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Bible, English. The Holy Bible Containing the Old Testament and the New, title within engraved architectural border, lacking 2N3 (NT title), Cambridge, Printed by John Field, 1661, bound with The Book of Common-Prayer, ownership inscription of Mary Browne to title, dated 1700, D gathering with worm hole to head, [Wing B3630], Printed by John Bill and Christopher Barker, 1665, bound with The Whole Book of Psalms, [Wing B2497], Printed by T. R. for the Company of Stationers, 1669, bookplate of Sir Martin Browne Ffolkes, ink manuscript history of the Browne family to rear free endpaper, trimmed at head, shaving the occasional headline, the odd marginal chip or short tear running into text, some light toning and soiling, contemporary red morocco, covers elaborately tooled in gilt with wide floral borders and central foliate lozenge, spine gilt with six raised bands, repaired at corners and spine ends, a little rubbed, mostly to joints and corners, 8vo. ⁂ The Bible appears to be a variant of Wing B2265, without pagination and with the engraved general title unsigned. The Browne family history contains an account of the knighthood of Sir William Browne, President of the College of Physicians: "it was done in the Bedchamber for the greater Honour. The Court being in Mourning, I was supplied with a black velvet suit by the President of the Royal Society".

Hunt (Leigh) Classic tales, serious and lively. With critical essays on the merits and reputation of the authors, 5 vol., Vol. 1 second edition, Vol.II-V first editions, engraved architectural title to each vol., 15 engraved plates, 3 advertisement ff. at end of vol.V, ink name torn from upper corner of first title, just touching engraved area, some foxing (including plates) or spotting, lightly browned, contemporary red half morocco, spines richly gilt, some corners worn, rubbed, [Brewer My Leigh Hunt Library, p.20], 12mo, Printed and published by and for John Hunt & Carew Reynell, 1807.⁂ An attractive set of this scarce second book proper of Hunt. Includes Voltaire, Johnson and Goldsmith. Each selection is preceded by a critical essay on the writer's life and writings, written by Hunt or Thomas Reynell.

NO RESERVE Steam ships.- Weale (John, Architectural Library, publisher) Steam Navigation. Glow Worm, Rainbow, &c., 10 engraved plates on 8 sheets, most folding, one torn along fold and detached, another repaired with loss, foxing, printed contents slip at beginning creased, original half cloth with printed paper label to upper cover, worn spine, folio, [c.1840].⁂ The plates depict Iron Steam Yacht Glow-Worm & Iron Steam Ship Rainbow, constructed by John Laird; American Armed Steam Ship Fulton; Admiralty Yacht Fire-brand, drawn by J. H. Lang; and Iron Steam Ship Nevka, constructed for Her Imperial Majesty the Empress of Russia by Messrs. Fairbairn and Murray.

Architektur - - Hadid, Zaha. Planetary Architecture Two. Introduction by Kenneth Frampton. Interview with Zaha Hadid by Alvin Boyarsky. Mit 19 (2 doppelblattgroßen) farbigen Tafeln und einigen Abbildungen. London, Architectural Association, 1983. 6 Bl. (Textheft). 31,5 x 31,5 cm. Illustrierter Original-Umschlag und lose Tafeln in farbig illustrierter Original-Pappkassette (Umschlag am Hinterdeckel etwas fleckig, Vorderdeckel gebräunt).Folio III der Architectural Association. - Erste Ausgabe. - Erschienen zur Ausstellung bei der Architectural Association. Enthält die Tafeln zu Hadids Projekten: Malevichs Tektonik, Museum of the 19th Century, Residence for the Irish Prime Minister, 59 Eaton Place, Parc de la Villette, The Peak und The Earth. - Gutes Exemplar. - Sehr selten.

