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John Mackie (Scottish 1953-): 'Pont Neuf - Paris', watercolour signed and dated '14, 23cm x 19cm; J B Karran (British 20th Century): Impressionist Church and Bridge, oil on board signed and dated 1978, 30cm x 35cm, together with another unsigned impressionist architectural view (3)

J. Ingram. Memorials of the Parish of Codford St Mary, first edition, six numbered engraved or tinted lithographed plates, Oxford, Printed for the author by T. Combe, 1844, bound with John Eccles Carter. Notes, Historical and Architectural on the Church of St. John the Evangelist, Slymbridge, Gloucestershire, 5 numbered engraved plates, and 4 unnumbered engraved plates, Bristol: William Strong; 1845, contemporary full calf, gilt 4to; Anon. Norwich in Miniature; Containing a brief description of the City..., engraved folding frontispiece, original cloth with printed label to front cover, sml. 4to, Norwich: Sharpe, 1834; Compiled by A.F. The History of North Bradley and Roadhill, in the County of Wilts, first edition, twentieth century full black morocco, original paper wrappers bound in, 8vo, Trowbridge: W. Collins, 1881; and three others similar, mostly topographical (6). *CR Mixed condition. Sold not subject to return.

A late Victorian presentation black marble and brass mantle clock of architectural design. 52cm x 18cm x 41cm high 

Pencil sketch of a French infantry man on guard later inscribed 'Paul Frenzeny' verso and dated 1914, together with a selection of engravings including portraits, classical and architectural scenes in one box (approx. 15)

Heraldry.- Guillim (John) A Display of Heraldrie, first edition, second issue with colophon dated 1610, title within architectural woodcut border, numerous woodcut armorial illustrations, several whole page (one of these with closed tear and slightly trimmed), woodcut head- and tail-pieces, S4 and X1 with closed tears (affecting a few letters, no loss of text), occasional spots or minor soiling, contemporary calf, covers with central device in gilt flanked by initials 'B' and 'W', rebacked, upper joint virtually broken (with front endpaper and title coming loose), otherwise worn, [STC12501], folio, by William Hall for Ralph Mabb, 1611.

Emblemata.- Camilli (Camillo) Imprese illustri di diversi coi discorsi, 3 parts in 1, first edition, collation: a4 A-L8 M4, A-F8, A-C8 D4, engraved architectural titles of different designs, 108 engraved emblematic devices within elegant borders by Girolamo Porro, woodcut initials and tail-pieces, part 1 M4 blank, occasional spotting or light staining / water-staining, lightly browned, 17th century mottled calf, gilt spine in compartments and with later but to style light brown leather label, joints splitting, but holding firm, spine ends worn, some worming and extensive scuffing to covers, small 4to (201 x 135mm.), Venice, Francesco Ziletti, 1586. *** In this work, dedicated to Ferdinando de' Medici, Camilli provides the device & motto of the most illustrious families of Italy. In addition to his lines of verse to accompany each emblem he provides a commentary on the allegorical symbolism.Literature: Landwehr Romanic, 202; Praz, p. 296; Mortimer Italian, 99; Cicognara 1870; EDIT 16 CNCE 8702. 

An early 20th century table-top apothecary cabinet with architectural pediment, gilt lettering 'C. W. S. Drug Works Droylsden', two internal shelves, and manufacturer's label to plinth base, 'W.M. Parnell & Co Ltd', 87 x 63 x 37cm (af).Condition Report: Lacking doorsOverall solid but well-used condition, showing signs of wear throughout, including scuffs, scrapes, fading, staining etc.

A 19th century Gothic Revival white marble architectural element in the form of two arches, height 58cm, width 92cm.

A pair of 19th century oak architectural columns with carved capitals and fluted stems, height 130cm, width 21.5cm.

