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Sculpture of an apsara, celestial dancer, architectural roof element, India 19th centurySculptuur van een apsara, hemelse danseres, architecturaal dakelement, India 19e eeuwL 83 cm

Early XX Century Slate and Marble Cased Mantle Clock of Architectural Form 27cm wide, Worcester egg coddlers, Bunnykins and Beswick Bunykins figures, cutlery, tin, etc :- One Tray.

Imposing gilded copper, embossed, engraved, and enamelled pax-board with rock crystal cabochons and gemstones. Italy. Circa 1400.18,4 x 11,3 cm.A marvellous piece of liturgical metalwork. With an architectural structure, in the centre, the figure of Saint Gregory as the Pope giving a blessing is affixed there, flanked by two slender turned columns and under a Gothic archway with pinnacles.The background is adorned with a delicate white enamelled copper plate with highlights in gold and blue.The entire pax is embellished with multiple rock crystal cabochons and green and red gemstones.It has some flaws.This lot has been imported, therefore its exportation permit from the Spanish Ministry of Culture is guaranteed.

Mudejar cabinet chest in walnut wood with bone inlay. Decorative “Pinyonet” or rice grain technique. Aragonese manufacture from Teruel. Torrellas. 16th century.32 x 48 x 29.5 cm. Magnificent example of Aragonese Mudejar furniture. Structurally, it has two hinged doors and an interior body divided into three sections, the first being a single receptacle without a lid, while the last two house drawers: the central section is divided into two drawers, and the lower one is composed of a single drawer.It retains all its original iron fittings: hinges, handles and the lock, which remains complete but has lost the surround for the keyhole.As is usual in the highest quality examples, this cabinet chest is completely covered with “Pinyonet” decoration. The front of the chest is ornamented with a very architectural design that, in our opinion, creates a sensation of depth on two planes. In the second plane, there is a balustrade with two large arcades decorated on the inside with a border of geometric motifs, which end on both sides with a kind of fountain vase at each end, all supported by amphorae serving as columns, topped by a pomegranate on each side.Superimposed in the foreground of this landscape are two square vases that preside over the decoration. Nine flowers in their maximum splendor are displayed in the vases and there are also two lateral ones that seem to wither towards their pots, with the intention of creating movement in order to, with this format, better combine their forms with the previously mentioned amphorae on each side. A simplified version with some variations of this decoration can be found on the inside of the upper lid.The sides present concentric circles with sinuous garlands. Following the same pattern, we find richer and more elaborate decoration on the inside of the front lid. It should be noted that the lid has old stains, perhaps ink stains, due to the use of the lid as a writing desk.Finally, the decoration on the drawers displays elements that we have already seen adorning the external part of the chest, such as pomegranates, eight-pointed stars typical of the Mudejar style, flowers and sinuous garlands. It is very interesting to read the article recently published in 2023, in “Vegueta. Anuario de la Facultad de Geografía e Historia” by Mª Isabel Álvaro Zamora "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" (Furniture in 16th century Zaragoza homes. Lexicon, functionality, ornament and prestige), because, as she says in her introduction, she ’studies the furniture existing in 16th century houses, of varied social class and different economic position in Zaragoza [,] based on unpublished documentation from the archive of notarial protocols of Zaragoza (which includes, above all, inventories, as well as partitions of goods, sales, wills, marriage contracts, repossessions and work contracts)’. As it is of specific interest to the piece we present here, we quote an excerpt from section 2.7. dedicated to the “Escritorio, Escribanía, Arquimesa”, included in the section “Muebles de guardar y exhibir” (Furniture for storing and exhibiting) which, as the author indicates, groups together “all those pieces of furniture whose main function was to store one or more types of belongings in their interior or exterior, with the intention of keeping them safe, although some of these pieces of furniture, because of their material, shape and coating, could be decorative objects in themselves”. Such would be the case with this desk. Álvaro Zamora explains that “the documentation consulted in Zaragoza shows that they were almost exclusively owned by the wealthier classes. Thus, we find this type of cabinet chest in the living rooms of the houses of several gentleman merchants. As an example, the “pine cabinet chest with its lock and key” owned by Joan de Palomar, with the “the books of the business, study scissors, a lead inkwell and a dustpan”; the “walnut chest with a base”, that both Miguel Piquer and Miguel de Portas had, the first having documents related to Piquer´s trade and the second having numerous delivery notes, cash, some jewels and silver pieces, a mirror, a prayer book and even a gold tooth cleaner, which also had “two writing desks with two knives and scissors”. They were also found in the study of some notaries, such as Francisco Tobeña, who had “a large pine desk with a red cloth cover” (upholstered). And, exceptionally, we find another one in the house of two well-placed Moors from Villafeliche (Zaragoza), in 1609, a year before their expulsion. [...]However, the most refined and expensive examples were owned by nobles, such as Count Sástago II or the Duke of Villahermosa IV. Of the former, two archives were recorded in the study of his house in Pina de Ebro, one “in which there are two large drawers full of writings”, and another “of walnut carved with inlaid wood”, with documents of the county possessions and lineage kept in their drawers, and writing utensils (“silver and lead inkwells, penknives, silver powder compact and tin salver”). The second had “two small desks of plain wood”, “a small writing desk made of inlaid wood covered in black leather with eight drawers”, there was another one “with eight drawers inside and covered in crimson velvet with golden studs” and another one “made of inlaid wood with eight drawers”, as well as “a chest cabinet covered with green velvet with golden studs and six drawers” and another “of inlaid wood with two drawers”, presumably Spanish furniture that joined other German furniture, such as “a wooden desk from Germany with five drawers”, “a chest cabinet with German inlay with gilded trimming and ten drawers” and another, ‘of German wood with seven drawers and gilded studs with six pieces of carved glass rings.’  It is clear that the upper classes treasured the best chest cabinets as luxury objects that they exhibited and which gave them prestige, from the examples with Torrellas inlay to the pieces that were gilded and upholstered with the best leathers and fabrics, or the highly prized German ones, arriving especially from Ausburg.” This lot has been imported, so its export permit from the Ministry of Culture is guaranteed. Reference bibliography:Álvaro Zamora, Mª Isabel. (2023). "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" en "Vegueta. Anuario de la Facultad de Geografía e Historia", 23 (2), 629-659. ULPGC. https://doi.org/10.51349/veg.2023.2.04 