Fourteen works on architecture and design. 'Alvar Aalto. Through the Eyes of Shigeru Ban,' original cloth backed pictorial boards, illustrated throughout, Black Dog Publishing, Barbican Centre, 2007; DAVID ADJAYE. 'Houses,' edited by Peter Allison, unclipped dj, illustrated throughout, Thames ad Hudon, 2005; LE CORBUSIER. 'My Work,' translated by James Palmes, original cloth, loss to unclipped dj, illustrated throughout, The Architectural Press, London, 1960; Architect of the Century,' pictorial card boards, Hayward Gallery, London, 1987; With ten other books. (14)

Nine works on architecture. FRITZ AUGUST BREUHAUS. 'Das Haus In Der Landschaft,' original cloth, some chips to spine, spotting to first few leaves, b+w photographs, monochrome plates, Verlag Von Julius Hoffmann, Stuttgart, n.d; F. R. S. YORKE and FREDERICK GIBBERD. 'Modern Flats,' original cloth, unclipped dj, profusely illustrated with b+w photographs, The Architectural Press, London, 1958; ROBERT WINKLER. 'Architects' Homes,' original cloth, loss to unclipped dj, spotting, profusely illustrated with b+w photographs, Verlag Girsberger, Zurich, 1955; KLAUS-Jurgen SEMBACH. 'Henry Van De Velde,' origianl cloth, unclipped dj, profusely illustrated, Rizzoli, New York, 1989; TINA JORSTIAN and POUL ERIK MUNK NIELSEN. 'Taend! PH Lampens Historie,' original cloth, rare, profusely illustrated, Gyldendal, Denmark, 1994; With four other books. (9)

ERICH MENDELSOHN. 'L'Architecture Vivante En Allemagne,' Loose leaves contained in a cloth-backed portfolio with ties, spotting to half title, architectural diagrams and photographs with French text, Editions Albert Morance, Paris, n.dThe collation is complete and runs thus; Titlepage, 33-40, 41-48, plates 26-50.

ARCHITECTURE Interest. 'Utzon,' by Richard Weston,' original cloth, unclipped dj, illustrated throughout, Edition Blondal, 2002; 'Arne Jacobsen,' by Carsten Thau and Kjeld Vindum, original cloth, unclipped dj, illustrated throughout, Danish Architectural Press, 2001; NORMAN FOSTER. 'Rebuilding The Reichstag,' original cloth, unclipped dj, illustrated throughout, Weidenfeld & Nicholson, 2000; 'Hongkong Bank. The Building of Norman Foster's Masterpiece,' by Stephanie Williams, original cloth, unclipped dj, illustrated throughout, Jonathan Cape, London, 1989; 'The Norman Foster Studio: Consistency Through Diversity,' by Malcolm Quantrill, original cloth, unclipped dj, illustrated throughout, Routledge, 1999. (5)

Follower of George Morland, landscape with sheep on a country path, oil on canvas, 34 x 43.5cm and of four continental landscape and architectural studies, including; Brian Roft, San Giacometto di Rialto, 19 x 23cm; and three hill top views, one in pencil, the others in pencil and wash

An collection of seven pictures including; Bettioa, a Venetian scene in the manner of Chagall, signed and dated 1972 lower right, 76 x 59cm; pencil study of chickens by a barn, pencil on paper, 35 x 52cm; a woman and child feeding birds, monogrammed TB, gouache on paper; print of a D=donkey; an architectural print of the parish church of Saint Paul, Convent garden; a flower study signed 'harvey' lower right

After G Belzoni (Italian, 1778-1823)'City of Bacchus on the Lake Moeris' and 'Temple of Dakke in Nubia'Two etchings with hand-colouring, 1820, on wove, printed by Aglio, published by John Murray, London, with margins, 250 x 420mm (9 7/8 x 16 1/2in)(each)(PL)(2)ProvenanceWith Sara Barrett 19th Century Architectural and Decorative Prints, London

Two framed and glazed prints showing architectural elevation plans for Alexandra Palace, signed in plate. H.50 W.71cm