Ackermann's History of Cambridge, 2 vols., (lacking all plates); Milton's Works, 2 vols.,; Poetry of the Year 1853, morocco, gilt; Tennison-Woods, Fisheries, binding detached; Milne Edwards, Zoologie, illustrated; facsimile Hunting book; Boswell's Life of Johnson, 1906, 6 vols, cloth; Architectural print, framed; Times Atlas, folio

Art & architectural interest. A collection of three late 18th century & later predominantly Victorian works. The lot comprising c1880s Illustrated Catalogue of Macfarlane's Castings, sixth edition in two volumes, orig. full green cloth binding; 1798 The Gentleman's and Connoisseur's Dictionary of Painters by Rev. M. Pilkington, new ed. printed W. & C. Spilsbury, contemp. half calf & marbled boards and edges, gilt raised bands; and c1890s Details of Gothic Architecture Measured and Drawn by James K. Colling, Architect, publ. B. T. Batsford. All illustrated and with diagrams. An interesting collection on Victorian architecture and design. 4to.

A mixed lot of vintage toy sets, to include: - Thomas Salter Laboratory 1 chemistry set - The Flying Eagle watercolour paint set - A set of GDB architectural building blocks

A Crystal Palace 1:750 scale mini architectural model kit by MONUmini

A PAIR OF CARVED PINE ARCHITECTURAL PILASTERS 19TH OR EARLY 20TH CENTURY each 248cm high, 39cm wide, 18cm deep

ANTIQUE CUCKOO CLOCK, oak architectural design cuckoo clock and key, 32cm height

PAIR OF BRONZE FIGURAL WALL LIGHTS, ATTRIBUTED TO BROMSGROVE GUILD EARLY 20TH CENTURY modelled as a putto seated on a ledge holding twin candle nozzles joined by a laurel garland, against a lyre form architectural backplate, wired for electricity (2) 44cm high, 26cm wide

GEORGE III GILTWOOD MIRROR 18TH CENTURY the shaped rectangular mirror plate in a pierced and carved frame with C scrolls and rocaille and surmounted by an arched architectural cresting      110cm high, 76cm wide

NORTHERN EUROPEAN CARVED OAK CHEST, PROBABLY DANISH EARLY 17TH CENTURY the hinged board top above a front panel carved with a religious inscription and dated 1631, above four deep carved panels depicting male and female figures in architectural niches, the sides with carved quatrefoil foliate panels and wrought iron handles, on sledge feet 164cm wide, 71cm high, 78cm deep Provenance: Property from a Scottish country house Note: The inscription, which appears to be in early Danish, roughly translates as ‘When God is with us, He will save us in our hearts’ 

CHARLES I OAK LIVERY CUPBOARD EARLY 17TH CENTURY the gadroon carved cornice on cup-and-cover turned baluster supports flanking a central cupboard with an architectural carved panel door with angled lozenge carved panels to either side; the lower part with three short drawers with flower head carved roundels over a pair of lozenge carved panel doors and a central matching carved panel, raised on stile feet 183cm wide, 150cm high, 58cm deep

A French fin de siècle bronze and rouge marble table lamp, cast with masks, scrolls and acanthus, fruiting laurel socle, architectural base, lion paw feet, 64cm high, c.1890

Architectural Salvage and Domestic History - a 19th century oval copper house sign, engraved FW HOUSE, 17 STAPLETON RD, COPNOR [Portsmouth, Hampshire], 36cm high, 30cm wide

A box of assorted architectural paintings and drawings, largest 40.5cm x 60.5cm (14)

A Victorian Gothic Revival oak 'Church' bracket clock case, with frosted glass side panels and architectural case, H47cm, W34cm, D24cmSeveral small parts of moulding missing mainly around bottom edge, left glass panel is cracked otherwise no obvious damage to other panels, with key, lock working

Late 19th century black slate architectural two train mantle clock of good proportions, having black and gilt roman face and presentation plaque 'To Captain D Jones from Mr and Mrs Walter Scott, 15th September 1905'. French brass drum movement strikes on one gong. 43.5cm high approx. With key and pendulum. (B.P. 21% + VAT)