Madrid School. 17th century."View of El Escorial"Oil on canvas.108 x 160 cm.Spectacular painting of an architectural view, which is not just a painting of a building but the relaxed view of a great “architectural complex” that houses several buildings and that forged Spanish history, a living legend that defies the passage of time. On April 23, 1563, the first stone was laid for the construction of this great Monastery, one of the most representative monuments of Spanish architecture. A colossal architectural ensemble consisting of a monastery and a church, a palace and a royal pantheon, it is known as the Monastery of San Lorenzo el Real or, simply, El Escorial. It was designed in the second half of the 16th century by King Philip II and his architect Juan Bautista de Toledo, although it was later completed by Juan de Herrera, and also by Juan de Minjares, Giovanni Batistta Castello “El Bergamasco” and Francisco de Mora. At the time it was the largest building in Europe and is considered to be the Eighth Wonder of the World. Since 1984 it has been a UNESCO World Heritage Site. The architecture of the Escorial is symmetrical and balanced. The building is built in granite and divided into three vertical zones. In the central axis is the courtyard of Monarchs, the Temple and the King's House; to the left is the College and the Palace; and to the right, the monastery and kitchens. The architectural mass is simplified ny using squares, rectangles and circles through  the rule of  “Universal Trace” (or Universal Path). It consists of 15 cloisters, 13 oratories, 86 stairways, 88 forts, and 73 sculptures. The church has a Greek cross plan and in its main chapel are the funerary monuments of Charles V and Philip II. The painting controls space and perspective, showing painted architecture “that rationalizes the gaze”. The painting presents us with a stage of very ordered stones harboring some characters, (carriages that bring and carry ladies and gentlemen of court, characters that walk through the courtyards and that give life “to the theater and scene of so much stone”, the beginning of a procession with altar boys in front...), and that shows us the evolution of the scenography through time. This painting is a metaphor for ideal architecture, ordered, perfect, with inner order being expressed on the exterior ...., and showing the external order that is imposed on the interior.  This is undoubtedly a marvelous painting that “frames and orders” our aesthetic tastes, that idealizes our thoughts, that erases stress with its mere contemplation, as it is designed to delight the viewer's gaze. A painting that serves to perpetuate the grandeur of the past and the memory of so much contained opulence. An exquisite perspective understood as a symbolic way of ordering the world and the gaze.

PSALMS -- PELLIKAN, K. Psalterium Davidis, opera elaboratum. Strassb., W. Köpfel, 1527. 285, (2) lvs. Ti. printed within architectural woodcut border. Sm-8°. Mod. h. vellum extra. (Some marg. annot. and underl. in an old hand, sl. browned).NOTE: Konrad Pellikan (1478-1556), was a German Protestant theologian, humanist, Protestant reformer and Christian Hebraist who worked chiefly in Switzerland. - Rare and early psalm commentary. VD 16 B3144.

VESELOVSKII, N.I., A SHCHUSEV, P. POKRYSHKIN & A. MINENKO, (artists). Mecheti Samarkanda/Les Mosquées de Samarcande. Publ. p. la Commission Imperiale Archéologique. Fasc. I: Gour-Emir. (=all publ.). St. Petersburg, 1905. IX pp. (dedic. leaf, title, text and table). Text in French and Russian. W. 18 (chromo)lithogr. plates (12 cold.). Lge-fol. In ohcl. portfol. With custom-made wooden box. (Portfol. stained, front and back cover of or. grey wrappers present, lower margin of all lvs./plates a bit waterstained).NOTE: This, the first and only volume in the series, is devoted to the Gur-e-Amir ("Tomb of the King") mosque in Samarkand, Uzbekistan. Begun in 1405, it is the fabled mausoleum of the conqueror Timur or Tamerlane and his sons and grandsons. Although only the foundations of the madrasah and khanaka, the entrance portal and part of one of four minarets still remain, it is still considered one of the masterpieces of Persian architecture. The cost of producing this lavish volume was so enormous that the Imperial Architectural Commission was unable to issue a second one. The delicacy and clarity of the chromolithographs, based on paintings made on site by the three artists, make it one of the most exquisitely printed and desirable Russian books of the Silver Age.

