefix was a roof covering element placed on the end of roof beams or as an occlusion of the terminal channels of the tiles in Greek, Etruscan and Roman buildings. [No Reserve]

A gilt oval wall mirror together with a white and gilt wall mirror and two bookplates of architectural scenes

A handheld stereoscope viewer and over 500 stereoscopic cards, inc Children at Play, Topographical scenes, Architectural , Risqué, Mining, Welsh landscapes, Maritime, Geological and Ice formations, 1862 exhibition etc qty

Architectural Salvage - a cast iron gutter hopper, others assorted shapes and sizes, water pump handle; pair of wrought Iron five bottle wine racks, hanging lantern and bracket etc (10)

A SET OF EIGHT PARCEL GILT WALNUT WALL BRACKETS LATE 19TH CENTURY Each with serpentine softwood top on leaf carved scroll bracket support each 32.5cm high, tops 36.5cm wide, 18.4cm deep Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: these brackets are probably constructed with 19th century architectural brackets, the tops probably later; there is some evidence of worm, the backs with some holes from previous fixings and with some sections with signs of age; the lower part of the wall brackets are in constructed of two sections; the parcel gilt with some rubbing; the tops are painted to simulate walnut and with a parcel gilt painted edge; the tops have later metal wall fixings; one of the brackets is not fixed firm and the top rotates.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A George III mahogany and string inlaid stick barometer, the register plate signed P.G Tarone, Cambridge, with architectural broken pediment with central brass finial, 96 cm high

A Victorian black slate mantle clock, of typical architectural form with gilt metal Corinthian capital columns, the circular enamel dial with Roman numerals, the French movement stamped Raingo Freres, sitting on a rectangular platform with rounded corners, 28 cm high with platform

Three vintage sets of wooden building and architectural blocks

A wooden-boxed set of Anchor Blocks masonry building pieces, with original instructions and architectural design to lid

An early 20th century oak cased architectural mantel clock, with Junghans twin fusee movement striking on a gong, the enamelled chapter ring set with Arabic numerals, 33 x 36 x 14cm.Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/

OAK PRESS CUPBOARD LATE 17TH CENTURY with a fluted architectural frieze above a pair of triple panel doors, opening to a hanging space, the left side panel carved with rosettes and a large lozengeDimensions:124cm wide, 148cm high, 38cm deep

AESTHETIC MOVEMENT OAK TABLE CLOCK POST BOX LATE 19TH CENTURY the blue glazed tile dial with Arabic numerals, in an architectural stained oak case with a balustrade top, the lower part fitted as a post box with a brass letter slot and compartmentDimensions:18cm wide, 48cm high, 15.5cm deep

FRENCH GILT BRONZE AND CLOISONNÉ ENAMEL MANTEL CLOCK LATE 19TH CENTURY the silvered dial with Roman numerals and an enamel mask, in an architectural case with pagoda top with pointed finials to the corners, above foliate scroll enamel panels on a blue ground with corner columns, on a gadrooned moulded plinth base, the twin-train brass movement striking a bell, stamped ''CHLES M1' and numbered 33790, the pendulum with matching numeralsDimensions:15.5cm wide, 28cm high, 12.5cm deep

A pair of 18th century engravings, architectural studies, and various other 18th century stipple engravings, monochrome engravings, fashion prints etc, all framed

An Edwardian mahogany cased mantel clock, the silvered Roman numeric dial bearing name W. Greenwood Leeds & Huddersfield, eight day, movement no 208442, the case of architectural form, with brass orb finial, brass capped pilasters, on a rectangular stepped base, raised on four brass compressed bun feet, with key and pendulum, 40cm high.

A 19thC black slate mantel clock, cream enamel numeric dial and brass chapter ring, eight day movement with coil strike, the case of architectural form, raised on a stepped base, 32cm high, 35cm wide, 15cm deep.

A DUTCH DELFT BLUE AND WHITE CHARGERCirca 1700 Painted in inky blue in Chinese Kraak porcelain style with two figures in an architectural interior, inside a panelled border painted with seated figures alternating with flowers, 34cm diameterThere is a fine starcrack to the centre of the the dish, mostly visible on the underside. Some typical glaze chips around the rim.

12th-13th century A.D.. An architectural structural element, carved in two pieces: the upper section formed as a tulip with rounded base, the Nativity scene depicted on all sides comprising: the Virgin and Child seated on a throne, surrounded by divine light; the three wise men bearing gifts to her right, the foremost man kneeling next to the throne; behind the wise men a scene depicting Mary resting on a bed with Joseph beside her, the Child in his cradle with a donkey and an ox looking over him bathed in divine light; the last scene representing the meeting between Mary and Saint Elizabeth; the square base with spandrels. See Hack, B., Mons, I mosaici della Patriarcale Basilica di Santa Maria Maggiore (The mosaics of the Patriarchal Basilica of Santa Maria Maggiore), Rome, 1967; Schug-Wille, C., L’arte bizantina (The Byzantine Art), Milano, 1970; Little, C.T., Set in stone, The face in medieval sculpture, Madrid, 2007; Turnock, J.A., Landscapes of Patronage, Power and Salvation: A Contextual Study of Architectural Stone Sculpture in Northern England, c.1070 - c.1155, Durham University, 2018. 812 grams total, 70-78 mm (2 3/4 - 3 in.). Acquired in the early 2000s.Ex Norfolk, UK, collection.Accompanied by an academic report by Dr Raffaele D’Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11782-205862. The treatment of the faces is similar to various English Romanesque ecclesiastical sculpture; see for example Christ in Majesty in St Andrew's Church in Bugthorpe or a loose corbel from the St Bees Priory Church of Saint Mary and Saint Bega (Cumbria). [2, No Reserve]