17th century German architrave.Rosewood and walnut with lemongrass and fruitwood marquetry.The chest stands on a modern iron table.Measurements: 66 x 88 x 46 cm; 135 x 88 x 48 cm (with base).An important Renaissance-heritage chest made in Germany at the end of the 17th century. It is a type of bargueño that continues the models established in Augsburg, a German city that became one of the main centres of furniture production, particularly famous for its fine and intricate marquetry. Cabinetmakers in this southern German city specialised in cabinets for storing small precious objects. These luxury cabinets were entirely decorated with elaborate marquetry depicting cityscapes, classical Renaissance ruins or intricate vegetal elements, as well as a variety of ornamental motifs taken from contemporary German engravings and prints.This extraordinary chest has a hinged front which, when opened, reveals an intricate classical vegetal design on the inside, based on the use of dark wood fillets inlaid into lighter wood, composing classicistic motifs including sinuous vegetal scrolls. Marquetry covers both the interior and exterior of the piece, a common feature of the German Renaissance. Particularly worthy of note is the treatment of the exterior panels, which depict Renaissance architecture, demonstrating the painstaking skill of the cabinetmaker, who recreated the vanishing points and perspective that set the tone for Italian architecture in the 15th century. On the outside of the cabinet is the cut-out, openwork coat-of-arms. On the inside, the cabinet reveals a division into three sections, the side sections with up to five drawers each, each decorated with the vegetal design already worked into the rest of the chest. The central section has a door decorated with Renaissance architectural motifs, while the interior is ornamented with skilful fruit motifs. The chest stands on a modern iron table.

*DAVID TENIERS II THE YOUNG (Antwerp, 1610 - Brussels, 1690). "The Conversion of Saint Paul.Oil on copper.Signed with an anagram in the lower right corner.Work examined several decades ago by Dr. Aída Padrón Mérida.Measurements: 21 x 31 cm; 59 x 69 cm (frame).David Teniers II constructs an ample and expressive scenography to present the theme of the conversion of St. Paul on his way from Jerusalem to Damascus. The prolific artist depicts the precise moment when the divine light blinds Paul who, in the centre of the composition, falls from his horse, while his soldiers run in panic in different directions, stunned by an apparently inexplicable event. In favour of the prominence of the heavens, Teniers renounces any architectural reference. A beam of magical, diffused light filters through the clouds, revealing the intangible presence of God, transforming Paul's miraculous conversion to Christianity into a rich and varied display of horses in action and daring twists and turns. Teniers endows the work with a sense of narrative and symbolism: although the crescent moon on one of the banners leads one to interpret the scene as a confrontation between Turks and Romans, it is probably really intended to evoke pagan Rome, considered as the infidel people. The dynamic, moving conception of the subject is in keeping with the fantasy of the period and the popularising power of Baroque engravers such as Antonio Tempesta. Teniers's training as a genre painter is demonstrated by the small dog running around in the foreground, a common device in his domestic scenes and peasant scenes.David Teniers II, son of David Teniers I, remained faithful to his father's style in his youth but soon specialised in genre painting. In 1638 he joined the Guild of Saint Luke, of which he was later to become dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection and was responsible for the conservation of the paintings and for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. In 1651 he was appointed court painter to Archduke John Joseph of Austria and moved to Brussels. Despite this, he continued to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Works by Teniers are to be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.

Fragment of funerary stele; Roman-Visigothic; 6th-8th century.Carved stone.The relief is worn.Measurements: 43 x 31 x 19 cm.Funerary stelae were very frequently made, especially to mark burial places when burial became widespread (cremation was the most common ritual until Trajan, emperor between 98 and 117 AD, This was the period from which the burial of bodies became widespread, mainly due to the influence of certain Eastern religions, the best known of which was Christianity, thus changing the cinerary urns for sarcophagi which, when buried, required a "sign" on the outside of the burial place). Although they usually had an epitaph engraved on the stone (or, directly, a plaque with the epitaph), it is not uncommon for this text not to be present. The typologies are very varied, as are the decorative elements used on them. The most common are those in which the text or the figure of the deceased is framed in an architectural composition like those used in the buildings of the period, either topped by a triangular pediment or with the figure sheltered by an arch. As is also the case with sarcophagi, the theme chosen was usually related to the deceased (either to his religion, to the figure of a divinity to whom he had a special devotion, to his profession, etc.).