19th century continental mahogany architectural pier table with mirror, with corniced top above a tall rectangular mirror plate framed in moulded edge, over a narrow console with rounded front corners supported by turned columns, on a plinth baseDimensions: Height: 222cm  Length/Width: 64cm  Depth/Diameter: 29cm

L K Karunaratne (Sri Lankan 1932-2013): 'Sigiriya Maiden', monochrome felt on card signed with initials 28cm x 20cmNotes: Notes: Karunaratne was an artist and architect whose work was dedicated to the preservation of Sri Lanka’s cultural heritage. A trained draftsman, he worked with the Department of Archaeology, focusing on the conservation of historic sites, including Kuttampokuna in Anuradhapura. Sigiriya Maiden reflects his interest in the ancient frescoes of Sigiriya, a recurring subject in his work. Over his career, Karunaratne produced over 200 works, many of which were personal studies of archaeological and architectural features. He held a landmark exhibition in 2018, accompanied by a publication of his works. His contributions to art and heritage preservation are recognized in collections at the National Trust of Sri Lanka and University of Moratuwa and other important private and state collections.

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR ULTIMA EDIZONE ARCHITECTURAL SCULPTURE, 1986 signed and numbered 82/300, from the Micro Architecture series, marble 25.7cm high, 20cm wide, 10cm deep (10 1/8in high, 7 7/8in wide, 4in deep)

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR ULTIMA EDIZONE ARCHITECTURAL SCULPTURE, DESIGNED 1986 signed and numbered 104/300, from the Micro Architecture series, marble and gold leaf 19cm high, 20cm wide, 10cm deep (7 ½in high, 7 7/8in wide, 4in deep)

Cartier: An aquamarine and diamond brooch circa 1935 Designed as two demi-lunes, composed of oval-cut aquamarines and brilliant-cut diamonds, connected by a rectangular step-cut aquamarine, diamonds approx. 0.60 carat total, signed Cartier London, numbered, width 3.5cm By repute, purchased in the 1930s from Cartier. The original owner was an English socialite who had a home in Kent and was good friends with Lady Vita Sackville-West, the well regarded author, who lived nearby at Knole House. Hence by descent.   Following the US Stock Market Crash in 1929, the global economy felt the shockwaves. Although disproportionally affecting those in lower economic classes, the jewellery industry was not untouched. As prices, supply and demand for top coloured stones, such a rubies, sapphires and emeralds felt the repercussions, so to did the spending power of clients. Jacques Cartier chose to make a unique strategic move. For several years the three Cartier brothers subtly bought up the best quality aquamarines (as well as topaz) on the wholesale market. Jacques Cartier was particularly drawn to aquamarines, as well as topaz, as those stones lent themselves to the rectangular cuts which complimented the architectural style of Art Deco jewels. In order not to alert their competitors that they were planning new ranges of jewels featuring these “semi-precious” gemstones, they would acquire the best gems available, but never so much as to draw attention to themselves.Cartier’s aquamarine jewellery appears to have been predominantly produced from the London workshop starting in 1932. Several American clients ordered aquamarine jewellery specifically through the New Bond Street London premises. One of the most notable advocates for Cartier’s aquamarine collections was the famed American interior designer Elsie de Wolfe. She commissioned a striking aquamarine spiral halo tiara in 1935, and to complete the look, had her hair tinted blue to match. Due to their strategic gemstone buying in both London and Paris, when the Cartier store windows were filled with aquamarine and platinum jewels as well as topaz and yellow gold creations, their competitors found it almost impossible to find premium gemstones. If they were offered any, the gemstones would cost substantially more than the Cartier brothers had paid.See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 263 and Cartier Brickell, Francesca, The Cartiers, Ballantine Books, New York, 2019, pages 323-325.

19th century Italian micro-mosaic necklace composed of six circular micro-mosaic panels depicting classical Roman temples and architectural ruins, in gilt metal setting, 40cm long, together with a pair of similar pendant earringsVery good condition commensurate with age. No missing tesserae, no cracks, just very minor abrasions to the edges of the black glass panels. No obvious signs of any damage or repairs

19th century Italian micro-mosaic necklace composed of eleven graduated micro-mosaic panels depicting classical Roman temples and architectural ruins, in black and white enamelled gilt metal setting, 44cm long

Attractive Regency Gothic revival bracket clock by John Cross, London, with circular painted dial with Roman numerals, twin fusee movement striking on bell, on fine mahogany architectural case on scroll feet 48cm high, 33.5cm wide (at feet)

18th century pen and ink architectural study, 40cm x 27cm, signed Gavoir and dated 1718, in glazed frame.

