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18th century | height: 18 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is a wonderful example of 18th century Italian faience pottery. Decorated with rich blue underglaze painting with typical architectural and natural motifs, this jar was originally used to store medicines in pharmacies. Stylized scenes on the front depict landscape scenes that were popular in the decorative arts of the time. The distinctive hand painting and quality workmanship make this albarello a valuable collector's item, combining both practical function and artistic value typical of 18th century ceramic workshops. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 26 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is an example of 18th century Italian faience pottery, characterized by blue underglaze painting with scenes of landscape and architecture. Hand-painted motifs depict houses set in rich vegetation, while the stylization of flora and architectural elements is characteristic of the Baroque period. The jar was used to store medicines in pharmacies, where it not only fulfilled a practical function, but also acted as an aesthetic element of the interior. Due to its decorative style and historical value, this artifact is sought after by collectors of historical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1763 | height: 27 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 1763 albarello is an excellent example of 18th century Italian faience pottery, specifically from the Savona region. Its blue decor on a white background shows the classic elements of this production, such as carefully rendered landscape scenes, architectural elements and vegetation details. The jar was probably used in pharmacies to store dry herbs or medicines. The date 1763 is clearly marked on the back of the albarella. The excellent condition and fine design make it a valuable artifact for collectors of European ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/18rdpE50A-FprqLLrUivvROXAaMAEczHc?usp=sharing

18th century | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This charming apothecary jar comes from the workshops of Savona in northern Italy and dates back to the 18th century. The decoration is done in the typical blue and white style of majolica, which was very popular in the Liguria region in its time. The albarella depicts a floral motif and a scene with architectural elements, probably depicting a temple. The combination of detailed floral decoration with an architectural motif is a characteristic feature of Savonov ceramics of this period. This jar was probably used to store medicines or raw materials in a pharmacy and is an excellent example of applied arts from Liguria | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1xjR3FdD1W_XQEuE_1MejMub1KAV5cXYH?usp=sharing

1746 | height: 22 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello from 1746 is an example of Baroque Italian faience ceramics that were used in pharmacies to store medicines. The front of the jar is decorated with blue underglaze painting with architectural and landscape motifs, which is typical of Italian ceramic production of the 18th century. These scenes not only contributed to the decorative appearance of the jar, but also underlined its functionality in a pharmacy environment. On the back of the jar is the inscription “C.D.M. 1746", which probably refers to the manufacturer or apothecary for whom the jar was made and the year it was made. This artifact is valuable not only for its historical function, but also for its artistic workmanship, making it an important item for collectors of historical ceramics. | condition: dents on the edges | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1Oh6LrOa34Cn-iygOVB-zH8Xk8GlwXsFo?usp=sharing

18th century | height: 29 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello is a wonderful example of 18th century Italian faience pottery. Decorated with rich blue underglaze painting with typical architectural and natural motifs, this jar was originally used to store medicines in pharmacies. Stylized scenes on the front depict landscape scenes that were popular in the decorative arts of the time. The distinctive hand painting and quality workmanship make this albarello a valuable collector's item, combining both practical function and artistic value typical of 18th century ceramic workshops. | condition: restored | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 27 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This charming apothecary jar comes from the workshops of Savona in northern Italy and dates back to the 18th century. The decoration is done in the typical blue and white style of majolica, which was very popular in the Liguria region in its time. The albarella depicts a floral motif and a scene with architectural elements, probably depicting a temple. The combination of detailed floral decoration with an architectural motif is a characteristic feature of Savonov ceramics of this period. This jar was probably used to store medicines or raw materials in a pharmacy and is an excellent example of applied arts from Liguria | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/12vVW9kHl-zMw8Se4EMskIzSbvp-LDCNH?usp=sharing