DELAMOTTE (WILLIAM ALFRED)Original Views of Oxford, its Colleges, Chapels and Gardens... with Historical and Descriptive Notices by Charles Ollier, hand-coloured lithographed additional title-page and 25 hand-coloured lithographed plates by William Gauci after drawings by W.A. Delamotte, all mounted on stiff card, some spotting (mostly marginal, heavier on additional title), contemporary half morocco gilt, t.e.g. [Abbey Scenery 282], large folio (545 x 420mm.), Thomas Boys, 1843Footnotes:RARE COMPLETE SET OF DELAMOTTE'S VIEWS OF OXFORD, ALL HAND-COLOURED AND MOUNTED ON CARD. Delamotte (1775–1863) 'was an excellent architectural draughtsman, and also a sympathetic recorder of the landscape, at first in and around Oxford... [and] where he restored the Streater ceiling decoration in the Sheldonian Theatre' (ODNB).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MALTON (THOMAS)A Picturesque and Descriptive View of the City of Dublin, Described in a Series of the Most Interesting Scenes Taken in the Year 1791, FIRST EDITION, engraved title-page, engraved arms of the City of Dublin (dated 1792), engraved dedication (dated 1794), 25 aquatint views by James Malton, 2 aquatint plans, engraved key plate, some spotting (mostly marginal), light off-setting from plate to text, short tear repaired to margin of City Arms plate, contemporary red straight-grained morocco gilt, g.e., corners and extremities of spine worn [Abbey Scenery 474, coloured copy; Tooley 315], oblong folio (410 x 555mm.), James Malton, after 1799, [c.1818, some plates watermarked 1811]Footnotes:Finely bound copy of the most celebrated volume of Dublin views. 'Malton as a topographical draughtsman had few equals, and the plates... have a distinction of their own in addition to their value as an architectural record' (Hardie, English Coloured Books).Provenance: Constitutional Club Libary, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WILLIAMS (WILLIAM, of Llandegai)Oxonia Depicta sive Collegiorum et Aularum in Inclyta Academia Oxoniensi, engraved throughout comprising: hand-coloured title within architectural border, dedication leaf, index with list of subscribers (at end) and 63 views and plans (of which 62 double-page, one large folding), all mounted on stubs, short tear touching lower printed border of one plate, later vellum, red gilt morocco lettering label on spine, red edges, soiled [Upcott III, 1107], folio (505 x 320mm.), Oxford, [1732-33]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ALBERTI (LEON BATTISTA)Los diez libros de architectura, FIRST SPANISH EDITION, title within architectural woodcut border, woodcut initials, light damp-staining, worming to last few gatherings affecting text, contemporary calf gilt and stamped, some wear to edges, endpapers renewed [Cicognara 377; Palau 5194], 4to (206 x 158mm.), Madrid, Alonso Gómez, 1582Footnotes:Alberti's De re aedificatoria (Florence, 1485) is the most important architectural treatise of the Renaissance. The anonymous translation was edited for publication by Francisco Loranzo.Provenance: The Robin Collection, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ARMENIAN - BIBLEGospels of Our Lord Jesus Christ, PRINTED IN ARMENIAN TYPE, title within wide woodcut architectural border, text in double column, all within typographical border (many with additional decorative embellishments in the margins), capital bird letters in the text, large wood-engraved illustrations by Grigor Marzvanetisi derived from the design of Christoffel van Sichem, cropped with some loss to marginal decorations and side-notes, pp.121-222 repaired with some loss to text and borders, 6 leaves (pp.49-50, 117-120) with smaller repairs, lower margin of pp.365-368 softened, rust spot on p.138, without lower free endpaper, early twentieth century red velvet over boards, silver gilt crucifixion mounted on upper cover, yellow edges [not in Nersessian], small 4to (190 x 145mm.) , Constantinople, Printing Press of Astuadsastour Karapet, 1729[-1731]Footnotes:An eighteenth century Armenian Gospels, printed in imitation of earlier manuscript versions with floral decorations in the borders and illustrations of the Evangelists at the head of each Gospel. The illustrations were made by Constantinople based Armenian engraver Grigor Marzvanetsi, adapted from those used by Oskan Erevantsi for the first Armenian Bible (Amsterdam, 1666-1668), who himself had used as a proto-type illustrations by the Dutch artist Christoffel van Sichem.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DIONYSIUS OF HALICARNASSUSIsaios kai Deinarcos. Vitae Isaei & Dinarchi, magnorum Graeciae oratorum [edited by Petrus Victorious], title in Greek & Latin within woodcut architectural border, introduction in Latin, text in Greek type, 2 large decorative initials, woodcut ornaments, large woodcut device on final leaf (above the motto 'Quod tibi fieri non vis, alteri ne feceris' added in a ?seventeenth century hand), modern half calf [Adams D640], small 4to (210 x 140mm.), Paris, Jean de Tournes, 1581Footnotes:Scarce work by Dionysius on the lives of the orators Isaeus and Dinarchus, edited by Petrus Victorius (1499-1584), 'the greatest Greek scholar of Italy' (Whibley, Companion to Greek Studies, 2015). No copies are listed on Rare Book Hub, and WorldCat records only the Bristol University copy.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A COLLECTION OF TEN BRONZE OPIUM WEIGHTS, INDIA, CIRCA 18TH/19TH CENTURY, each in the form of an amalaka (Indian gooseberry), some with engraved marking, 4cm diam. and smaller The Indian gooseberry (emblica officinalis) is an important element in Ayurvedic medicine and a common architectural motif in mediaeval Hindu architecture. For a similar group of weights previously sold in these rooms, see 24 November 2021, lot 135.