Pocock, William Fuller: Architectural Designs for Rustic Cottages, Picturesque Dwellings, Villas, &c. with Appropriate Scenery, Plans and Descriptions. To which are added some critical observations on their Style and Character; and also.. L, J. Taylor at the Architectural Library, 1807, 1st. edn. Folio, PP: vii, (i) blank, 36, + 33 sepia aquatint plates. Half leather over marbled boards. Occasional spotting. Provenance: The Collection of David and Sandy Fuller

A glazed stoneware architectural finials designed by the sculptor Gilbert Bayes (English, 1872–1953) for the St. Pancras Housing Association Estates in London. Each finial is crafted in polychrome glazes with green, blue, and purple tones and modeled with a large central flower flanked by fruit and foliage. These finials were originally mounted on washing line posts in communal garden spaces as part of an early 20th-century effort to integrate decorative arts into social housing developments. Each is mounted on a stepped black base. This item has a base included.Artist: Gilbert BayesIssued: 1930sDimensions: 8.25"L x 8.25"W x 14.5"HCountry of Origin: EnglandCondition: Age related wear. As is.

Designed by Daisy Makeig-Jones. The exterior features the 'Willow' pattern with violet tree trunks with twisting branches, leafy green foliage, and flower spikes. Lanterns in red and yellow with orange lustre hang among the leaves. A blue lustre sky and water set the backdrop for orange boats and a bridge marked by a 'Candle Lighthouse' in orange. Black architectural elements appear in the distance. The interior is finished in mother-of-pearl, with a green lustre 'Pebble and Grass' border decorating the rim. Wedgwood Portland vase backstamp.Artist: Daisy Makeig-JonesIssued: 20th centuryDimensions: 8.75"HCountry of Origin: EnglandCondition: Age related wear.

Pair of limited edition porcelain vases produced by Royal Doulton for Minton in 1992 to commemorate the bicentenary of the company, 1793–1993. These vases are reproductions of the Paris Exhibition Vase of 1878, based on the original shape designed and sculpted by Jean-Baptiste-Jules Klagmann and decorated by John Moyr Smith. Both the form and decoration were recreated by Minton artists and raised paste gilders using archival drawings. Each vase is hand-painted and hand-gilded in 22-carat gold on English fine china. This edition was limited to 25 pieces, and each vase is signed by various Minton artists, including W.R. Tipton, J. Wright, and others. The decoration features classical figures and architectural elements. Each vase is mounted on a custom square pedestal base, also included in this lot. Certificate of Authenticity included. Measurements are an approximate.Artist: Jean-Baptiste-Jules Klagmann, and John Moyr SmithIssued: 1992Dimensions: 11"W x 22"HCountry of Origin: EnglandCondition: Age related wear.

This slender ewer showcases a detailed scene of New York City's Central Park, featuring blooming magnolia flowers in the foreground. The floral elements are rendered in raised slip decoration with tonal glazes. Towering in the background is a stylized Manhattan cityscape, including architectural elements such as the Chrysler Building and the iconic Macy's department store, integrated into the skyline. The ewer is marked with the Moorcroft impressed stamp and painted initials. Created as part of a limited-edition of two commission, this piece merges botanical and urban themes within Moorcroft's traditional hand-decorated pottery techniques.Issued: 2008Dimensions: 12.5"HCountry of Origin: EnglandCondition: Age related wear.

Glazed stoneware architectural finial designed by sculptor Gilbert Bayes (English, 1872 - 1953) for the St. Pancras Housing Association Estates in London. This finial features a polychrome glazed thistle motif in green and blue tones. Bayes' finials were originally installed atop washing line posts in communal garden spaces, as part of a decorative effort in early 20th-century social housing. This example is mounted on a stepped black base.Artist: Gilbert BayesIssued: 1930sDimensions: 7.5"L x 7.5"W x 15"HCountry of Origin: EnglandCondition: Age related wear.

A stunning Moorcroft pottery River Traffic vase designed and signed by renowned artist Paul Hilditch. This piece, produced in 2013, features an elegant elongated neck and a broad base, adorned with a meticulously hand-painted scene of cascading waterfalls, boats, and architectural elements in shades of blue, green, and black. The intricate details and vibrant glaze exemplify Moorcroft's tradition of fine craftsmanship. The base bears the Moorcroft backstamp, the artist's signature, and the production year.Artist: Paul Hilditch Issued: 2013Dimensions: 12.5"HCountry of Origin: EnglandCondition: Age related wear.

AN ARCHITECTURAL BRACKET IN THE FORM OF A MYTHICAL LION, SOUTH INDIA, 19TH CENTURY the rearing beast festooned with leaves, with bulging eyes and protruding fangs, a scrolling forked tail behind, mounted, 40cm highFire or water damage to lower part, various chips and losses

New Kingdom, likely Ramesside Period, circa 1550–1069 B.C..A carved in shallow raised relief on a pale limestone slab, the fragment depicts the Eye of Horus, or Udjat, a potent apotropaic symbol in ancient Egyptian belief. The composition preserves the complete eye with a cosmetic line, pupil, teardrop marking, and spiral motif beneath, all rendered with refined line control and proportion. The lower portion includes part of an offering hand or architectural detail, possibly representing a stylised offering or support. The relief is enclosed within a finely incised rectangular border, a stylistic convention typical of temple or tomb decoration during the New Kingdom.For similar see: P. Giovecchi, D. Picchi, 2015, Egitto, splendore millenario, lacollezione di Leiden a Bologna, V.40, p. 275.Size: 210mm x 175mm; Weight: 3.47kgProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by an authentication report by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

ARCHITECTURAL GARDEN WALL MIRRORS. a pair, in the Regency style, white painted metal frames, 162.5cm x 51cm approx. (2).