20th century | height: 49 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Large majolica vase inscribed "Charitas" and "S.P.A.", Savona or Liguria, Italy, 17th-18th century century. The vase is richly decorated with the typical blue and white motifs of Italian faience, including architectural and landscape scenes, which are elaborated to the smallest detail. The distinctive handles of the vase, formed by complex curves, testify to the high skill of the ceramicists of this region. jars of this type were often used in apothecaries or monasteries, and their decoration indicates a connection with religious or charitable institutions. An exceptional collector's artefact of Italian ceramics. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1725 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This Savona albarello from 1725 is a typical example of the faience pottery of the area, known for its underglaze blue painting. The jar is decorated with a rural landscape scene with architectural elements, complete with a decorative coat of arms with the inscription "Charitas", which refers to the Christian virtue of love and charity. This motif was often used to decorate jars in pharmacies, where these moral values ​​had a special meaning. On the back of the jar is the date "1725", confirming its origin in the first half of the 18th century. The slender shape and widened neck allowed for easy storage and handling of medicinal preparations, which is typical for this type of apothecary ceramics. This piece represents an important historical and aesthetic artifact, sought after by collectors of Italian ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1iLLjGlpF9zwuwX3mt3aOoy8jnBx9u2zf?usp=sharing

1740 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Dating from Savona in 1740, this albarello is a typical example of 18th century Italian faience pottery. The front of the jar is decorated with a coat of arms with the inscription "Charitas" and a landscape with architectural motifs, which refers to the moral value of charity and love. This type of decor was often used on apothecary jars, which were intended to serve not only as functional objects, but also as aesthetic artefacts in pharmacies. The back of the jar bears the date "1740", confirming its origin in the first half of the 18th century. This piece is not only historically valuable, but also an excellent example of the savoir-faire of Savon ceramic masters, who were famous for their blue-decorated products. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1RguPUzCIJ0xX9xh1w-3Q68rWUhzbo6_7?usp=sharing

A Japanese verdigris cast bronze seated Buddha, in Kalesavra Mudra upon a cupped single lotus socle showing remains of gilt decoration, set on an architectural plinth on a later green marble square base.18 cm high x 9 cm wide x 9 cm deep the figure alone.Some losses to the tops of the lotus leaves (as shown), no other major damage evident. Age-related wear and marks throughout.

A decorative 18th-century style Venetian (?)painted serpentine side table, 20th century, with simulated marble top, fitted a single frieze drawer with painted swags, ribbons, amorini, and lacquer e Mecca mouldings, supported by square architectural legs with arrowhead feet, 73 cm wide x 33 cm deep x 77 cm overall height, together with an ebonised single drawer writing table.A private estateJoints a little loose, some slight knocks and bumps of age and some brown spots to the top.

A Lobemyr pedestal goblet of lozenge section, probably 1870s, with elaborate wheel etched designs of architectural form over a facet cut inverted baluster stem and a spreading disk base.8 cm wide x 16 cm high.

A set of four probably late 18th/ early 19th-century architectural plaster on wooden panels, each panel emblematic of the arts including a musical trophy, songbird cage, floral basket and other on a tied ribbon motif, in carved and giltwood frames, 108 cm x 19 cmA private collectorGood order

An Italian silver gilt plaque 800 standard, depicting an architectural scene of Corinthian columns, 29.5 x 25.5cm, framedCondition ReportThe plaque is 10.5 x 6cm.

AN INDIAN PIETRA DURA WHITE MARBLE TABLE TOP WITH CHESSBOARD Agra, Northern India, late 19th - 20th century Of square shape, the white marble table top featuring a central chequered chessboard surrounded by lush flowering scrolls and two green foliate bands around the edges of the chessboard as well as the external perimeter, profusely decorated with polychrome pietra dura inlays including sections of jasper, carnelian, lapis lazuli, serpentine, red-speckled bloodstone, granite, polychrome marbles and agates, the overall decor reminiscent of pietra dura architectural panels at the Taj Mahal in Agra, resting on a later-matched European cast-iron tripod with scrolls and vegetal volutes.Table top 55cm x 55cm, 70cm high including the tripod Table top 55cm x 55cm, 70cm high including the tripod Qty: 2

BINDING/Italy: ANDERSON: Architectural Studies in Italy. LIMITED EDN. # 149 of 150, Glasgow, (1898); Triggs: The Art of Garden Design in Italy. 1906. Folio; Cramer, JA: A Geographical and Historical Description of Ancient Italy, in 2 vols. Oxford, 1826. Cont. full calf, rebacked; Roscoe, W: The Life of Lorenzo de' Medici 2 vols. 1825. Half bound; The Life Of Benvenuto Cellini, in 2 vols. 1888, Limited edn. of 500 copies. Cont. 3/4 leather. VG; Perceval: History of Italy, in 2 vols. 1825, Cont. half leather; Dobson: The Life of Petrarch 2 vols. 1797. Cont. full leather, covers detached. (12)