A PAINTED AND CARVED WOOD ARCHITECTURAL ELEMENT, JAVA, INDONESIA, 18TH/19TH CENTURY, painted in blue, brown and red, with touches of gold, comprising a base with abundant lotus decoration in relief and slender faceted column section, 147cm high Provenance: Collection of a late diplomat, thence by descent

A Second War M.B.E. group of four awarded to the Hon. Mrs Kathleen Whalley Howie, Deputy Director Civil Defence Worker’s Health Department Joint War Organisation of the British Red Cross Society and Order of St John The Most Excellent Order of the British Empire, M.B.E. (Civil) Member’s 2nd type; Defence Medal; Coronation 1937; Voluntary Medical Service Medal, silver, with additional 5 year Bar (The Hon. Mrs Kathleen Whalley Howie) mounted as worn together with tunic ribbon bar, good very fine (4) £200-£240 --- M.B.E. London Gazette 9 January 1946: ‘The Honourable Kathleen Whalley Smith (The Hon Mrs Howie), Deputy Director Civil Defence Worker’s Health Department Joint War Organisation of the British Red Cross Society and Order of St John.’ Kathleen Whalley Smith was born in Salford, Lancashire, on 18 January 1903, the daughter of Frederick Henry Smith, First Baron Colwyn, and his wife Elizabeth Ann Savage. Known as Sir Frederick Smith, 1st Baronet, from 1912 to 1917, he was a British manufacturer, investor and banking executive. He was an influential Liberal figure in Manchester politics for many years. Smith was a rubber and cotton factory owner, deputy chairman of Martins bank (23 years after his death the 700 branches were acquired by Barclays Bank) and a Director of several railway companies. In 1917 he served as Sheriff of Caernarvonshire. He was created a Baronet, of Colwyn Bay in the County of Denbigh, in 1912. In the 1917 Birthday Honours he was raised to the peerage as Baron Colwyn, of Colwyn Bay in the County of Denbigh. In 1924, he was admitted to the Privy Council. Lord Colwyn married Elizabeth Anne, daughter of Hamilton Savage, in 1882. They had two sons and five daughters. The Western Mail newspaper of 14 January 1939 records – “Lord Colwyn’s daughter Miss Kathleen Whalley Smith has successfully taken up the profession of Architecture and some time ago was elected an Associate Member of the Liverpool Architectural Society one of five (women) in a membership of 200”. She married Robert Cullen Howie a London Based Accountant in Chelsea on 22 September 1945, whilst living in Kensington and died in Sway, New Forest on 11 April 1990.