Late 19th century black slate two train mantle clock of architectural form with white enamelled face having Roman numerals. 21.5cm high approx. Complete with key. (B.P. 21% + VAT)

British School (19th Century) Abbey Ruins, initialled HHB lower right, watercolour, 23 x 28 cm, frame 43 x 51 cm, together with a further watercolour showing the choir of a cathedral, signed indistinctly lowe left, by another hand, 28.5 x 39 cm (2) Notes: the abbey ruins watercolour could possibly be artist H.H. Burgess (fl. 1843-1844) who painted landscape and architectural studies, in 1844 the artist exhibited a watercolour of the Ruins of the Abbey of Jumieges, Normandy.

1250 A.H. (1834 A.D.). Rectangular layout with two large panels, liquid gold blocks with nastaliq text, left: mosque in elevation with the body formed from Kufic text, right: city in plan with architectural features and black kaaba; geometric frames and text, scenes from Mecca; verso with cursive presentation text. 50 grams, 56 cm wide (22 in.). From an important family collection started in the late 1950s. Property of a West London, UK, gentleman.

Circa 6th century B.C.. Fragment of a hollow-formed statue of a warrior, the thigh and hip area with painted armour detailing; mounted on a custom-made stand. Cf. Christiansen & Winter, Etruria I: Architectural Terracotta and Painted wall Plaques, Pinakes 625-200 BC, no.74, p.158. 535 grams total, 16 cm high (20.5 cm high including stand) (6 1/4 in. (8 in.)). The armour on the figure is the short-sleeved chitoniskos which was worn under the cuirass and protected the flexing areas around the groin and buttocks. The figure probably formed part of a frieze on a temple.Ex private collection L.G., The Netherlands. Acquired from Treasuregate Art of the Ancients, Brussels, Belgium, in 2015. Property of a South Australian private collector, with collection reference 15.10. Accompanied by a copy of a Treasuregate Art of the Ancients certificate of authenticity with ref no.2015-11-22-03. Accompanied by detailed collector's catalogue pages including description and photographs.

Circa 17th-18th century A.D.. Comprising various designs in differently coloured glazes, including animals, still life, figural scenes, floral and vegetal motifs, sailing vessels and architectural subject matter. 4.2 kg total, 10.5 x 12.8 - 13.5 x 13.5 cm (4 1/8 x 5 - 5 3/8 x 5 3/8 in.). Acquired 1990s-early 2000s. East Anglian private collection. [18, No Reserve]

Song Dynasty, 960-1279 A.D. or later. Comprising an elaborate ogival niche with a figure dressed in long robes and holding two wind instruments in his hands, leaning against a small architectural feature. 5.9 kg, 29.5 cm (11 3/4 in.). From a West Country, UK, collection, 1990s.

Late 12th-13th century A.D.. Carved naturalistically in the round as a mature male figure with short wavy hair, full beard and moustache, his brow furrowed and mouth held slightly ajar; repaired. See Sauerländer, W., Gothic Sculpture in France 1140-1270, Ambrams, 1972; Cahn, W. and Seidel, L., Romanesque Sculpture in American Collections, 1: New England Museums, New York, 1979; Williamson, P., Gothic Sculpture 1140-1300, Yale University Press, 1995; Fogg, S., 30 Heads, stone heads from the 12th to the 15th century, London-New York, 2018. 3.8 kg, 18 cm (7 in.). The head was carved as an image of a saint, Apostle or a prophet. The accomplished and sophisticated style of carving on this head can be compared to some of the most celebrated Romanesque buildings of Southern France. The carving of the head resembles the representations of heads and faces of 12th century French Romanesque art, for example those of Saint Trophime in Arles. This imposing head once served as an important architectural part of a lavishly decorated church, possibly in western France. Its form and the size suggest that the head was not only decorative but that it would have been structurally important – perhaps part of a row of statues of apostles and prophets like those depicted on the Saint Trophime façade.Acquired in Europe before 1996. 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.11809-206816. (For this specific lot, 5% import VAT is applicable on the hammer price.)