Britton, John: The Architectural Antiquities of Great Britain Illustrated in a Series of Views, Elevations, Plans,.. (5 Vols). Longman, Hurst, et al. 1807-1826, 1st. Edns. Folio, quarter leather, rubbed (5)

*FRANK PHELAN (1932-2023) 'I Denizen, 22/1/06', abstract composition in blues, mixed media on paper, titled verso, 55cm x 74cm,  Framed dimensions: 71.5cm x 84cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

*FRANK PHELAN (1932-2023) ‘Sursum Corsa (Lift Your Heart)’, 2003, abstract composition, mixed media on paper,56cm x 74.5cm,  Framed dimensions: 71.5cm x 85.5cm'Sursum Corda' is the motto of the Royal Brompton Hospital, where the artist underwent heart surgery, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

*ROBERT ORGAN (1933-2023) 'Walnuts and Plums', 2001, still life study of items on a tabletop in an interior, signed and dated verso, oil on canvas, 48.5cm x 71cm,  Framed dimensions: 64cm x 85.5cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Robert Organ was born in 1933, in Hutton in Somerset. He studied art at The Royal West of England College of Art and in 1952 won a place at the Slade School of Fine Art under the tutelage of George Sweet and Claude Rogers. Contemporaries of his were Francis Hewlett, Philip Sutton and Euan Uglow. In 1958 he married fellow artist Valerie Buston, professionally known as Valerie Barden, and they moved to Cornwall where he taught painting at Falmouth School of Art, alongside Francis Hewlett. After 12 years he moved to Devon to concentrate on his painting, he had also developed an interest in architecture, and he became a drawing tutor at the Architectural Association School of Architecture in London and a visiting tutor in Architecture at Bristol and Cambridge universities.  In 1986 he served as Artist in Residence at the Royal Albert Memorial Museum in Exeter.His work was exhibited widely, including Beaux Arts, Newlyn Orion Gallery, the Royal West of England Academy and Browse and Darby. His paintings are held in numerous public collections, including Royal Albert Memorial Museum, Godolphin House, University of Edinburgh and the Royal West of England Academy.

§ Roland Collins (1918-2015) Architectural ruinssigned 'Roland Collins' (lower right)watercolour37 x 52cmWork has not been examined out of the frame, so outermost margins are not available for inspection. Overall the work appears in nice, presentable condition with strong, vibrant colours.

Manner of Fra AngelicoThe Virgin with child flanked by angels playing trumpets, oil on panel, triptych in architectural gothic style gilt frame and glazed outer case, 54 x 50cm (triptych), 63 x 58cm (outer case).

A REGENCY MAHOGANY ARCHITECTURAL CLOCK STAND the superstructure with ivory urn finials and broken arch pediment over inlaid fenestrations, the hinged central panel mounted with a Swiss-made timepiece, the base with three short drawers on bracket feet, 56cm high x 61cm wide x 27cm deepIvory Submission Reference: XBK4WTBEProvenance: The Les Watts Collection.

GEORGE HERBERT KITCHIN (c.1870-1951) THREE SKETCH BOOKS one titled 'Wales and Norway' and dated 1892, recording events and details of his summer holiday in text, drawing and watercolour, 13cm high x 18cm wide, one 'Northumberland 1915-1916', featuring numerous architectural studies, 14cm high x 23cm wide, and another similar (3)Note: George Herbert Kitchin was an architect and antiquarian. He designed and laid the arts and crafts garden at his home Compton End, Winchester, as featured in ‘Country Life’, 23 August 1919, 240-48.

AN UNUSUAL STAFFORDSHIRE SPILL VASE BY JOHN WALTONcirca 1820, a Walton banner mark to the reverse, figured as a castle turret over a river, with a swan swimming, 13.5cm high; together with a similar architectural spill case, 12.5cm high (2)

A FRENCH GILT METAL AND ENAMEL MANTEL CLOCK BY LE ROY & FILS, PARISthe enamel dial with Roman numerals, pierced and chased hands, and centred by royal portraits, the architectural case inset with further enamel panels depicting coats of arms, the upper section cast with knights standing in recessed alcoves, 33cm high x 22cm wide

Peter Nelson (1928-2009), an 'FA2' polished aluminium twin floor lamp, for Architectural Lighting, fitted with two adjustable lights, on a circular stand,137cm high, anda conforming desk lamp,with a single light,61cm high (2)Condition ReportNot currently working and will need new bulbs or rewiring. Both shows minor signs of wear commensurate with age. Please see the additional images.