Victorian Magic lantern slides to include four mechanical slides depicting a clown with jumping dog, hot coddlings with emerging clown and moving eyes, a man chasing a pig, and a character with hare, four mounted architectural slides of London, Rome etc made by J Warner 72 Fleet Street, and a single strip slide of Inuits hunting a polar bear. to include a lantern slide carrier and a box containing quarter plate glass negatives of various subjects, all contained in a leather bag (qty)

A French gilt-metal mantel clock, of architectural form with urn finial, inset with Sevres style porcelain panels, the 3in (75mm) white enamel dial with black Roman numerals, the eight-day movement signed A.Simpson, 154 Regent Street, and striking on a bell, 28.5cm high (no pendulum or key).Casse fair with some genneral rubbing to the gilt throughout.  Top porcelain panel has slipped down and needs re-seating.  Dial good.  Movement lacking pendulum and so not tested or seen running.

Early 20th century walnut two train architectural design mantle clock. (B.P. 21% + VAT)

Modern ceramic architectural design pillared two train mantle clock with raised floral and foliate decoration. (B.P. 21% + VAT)

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Lapin Agile été".Watercolour and charcoal on paper.Signed in the lower right corner.Moisture stains on the passe-partout.Size: 22 x 28 cm; 39 x 44 cm (frame).Lucien Genin studied at the Ecole des Beaux-Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne with the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

JAUME PLENSA (Barcelona, 1955)."Man, I", 1983.Mixed media on paper.Attached certificate issued by the author.This work was exhibited at the Jordi Pascual gallery (Barcelona), in 2017.The glass is broken, but it does not affect the work.Signed and dated in the lower area.Measurements: 107 x 39 cm; 118 x 50 cm (frame).Adjectives such as automatic, gestural and explicit are concentrated in this scene, in which the author has conceived the portrait of a human figure. It is set up as a totem before the viewer. A primitive spirit, born of matter, scraped, manipulated and expressive. Used as a medium to convey unique experiences. This work belongs to the first stage of the artistic career of Plensa, who began to exhibit in 1980. In it he constructs the keys to what would later become his most famous works, the representation of the human figure, a reflection on identity and the interaction between man and space.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JOSEP MOSCARDÓ (Barcelona, 1953)."Can Sirera, Tiana", 2008.Oil on canvas.Signed in the lower right margin. Signed, dated, titled and located on the back.Measurements: 60 x 195 cm.Josep Moscardó trained in Barcelona, at the School of Fine Arts of Sant Jordi and La Lonja. He began his career in 1976, focusing from the beginning on landscape, which he considers his main source of inspiration. However, he does not look for wild nature or lush forests, but for places with a life of their own, inhabited, preferably urban views. In his works he looks for corners where architectural attractiveness is combined with a suggestive atmosphere, reflected through his personal chromaticism. Throughout his career he has received numerous prizes, such as the Catalan Post Office Prize in 1972, the Santiago Barceló Prize in 1974, the Val d'Or Prize in 1976 and the Valentí Prize in 1985, among others. He has also exhibited his work individually both in Spain (Sala Vayreda, Sala Parés, Tavira gallery, and many others) and abroad (Serendipity and D.J. Lester galleries in Los Angeles). His presence abroad is remarkable in group exhibitions: "The new impressionists" (Brentwood Portfolio in Los Angeles and Art Expo in New York), I.G.I in Chicago, Art Asia in Hong Kong, David Messum gallery in London, Bankaku gallery in Nagoya and Art Box gallery in Tokyo. He is currently working with Sala Parés in Barcelona. Moscardó considers himself to be a Mediterranean artist, an idea that is reflected in his painting both in terms of subject matter and in the treatment of light, the intensity of the line and the chromatic range. He builds his works around blues, which are predominant in his production, although he also uses oranges and blacks, basic colours and, as a final colour, cobalt blue. In addition to painting, Moscardó has devoted himself to graphic work, capturing different urban landscapes, especially emblematic ones, of cities such as Barcelona and New York.