Attributed to Edward Francis Burney (1760–1848)Socrates reproving Alcibiades, within a feigned architectural borderInscribed Socrates reprooving Alcibiades (lower centre)Pen and black ink, with grey wash on folded laid paper21.5 x 29.6cm; 8½ x 11¾in (sheet)Unframed

Joannes Volpato (1733-1803) after Ludovicus Teseo Taurinensis (1732-1803)The Architectural Panels of Raphael's Vatican LoggiaEight, each engraving on joined sheetsEach approx. 134.5 x 53.5cm; 53 x 21in (sheet)Unframed (8)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

A Collection of Prints Mostly depicting Architectural and Genre SubjectsIncluding Cornelius Johnston (Mid 18th-century); A section of the quadrangle design'd for the British Musaeum; Engraving; 44 x 80.1cm; 17¼ x 31½in; Unframed; Bartolomeo Nerici after Giovanni Antonio Santi; Prospetto del Anfiteatro costruito nella Citta di Lucca; Etching; 44.9 x 58.1cm; 17¾ x 22¾in; Unframed; and twenty-two further unframed prints (24)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

A GEORGE III MAHOGANY GENTLEMAN'S DRESSING CHEST IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760 The rectangular moulded top above four graduated drawers, the fitted drawer with a baize-lined slide above a well fitted drawer having lidded wells and compartments around a hinged mirror, the side with a fitted pen drawer, bearing a Grosvenor House Antiques Fair label 79cm high, 91cm wide, 56cm deep overall Provenance: Private Collection Cheshire and acquired at the 1937 Grosvenor House Antiques Fair, London, from J H Gillingham, South Kensington This 'bureau-dressing-table' of restrained architectural form relates to a " bureau-dressing-table " pattern featured in Thomas Chippendale's The Gentleman and Cabinet-Maker's Director, 1754, pl. XLI, which was supplied to Paxton in Scotland (C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. II, fig. 417). In place of the latter's knee-recess, the present table is equipped with bureau-lopers to support the mirrored and well-equipped dressing-compartment and accompanying writing-slide concealed in its top drawer. An almost identical example was sold, Christies Important English Furniture, London, 4th July 2002 lot 163, £17,925.  

A VIRGINIA WALNUT MULE CHEST CIRCA 1650, OF ARCHITECTURAL FORM 84cm high, 144cm wide, 64.5cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits, some minor old repairs. Some old losses. Some additional very old dark stains and marks (mainly to the top) The lock and catch to the lid appear original or possible early 18th century additions/ replacements. lacking key(s). The locks and escutcheons to the drawers appear 17th or early 18th century and the key is present to operate them. Where each lock is secured to the interior side of each drawer front there is a fillet of timber filling the gap. This probably suggests that they are additions/ replacements but are of an early date. Some old worm damage but generally appears minor overall and for date of the chest. Old splits to the floor of the chest and the floors of the drawer linings as expected for age. Please refer to additional images available via email for further visual reference to condition.Condition Report Disclaimer

John Piper, fifteen books, booklets & exhibition catalogues by or relating to John Piper and associated contemporary artists, including 'Piper's Places. John Piper in England and Wales', London, Chatto & Windus/Hogarth Press, 1983, 1st edition, original cloth, dust wrapper, 'To John Piper on his Eightieth Birthday', L, The Stourton Press, 1983, 1st edition, limited edition (900), orig. pictorial cloth, Walter de la Mare: 'The Traveller', L, Faber, 1946, 1st edition, 4 colour lithograph plates by Piper as called for, orig. cloth, d/w, Frances Spalding: 'John Piper - Myfanwy Piper: Lives in Art', OUP, 2009, 3rd impression, orig. cloth, d/w, J.M. Richards: 'The Castles on the Ground', L, Architectural Press, 1946, 1st edition, 8 lithograph plates by John Piper as called for, original cloth, d/w by Piper, Myfanwy Piper: 'Sea Poems', L, Muller, 1944, 1st edition, 16 lithograph plates by Mona Moore as called for, orig. pictorial cloth & dust wrapper by Mona Moore, Kenneth Clark: 'Landscape into Art', John Murray, 1949, numerous plates, orig. cloth, pictorial dust wrapper by Graham Sutherland, 'Poetry London X', L, Nicholson & Watson/Editions Poetry London, Dec. 1944, 3 full page colour lithograph plates by Gerald Wilde (of which 1 double page) + 8 b/w plates by Mervyn Peake etc, original cloth gilt, 'Roy Campbell: 'The Gum Trees', ill. David Jones, Ariel Poems No. 30, orig. pictorial wraps (detached but present), 'David Jones', Tate Gallery, 1981, orig. cloth lettered in silver, dust wrapper, 'Unknown Colour - Paintings, Letters, Writings by Winifred Nicholson', 1987, 1st edition, orig. cloth, d/w, 'The Rape of Lucretia - a symposium by Benjamin Britten...John Piper...Angus McBean', L, 1948, 1st edition, 8 colour plates by John Piper (of which 3 folding) + 5 full page ills. from photos by Angus McBean as called for, orig. cloth gilt, d/w, etc etc (21)