A folio of architectural drawings, c.1950, to include watercolours, pencil studies and lithographs, comprising 'Flats at Limehouse', 'An Inquiry Kiosk', 'A House at Chiswick', largest 80 x 57cm (qty.)

A 16th Century French architectural fragment carved with a central male head flanked by trailing vines issuing from grotesque heads, 140cm x 23cmSome repairs to edges at back. Otherwise good. Part of a larger piece.

Britton (John) The Architectural Antiquities of Great Britain, London: M. A. Natali, 1835, 5 volumes, 4to, rebound as a set in gilt tooled half green calf and marbled boards, marbled endpapers, volume 5 of another edition, London: Longman, Rees, Orme, Brown and Green, 1826, engraved additional titles and copiously illustrated with plates (5)A Gloucestershire book collector

A Charles I oak livery cupboard, of architectural form, the upper section with central arched panel flanked by doors with lozenge carved panels and with projecting column supports above an open shelf with similar column supports, 127.5cm wide, 55cm deep, 122cm highOverall appearance good, general wear, knocks and splits commensurate with age. The roof board with repaired front corner (using original piece), shrinkage gap to roof board has been filled with a fillet. Later locks. One applied moulding to front of bottom shelf is missing. Feet original with pleasant level of wear. One column has replaced section of capital but is hardly noticeable.

A Monumental Italian Cabinet with StandIn ebony and ebonized wood, featuring an architectural-inspired structure, pietra dura inlays, and gilt bronze mounts. The front of the cabinet presents a symmetrical arrangement with a central niche, flanked by two rows of six drawers richly adorned with pietra dura panels, including various semi-precious stones and different types of marble, such as lapis lazuli, agate, jasper, brocatello rosso, rosso antico, alabaster, cipollino, and porphyry, arranged in geometric patterns. The central niche, also lined with pietra dura panels depicting shell-shaped cartouches, is decorated with architectural elements, including lapis lazuli columns and a portico with a triangular pediment supported by two gilt bronze Atlas figures. The ceiling of the niche is painted in trompe l'oeil, and the base is adorned with parquetry work. The sides of the cabinet, with pietra dura panels, replicate the composition of the central panel, framed by the portico. The top, with a row of five drawers decorated with red porphyry panels, is surmounted by four putti playing musical instruments. The base, with four drawers and a small central drawer, features a carved apron decorated with carved volutes. The original construction of this cabinet dates back to the 17th century, showing evidence of alterations, possibly during the 19th century, with the addition of decorative elements and structural modifications. The stand, of later construction, with four drawers and volute-shaped front legs, maintains decorative consistency with the cabinet, featuring the same type of panels with pietra dura inlays. A small drawer at the base of the cabinet has an interior label reading 'Ant.(?) Burg(...)rgasse.Graz,' with a handwritten note in French stating: "Furniture from the imp(?) Palace of Burg(?)... brought here by Archduchess Maria of Bavaria 1571-1616, with all her luxury objects from Munich." Although uncertain, this reference seems to suggest a connection between the cabinet and Maria Anna of Bavaria (1574-1616), daughter of William V, Duke of Bavaria, and wife of Ferdinand II (1578-1637). The piece also bears two other inscriptions: one in black ink at the bottom of the left drawer of the cabinet base — "Stockholm(...) 18/8 - 1947/ H HALKJAER./ Dansk" and "HÖRN 1955-1965/ CORMÉRY"; and another handwritten in pencil in Swedish, at the bottom of the left drawer of the stand — "The cabinet was bought in the 1940s from Consul General Jean Jahnsson, formerly at the Van Der Nootska Palace, when we moved to Östermalmsgatan 21 Stockholm/ A big move when Stensund and Van der Nootska were left./ Eugène CORMERY/ Strangnäs July 1996." (minor losses and defects)193x204.5x62 cmNote: The pietra dura technique has its origins in the Florentine Renaissance, reaching its peak at the end of the 16th century. This technique is characterized by the meticulous use of semi-precious stones, such as lapis lazuli, jasper, agate, and porphyry, carefully cut and arranged to create intricate decorative patterns. The development of pietra dura as an art form was strongly promoted by the Medici family in Florence, culminating in the foundation of the Galleria dei Lavori in 1588, which became a center of excellence for the refinement and dissemination of this technique. In the context of the cabinet now presented for auction, the presence of pietra dura panels is a testament to the mastery of this technique, highly valued by the European aristocracy of the 17th and 18th centuries. This cabinet shares similarities with a distinct group of pieces produced in Rome in the 17th century. Notably, a particularly significant cabinet was sold by Sotheby's in London on 6 July 2011 for £668,450. Other comparable cabinets are part of renowned collections, such as that of the Duke of Hamilton, the Demidoff Cabinet (sold by Sotheby's in 1992), and an impressive example in the Kunsthistorisches Museum in Vienna. The central niche of the cabinet, with lapis lazuli columns and shell-shaped cartouches—likely an addition or later alteration—as well as elements like the central arched panel, its pediment, and the design and decoration of the side drawers, remain faithful to the style of the aforementioned cabinets, making it a monumental example of the extraordinary decorative craftsmanship developed in pietra dura furniture. Robert de Balkany Collection Carlucci Gallerie Antiquarie, Rome Jean Jahnssen Collection, Van der Nootska Palace, Stockholm