CLOCKS - green onyx mantel clock of architectural form, eight day movement strike gong, 38cms H, 37cms W

An Edwardian French Black Slate Mantel Clock of Architectural Form in need of Substantial Restoration to Enamel Dial and Movement, 19cms Wide and 22cms High

An Edwardian Architectural Mantel Clock, Made in Wurttemberg but Retailed by H Samuel, Manchester, Junghans Movement, 34cms High

Fine set of nine 19th century Indian miniature architectural paintings on ivory, the oval glazed reserves depicting sites of pilgrimage, the largest 6.5cm wide, set in a relief arabesque carved ebonised frame. APHA Ref: 5D8L5L68

A 19th century French green and brass onyx mantel striking clock. Of architectural form with an arched and flared top, with a white chapter ring and black numbers with brass floral circular centre flanked by two brass floral pattern pillars. Raised on a plinth base. Stamped Medaille D`argent 1200 4 4 to movement. Measures approx. 28cm x 22cm x 13cm Condition; There is some damage around the top, few chips and missing. Untested, has key and pendulum. 

Romeijn de Hooghe (1645-1708) naar tekeningen van Johannes de Vou (1660-1707) Hand-coloured print 'Rotterodamum', panorama/profile view of Rotterdam on the Maas, with detailed ships and architectural details of the riverbank, 1694 (before the expansion of the map in 1778). Etching. Ets, 26 x 211 cm.

Peter Nelson (1928-2009) An aluminum minimalist floor lamp Architectural Lighting, sixties. Hoog 137,5 cm.

Late 19th/early 20th Century mantel clock in mahogany architectural case with pillared detail

° ° Art and architecture - 5 works - Lloyd, Nathaniel - A History of the English House, 2nd edition, large 4to, green cloth, The Architectural Press, London, 1949; Wollin, Nils G - Modern Swedish Decorative Art, 1931; Pavillon Societe des Artistes Decorateurs. Exposition Internationale Paris, 1937; Normand, Charles - A Parallel Order of Architecure Greek, Roman and Italian, 1931 and Guptill, Arthur L. - Colour in Sketching and Rendering, New York, 1935

A selection of various photographic portrait, botanical, architectural slides depicting Victorian social history, cased

TDM Harvey, pencil and watercolour, Architectural design for a building at King Street, Nottingham 1963, signed and dated '62, 57 x 40cm

TWO SETS OF FOUR INDEX DRAWERS, length 80cm x depth 39cm x height 32cm, and a dismantled oak architectural surround, and two corner sections (2)

ARCHITECTURAL GARDEN WALL MIRRORS, set of three, 160cm high, 67cm wide, arched aged metal frames.

Architectural garden mirrors, pair, 170cm high, 90cm wide, arched metal frames (2)

Rachel Thomas, Winter in Devon, signed & dated l.l., Xmas 1946, watercolour, 24cm by 34cm, framed & glazed; F. W. Ayling, farmyard scene, signed & dated l.l., 1957, 25.5cm by 35cm, framed & glazed; four architectural views in Bromsgrove, unsigned, 8cm by 11.5cm, mounted & framed as one; three marine prints, indistinctly signed, limited editions of 250, 7.5cm by 7cm, framed & glazed; a wood-engraved portrait, The Two Sisters, likely taken from Illustrated London News or Graphic, c. 1890, 50cm by 40cm, framed & glazed (7)