1st-2nd century A.D.. Carved architectural element depicting a double herm comprising: a diademed female bust with long wavy hair framing the face, slender features with small mouth and raised lids; the other side with a diademed female with hair arranged in neat curls on the forehead, large eyes and small mouth, taenia shown on each side of the neck; base reworked with drilled sockets for mounting. Cf. Mansuelli, G.A., Galleria degli Uffizi, Le Sculture, Parte l, Roma, 1958, pp. 159-160, n. L32; Sciarra, B., Brindisi. Il Museo Archeologico Comunale, Brindisi, 1976, p. 8, n. 34; Bonanno, A., Un gruppo di ermette decorative a Malta, in ArchCl 29, 1977, pp.399-410, tavv. LL2-LL6, specialmente p. 402; Faedo L., Camposanto Monumentale di Pisa, Le Antichità, ll, a cura di Salvatore Settis, Modena, 1984, p.178, n. 81; Moreno, P., Viacava, A., I Marmi Antichi della Galleria Borghese, Roma, 2003, pp. 767-168, n.138. 12.6 kg, 29 cm high (11 3/8 in.). The head with elaborately curled hair and diadem could represent Ariadne, as shown by comparisons with a fragment of a two-faced herm with bearded Dionysus and Ariadne preserved in the Antiquarium Ostiense, dated to the lmperial Roman age. The heads could be interpreted either as Ariadne and a Maenad, or as two Maenads being characterised by the diadem and long taeniae. The association of these figures with Dionysus is congruent with the typology of the herm, which refers to rural places and theatres. Numerous herms in fact attest that this type of sculpture was used in contexts linked to Dionysus and his sacred procession as well as, obviously, the representation of Ariadne, his female partner and double. The example fits into the class of domestic sculpture with a decorative function, mostly used to adorn peristyles and viridaria; the type placed at the crown of columns and pillars is quite documented, in particular in the version with the head of Dionysus contrasted with that of Ariadne or a Maenad.Old collection, acquired in the 1970s. Acquired by inheritance from Mr N.S. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12084-211893. (For this specific lot, 5% import VAT is applicable on the hammer price.)

Circa 13th-14th century A.D.. Comprising two carved architectural fragments: a plaque with reserved foliage, and a corbel with leaves and tendrils. 4.79 kg total, 18 cm each (7 1/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [2, No Reserve]

Circa 17th-18th century A.D.. Comprising a variety of glaze colours, with designs featuring animals, figural vignettes floral and vegetal motifs and architectural and landscape scenes. 4.1 kg total, 13 x 13 cm each (5 1/8 x 5 1/8 in.). Acquired 1990s-early 2000s. East Anglian private collection. [18, No Reserve]

Persia, 20th century A.D.. With two lines of a poem, permitting a view into a grand architectural setting, populated by falconers, musicians, attendants and others entertaining a prince seated beneath a pagoda, hilly landscape beyond the walls, broad stylised floral border to three sides, Indian workmanship; mounted in a reveal and a glazed wooden frame. 782 grams, 38.6 x 25.5 cm (15 1/4 x 10 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art. [No Reserve]

Box containing a quantity of various 19th Century ephemera and a red photograph album (empty)The indentures reference Bichester, Liverpool, Lancaster, Gloucester including an architectural plan for Chelsham Memorial Park

A Framed German Architectural Print After Arthur Bendrat, 29x40cms

A Victorian Carved Alabaster Mantel Clock, Condition issues but with Pendulum, Architectural Form, 36cms High

A Late 19th/Early 20th Century Mahogany Cased Vienna Style Wall Clock with Architectural Pediment Having Mask Head and Vase Finial, 106cm high

A Late 19th/Early 20th Century French Black Slate and Marble Architectural Mantel Clock with Half Pilasters, No Pendulum or Key, 27cms Wide