'Architectural History: Journal of the Society of Architectural Historians of Great Britain.', Volume 1, 1958, to Volume 44, 2001, complete run, plus Volume 46, 2003, original printed wraps (45)

(Classical Architecture, Greece, Egypt, Antiquity), three early to mid 20th Century manuscript books containing notes and well executed architectural drawings and sketches, maps etc, compiled by one Eric A. Deedman, each with his ownership signature to inside front cover, two of the books with continuous pagination, being 90pp in total 'Notes on Architectural History', with cover title and m/s title at front of first volume, includes well executed pencil and pen & ink sketches of Pyramids of Gizeh; Sphinx; map of Egypt; tomb at Abydos; Tomb of Khnemhotep at Beni-Hasan; Temple of Khons, Karnac; Egyptian columns and ornament; entrance to the rock temple at Ipsamboul; temple at Edfou; map of Babylonian and Persian empires; Sargons Palace at Khorsabad, Assyrian 2nd period; Ziggurat; Persian column at Susa; map of Greece and plan of the Acropolis; The Parthenon east facade and column/ornament; the Propylaea, Athens; Greek examples of the Doric and Ionic order; the temple of Nike; the Erechtheion; Greek and Roman mouldings; Greek and Roman comparitive theatres, etc, all with corresponding m/s notes, the other book with 50+ unnumbered pages of similar but more roughly sketched illustrations and notes in pencil, all in matching contemporary cloth backed exercise books (each approx 20 x 16.5cm); together with a 1928 edition of 'A History of Architecture on the Comparative Method, for Students, Craftsmen, & Amateurs', by Sir Banister Fletcher, profusely illustrated throughout, original pictorial cloth gilt (4)

(Essex), an excerpt from Lysons 'Environs of London' 1792-1796, pp.601-749, 'County of Essex', 6 engraved plates, mainly Barking Abbey content plus Chingford, Leyton, Romford, Walthamstow etc, 4to, old plain paper wraps, m/s title to cover and spine; together with 'Essex In the Twentieth Century - Contemporary Biographies', W.T. Pike, 1909, 336pp, full page frontis of Audley End House plus hundred of other in text ills. from photos comprising architectural views and portraits, large 4to, contemporary calf gilt (worn) (2)

A box of 40+ Pevsners Architectural Guides: The Buildings of Englands

ARCHITECTURAL FANTASY Artist unknown, mixed medias, 52 x 45 cms, with Bath Abbey Square, Winter, artist unknown, oil on paper

A COLLECTION OF LOOSE PRINTS architectural and others

An Empire burr elm and gilt-metal mantel clock by Lépine of Paris,c.1810, French, the white enamel dial inscribed 'Lépine de l'Imperatrice', within an architectural case with a moulded cornice over classical monopodia columns,28cm wide18cm deep44cm highCondition ReportSmall loss to veneer top left corner of the cornice and back right corner to the base. Split and lifting to veneer front centre of the cornice. There is some oxidation and verdigris to the metal elements. Chips to edge of both winding holes and some small scratches to the dial. Veneer approx 1mm thick. Some evidence of repair or alteration to the screws inside. Split to the back panel veneer lefthand side. Some light wear, splits and small losses throughout, commensurate with age and use. See additional photos. Ticks and strikes when wound, however we are unable to gurantee that this represents full and complete working order and we would always recommend that clocks undergo at least a light service by the successful buyer.

An early oak architectural fragment,17th/18th century, in the form of an angel holding a shield,57cm wide16cm deep65cm highThe Estate of the Late Malcolm Frazer.

A carved pine centre table,19th century, Italian, with a Rosso Verona marble top above a guilloché-carved frieze, raised on lion monopodia supports,146cm wide78cm deep 86cm highCondition ReportOverall the table is in fair cosmetic and structrual condition with some signs of age, alterations and repairs. The marble top has been broken and repaired with reinforcements underneath. There are some splits and shrinkage cracks to the supports. Woodworm damage to supports but doesn't appear active. In-filled areas to the back of each support suggests these were repurposed from another piece of furniture or architectural carving. The frame is stable and ready for use. See additional photos.