Edwardian satinwood bow-front display cabinet, the frieze inlaid with ebony stringing and flanked by pierced architectural design galleries, the bowed glazed central doors flanked by astragal glazed panels with central star motif, enclosing two shaped shelves, raised on square tapering supports with pierced scrolling foliate brackets, united by a shaped under-tier, terminating to spade feetDimensions: Height: 181cm  Length/Width: 124cm  Depth/Diameter: 47cm

A George IV mahogany and ebony twin train bracket clock by L. Vick of Stroud - the architectural case with turned acorn and urn finial, twin gilt brass loose ring handles and arched, scale design grilles to the sides and gilt brass ball feet, the signed, Roman 7 ¾ inch dial in the original painted finish, fronting a twin train hour striking fusee movement with anchor escapement, with case and winding keys, 50.8 cm high.

A fine quality late-Regency satinwood, mahogany and marquetry stick barometer - by George Purchon of Glass House (probably Leeds, Yorkshire), the architectural top with barber's pole and toothed banding, above a glazed door fronting a signed, painted 'Summer - Winter' dial with floral and foliate spandrels and sliding brass vernier marker, the trunk with inlaid bell flower meanders, over a marquetry cistern cover with oak leaves and acorns, 99.5 cm long. 

A French green-stained tortoiseshell, ebonised and gilt-brass mantel clock by Henri Marc of Paris - second half 19th century, the signed, 11 cm white Roman dial fronting a twin train Japy Freres movement, no. 28634, further signed by Henri Marc, with outside countwheel strike, half-hour striking on a bell, in a drum case atop an architectural base with Corinthian columns and a bevelled glass front with visible enamelled pendulum, 42.25 cm high.

A Japanese red and black lacquered folding wall bracket - Meiji period, of architectural form with peaked roof, decorated in gilt with a bird in flight above trailing wisteria and reeds, 33 x 30cm.

A MAHOGANY HANGING BOOKCASE IN GEORGE III STYLE 19TH CENTURY With 'Chinese Chippendale' fretwork throughout, the architectural pediment above a pair of two doors enclosing shelves, and with two drawers below, atop conforming wall brackets 127cm high overall, 74cm wide, 25cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe red fabric to the doors is worn and torn, also discoloured and marks - this is loose and could be replaced Some splits and cracks, chips and losses, fretwork to one sides with a loss to upper angle - this part is present but detached at time of report, there are also some cracks ands splits through - lattice doors appear to be intact, fretwork supports appear to be later these are in presentable order but have some domestic paint marks and depositsOne upper support for the broken-swan-neck pediment is loose and needs gluing back in place The shelves appear to be later, the backboards also, there are holes through these to secure to the wall as well later brackets and hooks - it will be up to the buyer to decide how best to secure for installation Please see additional images for visual reference to condition Condition Report Disclaimer