Late 19th Century German mantel clock, the gilt 15cm square dial with black Roman numerals and chapter ring, scroll spandrels in relief, enclosing an 8 day movement striking on 2 coiled gongs, signed "Junghans", in an architectural oak case, with presentation plaque, H.37.5cm, (end of hour hand detached)

A 19th century French brass clock garniture, the mantel clock of classic architectural form, the movement stamped Japy Fréres and numbered 2778, h: 32cm, with a pair of classical twin handled urns, each 24cm high (3)

19th Century Victorian slate mantle clock of architectural form with round face to centre having an enamelled dial. Measures 32 x 48 x 20cm.

A late 19th centry black slate mantel clock of architectural form, the dial with gilt Roman numerals, having an eight day movement, striking on a gong, height 46.5cm

A late 19th century brass mantel clock of architectural form, the metal dial with Roman numeral markers, having an eight day drum movement, striking on a gong, height 36cm

An Aesthetic Movement mahogany and brass mounted stickstand, of architectural form, w.55cmNo kitemarks

A walnut architectural corner icon stand, of classical form, engraved date A.D.1898, length 77cmLovely condition. No damages. No signs of worm.

Collection of six hardcover books covering architecture, photography, and history. Included are Flophouse: Life on the Bowery by David Isay and Stacy Abramson, a photographic and narrative exploration of life on the margins; Fifth Avenue: The Best Address by Jerry E. Patterson, which chronicles the history and significance of New York City's prestigious avenue; Harbor & Haven: An Architectural History of Bunker by Windsor, an insightful look into maritime and harbor architecture; Our Governors' Mansions by Abram, a detailed account of historical residences of U.S. state governors; Public & Private: Twenty Years Photographing the Presidency by Diana Walker, a behind-the-scenes photographic journey of American presidents; and National Geographic: The Photographs, a stunning visual compilation from National Geographic's archives showcasing some of the most iconic images captured by their photographers. These books collectively offer a rich perspective on urban history, political spaces, and photography. Dimensions: Largest book: 11.50"L x 1.25"W x 12.50"HCondition: Good.

Elegant limited edition porcelain mantel clock by PS, issued in 1993. This classically inspired timepiece features a white porcelain body adorned with gold accents and a floral motif. The clock face showcases Roman numerals with a quartz movement encased in a brass-tone frame. The architectural design is enhanced by column details and a domed top with a gold finial. The underside bears the PS limited edition mark.Issued: 1993Dimensions: 8.25"HCountry of Origin: ChinaCondition: Age related wear. Functionality not guaranteed.

A 19th century black slate mantel clock, of architectural form, having an enamelled chapter ring showing Roman numerals, and twin winding holes for an eight-day movement, striking on a gong, with a 5 inch dial36w x 14d x 28h cm

Junghans, an early 20th Century mantel clock set in an oak case of architectural style with arched brass face and a brass movement striking on rods, 42cm high

Late 19th Century Vienna style wall clock set in a walnut veneered architectural case, the white enamel dial to a brass movement fitted with a large disc pendulum, 100cm high

A 19th Century brass oil lamp, with architectural decoration to base raised on four shaped feet, 55cm igh

A collection of sea shells and architectural elementsProv. Consigned from Chipping Norton Manor

Antique marble and slate mantle clock of architectural form, height 37cm, width 46.5cm.

A pair of large and unusual 19th century giltwood wall carvings after a design by William Kent for the Royal Barge Of escutcheon form carved with the garter star and cross of St. George and heraldic crest and plumes for the Prince of Wales, flanked by a pair of dolphins entwined by festoons with shells below, 145cm high, 65cm wide. (2) Provenance: Acquired from the estate of a Buckinghamshire gentleman, during the 1960s and 1970s who regularly attended prestigious estate sales across the North of England and Scottish Borders, including Sotheby's Stobo Castle Sale, Peeblesshire, Scotland, April 10-11, 1972. They have been stored in an attic for several decades until very recently discovered. This pair of carvings or wall appliqués appear to have been copied from a section of carving by James Richards (1671-1759) and designed by William Kent (1685-1748) for the stern of the Royal barge built for Frederick Louis, Prince of Wales (1707-1751). James Richards was master sculptor and carver in wood to the Crown who succeeded the renowned carver Grinling Gibbons to the post in 1721. The barge was in use by the Crown after Prince Frederick's death and during the 19th century continued to be used for Royal occasions, it was last used in 1849 by Prince Albert, the Princess Royal and the Prince of Wales. After 1849 the barge was stored in the Royal Barge House at Windsor Great Park. In 1883 it was added to the collection of the Art Museum / Science Museum (which together formed the South Kensington Museum, which in turn became the V&A Museum) In 1849 the barge was cut into three sections to be shown at the International Fisheries Exhibition held in London the same year. After the event the Science Museum retained the sections and in 1924 they were transferred to the V&A Museum, where the parts were reassembled and displayed. In 1952 the barge was transferred to the National Maritime Museum where it was fully restored and it still remains. See Weber, William Kent Designing Georgian Britain, Chapter Twelve, Beard & Hardy, The Royal Barge, pp303-313, specifically fig.12.5 for the drawing by Kent for the barge stern, dated 1732 (RIBA British Architectural Library, SC58/68 (2). Cat.114. Lot UpdatesAll lots are subject to 25% Buyer's Premium plus VAT