Two 20th century alabaster mantel clocks. Both with architectural form cases topped with domes and gilt metal finials and featuring Corinthian columns and stepped bases, the larger example with an enamel dial with Arabic numerals, H40cm x W39cm x D13.5cm, the other having a gilt dial with Arabic numerals and pierced details, H31cm x W21.5cm x D14.5cm

Two Victorian slate mantel clocks. One having a British United Clock Company movement, the white enamel and gilt metal dial having Arabic numerals, the case having a shaped pediment, carved details and marble inlay, H29cm x W23.5cm x D13.5cm. The other having a pendulum movement and gilt metal dial with Arabic numerals, the architectural style case having a dome and brass finials to the top and a pair of Corinthian columns, H33cm x W27cm x D15.5cm

A Chinese carved wooden architectural temple mount, height 76cm, raised on modern contemporary base.

Fabrica dei Fratelli Manardi ad Angarano 1669 - 1705 Venice with raised edge depicting a man with a club on a pedestal standing in an architectural landscape in the colours manganese ochre and blue diameter 31 cm. restored

Architectural reclamation, two leaded and stained glass windows with wooden frames

Architectural antique, large wall basket for a beacon light of scrolling metal frame with leaves and a cast iron boot scraper

Architectural cased black slate and marble mantel clock

ARCHITECTURAL WALL MIRRORS, a pair, Italian style with distressed painted frames, 72cm W. (2)

ARCHITECTURAL GARDEN PANELS, a set of three, in metal with palm leaf decoration, each panel, 120cm H x 60cm W. (3)

ARCHITECTURAL GARDEN PERGOLA, Regency style metal, 300cm H x 225cm W x 225cm

Ansonia Clock Co. of New York - A late 19th century slate mantel clock of architectural form, the dial with black Roman numerals, with Corinthian columns to either side, approx 40cm tall x 38cm wide

A Belge Noir architectural cased mantel clock

A 19th Century American Ansonia architectural cased mantel clock

IKONE "Darbringung Christi im Tempel", Russland, wohl Moskau, um 1800 bis 1820, im Hintergrund Architekturkulisse, Bezeichnung in Kirchenkyrillisch, Tempera und Vergoldung über Kreidegrundierung auf Holztafel (mit zwei Rückseitensponki), HxB: ca. 29x24 cm. Alters- und Trocknungsspuren, Craquelée, part. leichte Randschäden. ANBEI EXPERTISE Galerie Viktor Puch, Deisenhofen.| ICON ‘Presentation of Christ in the Temple’, Russia, probably Moscow, c. 1800 to 1820, architectural backdrop, inscription in church Cyrillic, tempera and gilding over chalk ground on wooden panel (with two reverse ponki), HxW: c. 29x24 cm. Signs of age and drying, craquelure, some minor marginal damage. BY EXPERTISE Gallery Viktor Puch, Deisenhofen.

An architectural coil spring skeleton clock, by William Smith of Musselburgh, fitted a single fusee movement, on a marble and wooden base under a glass dome, 50 cm high

Latham (Charles), In English Homes, 3 vols., and The Architectural Review, July-December 1913, bound (4)

Sydney Buckley (1899-1982)A view of a church, possibly Cartmel Priory, its iron gate flanked by trees and its open door awaiting visitors, watercolour, signed, in double card mount and moulded frame under glass, 56 cm x 71 cm overall[Buckley was a painter and printmaker interested in the Lake District and architectural subjects. The artist had a studio in the Cartmel Priory gatehouse, Cumbria, with his sister, who was a weaver.]

the Rev. Alfred Suckling: 'The History and Antiquities of the Hundreds of Blything and part of Lothingland. In the County of Suffolk; With Genealogical and Architectural Notices of their Several Towns and Villages', London, printed for the author, 1847, hand coloured lithograph frontis + 23 lithograph plates as called for (of which 3 part hand coloured/tinted), plates depicting churches, monumental brasses, country houses of the nobility etc., list of subscribers at end, 4to, original quarter cloth over printed paper covered boards, later respined, printed title label on spine