ATTRIBUTED TO GEORGE JACK, FOR MORRIS & CO., A MAHOGANY OCCASIONAL TABLE CIRCA 1890 The underside stamped Morris & C0 / 449 Oxford STW / 530 and a paper label with ink inscription 'WILLIAM MORRIS/ used to work at his designs /for the KELMSCOT CHAUCER/ in the studio at The Grange/ on Sunday Mornings/ while my father Edward Burne-Jones/ worked at his drawings for the/ same book. Morris used this table' and further label with ink inscription 'This Table/ left/ to/ CLARE' 65cm high, 61cm wide, 61cm deep  Provenance:According to paper label the table belonged to Sir Edward Coley Burne-Jones (1833-1898) and was used at The Grange, Fulham; By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent.  This occasional table was almost certainly a popular model, designed by George Jack (1855-1931), and supplied by Morris & Co., Oxford Street, London, in the late 19th century. An identical table sold Christie's, London, 13 May 2014, lot 162. George Washington Jack, architect, furniture-designer and wood carver, was chief furniture designer for Morris & Co. from 1890 onwards. Jack was born to Scottish and Irish parents in Long Island, New York in 1855 but on his father's death in 1860 the family returned to Glasgow. Jack was articled to a number of architectural practices in Scotland and London before joining Philip Webb's firm as a draughtsman and site architect in 1882. Webb introduced Jack to William Morris and from 1885 Jack began to work for Morris & Co. as chief designer while simultaneously working for Webb. This table in Jack's preferred 18th century revival style probably dates from c. 1890 suggested by its relationship to another similar walnut table now in St. Louis Museum of Art (189:1990). Jack was elected a member of the Art Workers Guild in 1906, and exhibited at the Arts & Crafts Exhibition Society. Another table designed by Jack and exhibited as per above was described as: 'a table [with piecrust top] six carved legs, executed by Sidwell and Thatcher, carving by H. Dodd, exh. Morris & Co. (cat. no. 415). In the Morris & Co. catalogue of this year it featured as No. 376, priced at 8 guineas, and a plain version No. 370 was available in oak or mahogany for £4 10 0' (). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old surface marking, small water stains, rings, surface scratches throughout and small dents to legs. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer

Ɵ&nbspGeorgian Society (The) Records of Eighteenth-Century Domestic Architecture and Decoration in Dublin, 5 vol., limited editions (300, 400, 550, 550 & 600 copies respectively),1909-13; Sadleir (T.U.) & Page L. Dickinson. Georgian Mansions in Ireland, one of 700 copies, 1915, together 6 vol., first editions, lists of members or subscribers, plates and illustrations, foxing to text, original cloth covers to vol.1-5 bound in, handsome dark blue half morocco, gilt, t.e.g., 4to, Dublin, for the Society or the authors at the Dublin University Press Rare complete set of this important Irish architectural record, and including the final complementary volume. Library Hub lists only a handful of copies at Oxford and Birmingham University, and at the National Library of Scotland. Condition Report: Overall pages with foxing, some to varying degrees Vol 1 particularly heavily foxedPlates appear in better order - probably due to the use of higher quality paper used for these Some marks and knocks to the covers and bindings from handling, age, and usePlease see additional images for visual reference to condition and appearance overall  Condition Report Disclaimer

CONTINENTAL SCHOOL (EARLY 19TH CENTURY) A BLUE AND YELLOW MACAW IN AN ARCHITECTURAL LANDSCAPE Oil on canvas 96 x 66cm (37¾ x 25 in.) In a white-painted Neo-Classical frame probably designed by The Hon. Claude J. Yorke. Provenance: Probably The Hon. Claude J. Yorke, and thence by descent

A 19th Century French bronze and gilt bronze portico mantel clock of architectural form, the movement of drum form with circular enamelled dial and Arabic numerals, stamped "3" verso, within four reeded column supports on a stepped base and squat bun feet, 11.5 cm wide x 21.5 cm high

Three boxes of assorted books relating to art and antiques, together with a folio containing various blueprints, architectural drawings, etc.

A 19th Century French gilt bronze cased mantel clock of architectural form, the surmount with side facing gryphons on column supports of tapered porcelain puce and gilt decorated form, on an ornate bracket foot and foliate decorated base, the eight day movement by Achille Brocot, with porcelain dial decorated with Venus and Cupid, within a chapter ring of Roman numerals, 30 cm wide x 35 cm high, on a carved giltwood plinth base, bearing initials "DS" and remnants of old label, bears inscription to reverse of door "William Evill from his affectionate Mother-in-Law June 8th 1869"

PAPAL STATES, Restoration of the Colosseum, 1806, a copper medal by T. Mercandetti, bust of Pius VII left wearing cap, cope and stole, rev. façade of the Colosseum, 68mm (Patrignani 45; Bartolotti 78; Weber 232). Minor die flaw at lower right on reverse, otherwise extremely fine or better, an impressive piece of architectural engraving £150-£200

Pair of Architectural Ornaments, in classicistic style. With two drapped classical females and oval design. Composition stone with remains of brown colours. Weathered. 19Th Century. Each 83 x 40 cm. A pair.