Books on Architecture Sir William Chambers A Treatise On The Decorative Part Of Civil Architecture. With Illustrations, Notes, And An Examination Of Grecian Architecture, By Joseph Gwilt, Architect, F.S.A. Revised And Edited By W.H.Leeds. Gilt tooled full leather 1825  Aldrich, Henrico Elementa Architecturae Civilis Ad Vitruvii Verumque Disciplinam et Recentiorum Praesertim a Palladii Exempla Probatiora 1789  De Korsak, Albert Les grands architectes français. c early 20c  Newbold, Harry Bryant House and Cottage Construction (4 Volumes) c1920's  Leach, Peter James Paine 1988  Ross, Frederick The Ruined Abbeys of Britain, illustrated with numerous lithographic colured plates and engravings (2 volumes) c late 19c Soros, Susan Weber Soro, Arbuthnott, Catherine, et al E. W. Godwin: Aesthetic Movement Architect and Designer 1999 Colling, James Kellaway Examples of English Mediaeval Foliage and Coloured Decoration From Buildings of the Xiith to the Xvth Centuries 1874 Annis, Verle Lincoln La Arquitectura de la Antiqua Guatemala 1543 - 1773 / The Architecture of Antigua Guatemala 1543 - 1773. Text in Spanisch & English 1968  Tafuri, Manfredo The Sphere and the Labyrinth: Avant-Gardes and Architecture from Piranesi to the 1970's 1987  Jourdain, M English Decorative Plasterwork of the Renaissance 1933 6 Beard, Geoffrey Decorative Plasterwork in Great Britain 1975  D'Espouy, H Fragments d'Architecture Antique c1920s 15 Various Contributors Architectural Monuments of Leningrad Suburbs, in slipcase (in Russian) 1983  Mazzini, Franco Urbino, I mattoni e le pietre (in Italian) [Bricks and stones] 2000  Barre-Despond, Arlette Jourdain Frantz 1847-1935, Francis 1876-1958, Frantz-Philippe 1906-1990 1991 Mielke, Friedrich Potsdamer Baukunst. Das Klassische Potsdam 1981  Redslob, Edwin Architektur und Kunstgewerbe in Alt-Danemark 1914  Harris, John Sir William Chambers: Knight of the Polar Star 1970 2 Bellenger, Sylvain and Hamon, Francoise Felix Duban 1798 - 1870 - Les Coleurs de l'archiecte 1996 3 Amery, Collin Three Centuries of Architectural Craftsmanship 1977 1 Swarbrick, John The works in architecture of Robert and James Adam 1959  Hutton, Edward THE COSMATI, The Roman Marble Workers of the XIIth and XIIIth Centuries 1950  Loukomski, Georges Charles Cameron (1740-1812): An Illustrated Monograph on His Life and Work in Russia, Particularly at Tsarskoe Selo and Pavlovsk, in Architecture, Interior Decoration, Furniture Design and Landscape Gardening 1943  Building Academy of the GDR Institute of Urban Design and Architecture Karl Friedrich Schinkel, Eine Ausstellung aus der Deutschen Demokratischen Republik (in German) [An exhibition from the German Democratic Republic at the Hamburger Kunsthalle from 18/11/1982 to 16/1/1983 organised by the Hamburg Chamber of Architects] 1982  Zadow, Mario Alexander Karl Friedrich Schinkel, Ein Sohn der Spataufklarung (in German) [A son of the late Enlightenment] 2001 Volk, Waltraud (Editor) Karl Friedrich Schinkel, Sein Wirken als Architekt: Ausgewahlte Bauten in Berlin und Potsdam im 19. Jahrhundert, in Slipcase  (in German) [His work as an architect: Selected buildings in Berlin and Potsdam in the 19th century] 1981 Steffens, Martin Schinkel, K. F. 1781-1841 2004  Barbieri, Franco La Rocca Pisana di Vincenzo Scamozzi (in Italian) 1985  Colvin, Howard A Biographical Dictionary of British Architects, 1600-1848 1978  Sitwell, Sacheverell British Architects And Craftsmen: A Survey Of Taste, Design, and Style During Three Centuries 1600-1830 1948  Gromort, Georges (translated by Waters, George F) Italian Renaissance Architecture 1922 6 Various Contributors Terra Cotta of the Italian Renaissance 1928  Byrne, Andrew Bedford Square An Architectural Study, in slipcase 1990  Favero, Giampaolo Bordignon La Villa Emo di Fanzolo,  (Corpus Palladianum Volume V), in Italian 1970  Beard, Geoffrey The work of Robert Adam 1987 2 Gallet, Michel & Bottineau, Yves LES GABRIEL. (Hommage aux Gabriel) 1982  Nerdinger, Winfried Klassizismus in Bayern, Schwaben und Franken. - Architektur-Zeichnungen 1775-1825 1980 2 Mebes, Paul Um 1800. Architektur und Handwerk im letzten Jahrhundert ihrer traditionellen Entwicklung [CIRCA 1800 architecture and crafts in the last century of their traditional development] circa early 20c 9 Shvidkovsky, Dmitri O St. Petersburg: Architecture of the Tsars 1996  Rykwert, Joseph & Anne The Brothers Adam: The Men and the Style 1985  Ladd, Frederick J Architects at Corsham Court: A Study in Revival Style Architecture andLlandscaping, 1749-1849 1978  Hederer, Osward Leo von Klenze - Persönlichkeit und Werk 1981  Schumann-Bacia, Eva Die Bank von England. und ihr Architekt John Soane 1989  Santucci, Andrea Il Mirabile Artificio 1997  (49)Lot UpdatesAll lots are subject to 25% Buyer's Premium plus VAT