(China, Qing dynasty, Tianjin, British Military, Boxer Rebellion aftermath.) A photograph album containing approx. 70 mounted monochrome photographs of Northern China circa 1910, the images mainly Tientsin (now Tianjin) and Peking (now Beijing), the album compiled by one Private H. Brown, The 1st Battalion The Royal Inniskilling Fusiliers, with his ownership inscription at head of inside front cover "8596 Pte. H. Brown. H Coy 1st Bn. Rl. Innis. Fus. Tientsin. N. China. 1910", the photographs in the album of the British military in Northern China in the early 20th Century in the wake of the Boxer Rebellion give a fascinating insight into both colonial and local life, the first image in the album being a memorial to 3 British soldiers, with m/s caption beneath by Pte. H. Brown "PTE Shanks, Sgt Smith, BM Green who died in Tien-tsin North China on the 7th, 11th & 14th September 1910 respectively", the following images include funeral procession captioned "Mourners at Sgt Smiths funeral", the following 6 photographs variously depicting Sgt. Smiths grave, further photos Sgt. Smiths funeral, grave and tombstones of other soldiers Royal Inniskillings who died at Tianjin 1909-10; other images depicting mounted infantry 27th Inniskillings; band, drums and machine gun team 27th Inniskillings; party of Roman Catholic's; Roman Catholic's church parade; views in mountains of North China showing British military camp and parts of Great Wall; "Signalling Station Shan-Hai-Kuan North China"; two photographs Hong Kong comprising King Edward VII monument, and military parade, Murray parade ground/barracks; Chinese funeral; various architectural and topographical views including Peking observatory; band stand Victoria park, Tientsin; Peking street scenes; image captioned "Tower Nanking", (possibly Tiger Hill Pagoda, Suzhou?); north east corner of the wall of Peking; the aforementioned 26 images all aprox. size 11 x 15cm and mounted to recto of the album's concertina folding leaves; the following 52 images mounted to verso of the concertina leaves, these images all approx. 8 x 14cm, including several documentary style photographs of American, Russian, Japanese, French, Italian, Indian and Chinese soldiers and police stationed in the area, which give an indication of the political situation in Northern China during the period, the various foreign concessions, the political tensions (and camaraderie) etc; further various images Peking including city walls, water gate, British legation, panorama of city showing coal hills, forbidden city Peking, ministers quarter's, "Hata-Man Gate. Peking", "Chien-Man Gate Peking", image of another city gate captioned beneath "where the first European was killed at the commencement of Boxer rising 1900 Peking"; British barracks Peking; "Peking to Tien-Tsin Railway"; "Road to Forbidden City Peking"; Coal Hills Peking"; "Camel Transport Peking"; two images Temple of Heaven and Bell Tower, Peking; "Shan-Hai-Kuan Village"; "Beach Temple Hotel Shan-Hai-Kuan"; other images beginning of the Great Wall and fort/barracks, Shanhaiguan district; "Chinese Shoemaker"; British soldier's at leisure fishing; a few images various British military sporting achievements and sporting events including images captioned beneath "Pte Halls winning the half mile race", "Mop Melee", "Three-legged race", these images also captioned in the negative "Regt. Sports 27th Inniskillings, Tientsin, China"; others main gate Peking, Russian and British monuments, Tientsin, etc etc, the album containing a total of 78 photographs, approx. 70 as mentioned Tientsin, Peking, Northern China, Hong Kong, remaining images include German Royal yacht in the Grand Harbour, Malta, 1909, and a few other group photographs British Military of the Inniskillings in Malta including "H Coy Inniskillings 1897". The 1st Battalion The Royal Inniskilling Fusiliers arrived in Tientsin in North China in November 1909, having sailed from Malta in HM Troopship Soudan almost two months earlier. Battalion Headquarters was at Tientsin with one company immediately dispatched to guard the British Legation in Peking in the wake of the Boxer Rebellion (1900-1901). All images with contemporary manuscript pen & ink captions in the hand of the compiler, Pte. H. Brown, the album itself contemporary decorative Chinese black lacquered covers, illustrated with a lady in a rickshaw, boards approx 16 x 20cm