A collection of nine 19th Century drawings of landscape or architectural studies by various hands, from 5" x 3.5" (13 x 9cm) to 12" x 10" (30 x 25cm), (9).

Circle of Samuel Prout, figures by an archway (possibly Canterbury), watercolour, 10" x 8.5" (26 x 21.5cm), along with two further watercolours of architectural subjects by different hands, all unframed, (3).

After Giovanni Martelli Colour print Two large architectural prints depicting designs for the Livorno Market, Italy, entitled 'Facciata Laterale' and 'Saglio Trasvesale Sulla Linea C.D.', framed and glazed, image size 100cm x 105cm (2)

Victorian slate 8 day mantel clock of architectural form, the white enamel and gilt dial with Arabic numerals, with key, 36cm high 

HIGHLY ORNATE EDWARDIAN MAHOGANY WALL ETAGERE of architectural form having fretwork galleries, bevelled mirror glass and pierced spandrels, 140 (h) x 105 (w) x 24cms (d)Provenance: private collection Gwynedd

Attributed to William Bell Scott (Scottish, 1811-1890) -'A Collection of Sketches, Drawings and Prints illustrating English Costume, M.S.S., Architecture, etc., chronologically' -Over a thousand illustrations historical encompassing ornaments, architectural elements and others, many of them inscribed, including traced drawings by Francis Henry Salvin and after Albrecht Durer -Page size 36 x 28cm -Scott's bookplate attached to the cover -The opening page with handwritten title -The spine reads 'English Archaeology'

A Georgian mahogany stick barometer the silvered dial engraved with barometric markings, vernier gauge, hygrometer and signed Bellatty, the mahogany stick case with inlaid shell decoration to the trunk, a turned cistern cover and inset barometer to the trunk, surmounted by an architectural pediment with brass finial.

Nathaniel Hughes John Baird (1865-1936) -Architectural and interior views in and around Exeter -Eleven etchings -Each approximately 20 x 13cm - 35 x 22cm framed -Each signed in pencil lower margin (11)

A collection of carved wood columns, previously architectural and bedposts, 18th and 19th century; including a set of four with Normal capitals and knopped tapering shafts, 172cm high; a pair with simple Tuscan style capitals, 202cm high; a fluted example with Corinthian capital; and various others

A pair of metal three light candelabra in Gothic taste, circa 1900; each with a central raised socket above two others on scrolling foliate arms, on architectural columns rising from steppedoctagonal black marble plinths; 70cm high, 34cm wide

Gugeri, London, a mahogany stick barometer the silvered dial signed Gugeri, London and engraved with stylised barometer markings and vernier gauge, the mahogany case with visible tube and having inlaid boxwood and ebonised stringing, a turned cistern to the base, glazed door to the dial and surmounted by an architectural pediment with brass finial, height 98cm.Gugeri were a well-known family of barometer makers including Andrew working in Holborn and Hatton Garden in the early-to-mid 1800s and Felix working in Leather Lane, London from circa 1850.

A fine Irish Victorian Kilarney yew wood and marquetry occasional table, mid 19th century; the circular flip top with a central tondo depiction of a ruined abbey within a ropework border, within a foliate wreath; surrounded by six further architectural depictions in oval reserves, including a cottage orné, a river bridge, ruins and a stately home; with scalloped and moulded edge; the block on three baluster turned supports with shamrock ornament to a lobed hexagonal boss; the triform base with further marquetry architectural vignettes and trailing shamrock decoration; on three carved paw feet; 73cm high, 70cm diameter

A group of cast and wrought iron architectural wall brackets and other elements, late 19th /early 20th century; comprising a set of four, with open scrollwork, 61 x 61cm; a pair with writhen stems and open scrollwork, 66cm high; two similar examples with Art & Crafts style floral casting; and five ridge supports (13)