A very rare 1930s Art Deco cast phenolic or Catalin bakelite smoker's companion, probably American, formed in a swirling marbled 'toffee' cast phenolic or Catalin with black cast phenolic details and base, the architectural forms comprising a cigarette store with cigarette rest on top, lifting to allow access, a matchsafe with strikers to side, and a removeable ashtray, base 23.5cm long, 9.5cm wide, 8.6cm high, total weight 862g..FOOTNOTE: The cast phenolic or Catalin of the exterior appears to not to be faded or discoloured, as evidenced by the matching colour to the central component inside the cigarette store.Condition: Excellent and complete with no apparent chips or cracks. There are some light matte deposits (or loss of the shiny surface finish?) to the top surfaces, which may clean off.Packing & Shipping Let us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot. We use UPS for shipping and all packages are sent insured with a tracked service. We do not ship without insurance. We do not use any other service such as Royal Mail, FEDEX or DHL.Please see below for estimated packing and shipping prices: UK (Estimated): £17.51 USA (Estimated): £43.00 EU (Estimated): £23.00 R.O.W. (Estimated): £45.50In addition to these packing and shipping estimates, insurance will be charged as described below.INSURANCE We only ship with insurance. Insurance costs 1.5% of the total of the hammer price plus buyer’s premium and any applicable VAT, so you can work this cost out yourself when you have won a lot and received your invoice. As such, the price for insurance will be added to the above estimates if you request your item(s) to be shipped.HOW TO REQUEST SHIPPING To request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email at admin@markhillauctions.com requesting packing and shipping for your lot(s). The actual packing, shipping and insurance cost will then be added to your invoice and your invoice will be resent to you for payment. VAT All above quoted packing, shipping and insurance prices will have VAT added at 20%.IMPORTANT When you request your lot(s) to be packed and shipped, you understand and agree that you are committing to pay for packing and shipping because, in order for us to give you an accurate cost, we need to pack the lot(s) to ascertain the final weight and size. By doing that, we have already incurred cost by spending time and using materials to pack your lot(s). Therefore this charge must be paid, even if you later decide to collect your lot.Please note that this packing and shipping service is undertaken entirely at the buyer’s risk. Whilst we are careful and experienced and take the utmost care to pack items as well as we can, we cannot be held responsible for any damage to, or loss of, items packed and sent to you. By paying for our in-house packing and shipping service, the buyer agrees that any items are sent entirely at their own risk and that no compensation can be offered by us for any loss or damage. Lots must be paid for in full before they will be packed and released.MULTIPLE PURCHASES The estimates above are for this lot only. If you buy multiple lots from this auction, they can be combined where possible into one or more packages - size, shape and weight permitting. For these packages containing multiple lots, you will receive a discount of 17.5% of the total of the applicable quotes listed for those lots.IMPORT DUTIES When your item(s) arrive in your country, import duties & taxes and other service charges may be payable before goods are released to you. These duties, taxes and charges vary for each country and are entirely your responsibility and must be paid by you. Please note that we have no way of knowing what they will be. If you do not pay these charges, your item(s) will be returned to us.

Appian, of Alexander. De Civilibus Romanorum bellis, title within ornate woodcut architectural border, large woodcut printer's device to final f. verso, c6 blank, a few early ink notes in Greek to margins, initial gathering working loose, [Adams A1344;  VD16 A 3163], Mainz, Johann Schöffer, 1529, bound with Bruni (Leonardo) De bello Punico libro duo, woodcut printer's device to title, woodcut to A6, [VD16 B 8583], Augsburg, Philipp Ulhart, 1537, together 2 in 1, some light browning, contemporary pigskin over boards stamped in blind, impression faded, some toning, and various later labels to spine, remains of brass and leather clasps, small 4to.*** An interesting paring of works on the Civil and Punic wars of Ancient Rome, in a contemporary binding. The MS notes in Greek suggest a scholarly ownership, perhaps belonging to a scholar studying this Latin translation in conjunction with Appian's original.   