A photograph album circa 1900 relating to HMS Terrible containing 100+ mounted photographs of various places HMS Terrible served during the period, including images of South Africa during the Boer War, Russian battleships attacked at Port Arthur, China (the start of the Russo-Japanese war), various views and images St Helena, China, Japan, Hong Kong, group photographs of the ships Officers etc, the majority of the images with contemporary manuscript title or caption beneath, the album possibly appears to have been assembled slightly later. HMS Terrible was the second and last of the Powerful-class protected cruisers built for the Royal Navy in the 1890s. She served on the China Station and provided landing parties and guns which participated in the Siege and Relief of Ladysmith in the Second Boer War in South Africa. A few months later she did much the same thing to help suppress the Boxer Rebellion in China. During this time, her captain was Percy Scott, who trained his crew to a high standard in gunnery and had his training methods adopted by the entire Royal Navy. Images include: photograph of Lady Randolph Churchill with Captain Percy Scott and two other serving personnel aboard deck of Terrible, approx. 11 x 15.5cm; image of Winston Churchill and John Churchill (Jack Churchill), as well as Captain Percy Scott and others on poop deck of Terrible, 1900, approx. size 9 x 11.5cm). During the South African War, Lady Randolph Churchill ("Jennie" Churchill) raised money for and staffed and equipped a hospital ship, the Maine, which did valuable work in South Africa. Listening to Jack Churchill's dramatic account of the fighting whilst he was on board the Maine only served to increase Jennie’s desire to visit the war zone. She wrote to Winston to this effect, and he got a few days leave and joined them, and they went to Chieveley. Also there, was Captain Percy Scott, the Commander of HMS Terrible, who had invented a gun carriage, which enabled the 4.7 naval gun to be taken up country to the front. Scott named the gun the Lady Randolph Churchill, and it was Jennie who historically fired the test round; other images include Simon's Bay near Cape Town; "H.M.S. Terrible making 12 inch gun carriages for the relief of Ladysmith"; entrance to Durban Harbour; Main Street Durban, Natal; various images artillery guns in the field, South Africa War; "H.M.S. Terrible's picket boat"; "Terrible's anchor broken at Durban 1900"; other images Boer War including armoured train in Natal, 1900, guns being unloaded and assembled etc; a few images Hong Kong, including Terrible entering Hong Kong harbour, 1900; large photograph 1904 race meeting, Happy Valley Hong Kong (20.5 x 27cm); H.M.S. Terrible dance, Hong Kong, 1901; Golf Club Happy Valley, Hong Kong (21 x 27cm); H.M.S. Terrible in Hong Kong bay decorated with words "God Save the King" to side of hull for the Coronation of King Edward (21 x 27cm), etc; several images China Station/Treaty Ports including large photo Wei-hai-wei from the island (21.5 x 29cm), others smaller Wei-hai-wei street and architectural scenes, "H.M.S. Leviathan 1903 Soccer team at Wei-hai-wei" (21 x 27cm), another of HMS Leviathan hockey team China Station, 1905, similar size, etc; several images Russian battleships, Russo-Japanese War, including "Russian battleships after the escape from Port Arthur 1905", "Russian cruiser 'Varyag' sunk at Chemulpo", another of Russian gunboat sunk at Chemulpo + a few others similar, "Chinese cruiser ashore at Elliott Island (China Sea)"; other views etc St Helena, Mauritius, Halifax, Nova Scotia, Johore, Suex Canal, various Japan hand coloured photos each approx. 20 x 25cm, group shots H.M.S. Terrible officers, a few photos relating to H.M.S. Leviathan and Sirius, etc etc, oblong folio (28 x 38cm), contemporary half calf gilt, later rebacked, 3 contemporary passports for one George William Alcock, hotel proprietor, loosely inserted