Clarke (Samuel) A mirrour or looking-glass both for saints, and sinners... Whereunto are added a Geographical description of all the countries in the known world, 2 vol., engraved portrait frontispiece, additional engraved titles to each vol and 'Geographical Description', likewise divisional letterpress titles to all parts,  Rrr1 torn affecting text but without significant loss, light browning and occasional spots, damp-staining or soiling (including to vol. 1 title), initial few ff. vol. 1 mounted on stubs, later dark red morocco, gilt, rebacked (preserving sections of back-strip) but all joints broken and held with similar coloured tape, [Wing C4552], Tho. Milbourn for Robert Clavel and others, 1671 § Allestree (Richard) The Whole Duty of Man, engraved royal arms frontispiece (working loose), additional engraved architectural title, some minor staining and light browning, later dark red morocco, rebacked, covers detached, g.e., [Wing A1175], for Tim. Garthwait, 1669; and 3 others, 17th century devotional, theological and ecclesiastical works, v.s. (6)*** First mentioned: The Geographical Description was often issued with this edition of Clarke's Mirrour, but also separately (Wing C4517), and includes a section on America, entitled 'True and Faithful Account of the Four Chiefest Plantations of the English in America' (title dated 1670). 

Easton (Phoebe Jane) Marbling: a History and a Bibliography, one of 850 copies, original samples tipped in, original cloth, Los Angeles, 1983 § Wiebenson (Dora) & others. The Mark J. Millard Architectural Collection, 4 vol., original cloth, dust-jackets, spines sunned, Washington & New York, 1993-2000 § Navari (Leonora) The Ottoman World: The Sefik E. Atabey Collection, 2 vol., original rexine, 1998; and c.80 others, art and travel (c.85)

Early 20th century moulded terracotta plaque by Batignani, Italy, painted and gilded with the Madonna and Child within architectural surround, impressed marks, 39cm high

Special Constabulary Long Service, G.V.R., bar, The Great War 1914-18 (Sergt. Kensington Gammell), sometime lacquered, about extremely fineKensington Gammell was born on 14 June 1874 in Bath, and according to family history travelled widely in the United States of America, Egypt, and Japan as a young man before settling down to become articled to an architectural practice in Bristol; after qualifying as an architect he set up his own practice in Bedford in 1906. A member (and indeed Council Member) of the Royal Institute of British Architects, he served in the Bedford Special Constabulary but sadly committed suicide in mid-May 1924.Sold together with two gilded base metal Bedford Special Constabulary pin badges, these engraved 'K. Gammell' and dated 1914 and 1915 respectively.For the medals of his father, Captain Harcourt Gammell R.N. see Lot 105; for the medals of his son, Guardsman Kenrick Orm Gammell, Grenadier Guards, see Lot 108.…

A pair of pine framed acrylic paintings, both depicting abstract architectural studies - sold with a further pair, depicting figures in and around abstract trees and cubic forms

A late 19th century French gilt metal and Sevres style porcelain inset mantel clock, with French eight-day bell striking movement, the porcelain dial with Roman numerals to the cartouches and central butterflies, the architectural case with urn surmount above the circular dial and a further panel with an amorous couple 40cm high

A group of twenty London architectural and topographical colour engravings, various artists, each circa 15 cm x 21 cm, framed and glazed.

An early 20thC simulated onyx wooden mantel clock, the circular dial with white enamel chapter ring, bearing Arabic numerals, eight day movement, the case of architectural form, pillars, and ring handles, on a plinth base, 29cm high.

A finely detailed copper relief wall plaque depicting a dramatic scene from Don Quixote, the legendary Spanish literary figure created by Miguel de Cervantes. This high-relief artwork captures Don Quixote and his loyal squire, Sancho Panza, surrounded by a lively group of characters in a rustic Spanish setting. The composition is rich with texture and depth, showcasing expressive figures, architectural elements, and period-accurate attire, enhancing the storytelling within the piece. This Spanish-made plaque is expertly crafted, with a warm copper-toned patina that highlights the intricate detailing. It is elegantly framed in a decorative gilded wood frame with ornate accents, complementing its historical aesthetic. A striking addition to any collection of Don Quixote themed art, Spanish decor, or literary inspired pieces, this relief is a timeless tribute to Cervantes enduring masterpiece.Dimensions: 21"W x 18"HCondition: Age related wear.

Pair of cast composite Corinthian architectural columns, the Corinthian capital decorated with scrolls and curled acanthus leaves, bulbous fluted shaft on moulded foot and square base Dimensions: Height: 238cm Condition Report:One column is off its base.

Fine 14ct gold and pearl brooch of architectural form, set with a single pearl, stamped 585, weight 9.6 grams.

AFTER AUGUSTUS PUGIN Views of ecclesiastical interiors and a miscellaneous collection of architectural engravings by other hands, unframed

A 19th century black marble mantel clock, the architectural case inlaid with malachite, incised, carved, and flanked by fluted pilasters, eight day movement, white dial, Arabic numerals, 49cm high, c.1880.

Plaster casts of a sandled foot, a lady's hand and an architectural moulding

ARCHITECTURE Monograph of the Work of Charles A. Platt Introduction by Royal Cortissoz New York, The Architectural Book Publishing Co., 1908 Goodhue (Bertram Grosvenor) A Book of Architectural and Decorative Drawings New York, The Architectural Book Publishing Company, 1914, signed and inscribed by the author The Art of E.A. Rickards London, Technical Journals Ltd., 1920 Together with six large folio volumes of The Architectural Association Sketch Book etc. Condition Report:Available upon request