A German oak cased striking mantle clock with an architectural pediment, carved pilasters, shaped plinth and carved decoration, with a square brass dial and silvered chapter ring, Arabic numerals, gothic hands and spandrels, Juhngans eight-day countwheel striking movement sounding the hours and half hours on a coiled gong, c1900. With pendulum & Key.Dimensions: Height: 40cm  Length/Width: 30cm  Depth/Diameter: 18cm

A WOOD NETSUKE OF A SLEEPING CAT ON A LEAF FANUnsigned Japan, 18th century, Edo period (1615-1868)The cat (neko) is considerably rare in netsuke art. Here it is depicted sleeping serenely, its head and front paws rested on a leaf fan (uchiwa), wearing a collar, the long tail curls around over its body. The hairwork is finely incised and appropriately worn. The underside with generously excavated himotoshi, formed by one smaller and one larger oval holeLENGTH 5 cmCondition: Good condition, minor wear, the handle of the fan repaired.Provenance: German private collection.The motif of a sleeping cat (nemuri neko) was first depicted in Japan in the 17th century by the sculptor Hidari Jingoro in Nikko in the architectural decoration of the corridor (kairo) that starts from the Yomei gate. Cats were imported from China in the Heian period (794-1185) and initially served the ladies at court for entertainment. Over the course of the centuries, they became domesticated. In popular belief the cat played only a minor role. However, there are some legends with cats that turn into people, or they are the subject of proverbs.Museum comparison:Compare a closely related boxwood netsuke of a sleeping cat on a fan, early 19th century, in the Linden-Museum, Stuttgart, inventory number OA 19064.

Hugh Segar "Sam" Scorer (British 1923-2003): 'His' and 'Hers' architectural sculpture designs, pair pen on tracing paper unsigned 29cm x 22cm (2) (unframed)

A quantity of alabaster and marble eggs, crystals etc plus a carved terracotta architectural fragment

A LARGE WOODEN PAGODA-SHAPED CLOCK WITH ENGLISH CLOCK MOVEMENTQing DynastyThe clock circa 1880-1900, with later implements, encased in well carved, possibly wood panels with foliate scrolls, supported on a balustraded terrace supported on bracket feet, four pillars carved with cloud scrolls rising to support the second tier with further ornately carved balustrades, doors with latticework, and four smaller pillars surmounted by a two-tier roof with upturned eaves carved with further cloud scrolls and bats, all surmounted by lotus-bud finial, the wood including chenxiangmu, zitan and other woods. 118cm (46 1/2in) high.Footnotes:清 木製樓閣鐘 並英國機芯Clocks in the form of pagodas and towers were popular in the Qianlong period, and there are several similar examples in the Palace Museum in Beijing. See for example, a similar architectural clock with similar structure, but with the Eight Immortals in the second tier, Qianlong, in the Qing Court Collection and illustrated in Gugong zhongbiao, Beijing, 2004, p.60. Another clock in the form of a tower, Qianlong, is also illustrated in The Complete Collection of Treasures of the Palace Museum: Scientific and Technical Instruments of the Qing Dynasty, Hong Kong, 1998, p.231, no.205.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

RSM - German walnut two-train bracket clock, 6.5-inch square brass dial with silvered Roman chapter ring and matted centre, ting-tang striking on two coiled gongs, in architectural case, 48cm high

ARCHITECTURAL VOLUMES: A varied selection of around 20 books on British architecture.

20th CENTURY MILITARY INTEREST: a box of books on varying aspects of both world wars. To include, Richards, J.M., 'The Bombed buildings of Britain', The Architectural Press, second imp. 1943

ARCHITECTURAL MISCELLANY: Over 20 volumes.

ARCHITECTURE: a blend of books covering architecture of London and Bath and also the preservation of architectural structures. Includes: Sharp, T. 'Exeter Phoenix'; Abercrombie and Nickson, 'Warwick: It's Preservation and Re-development' (both Architectural Press). Over 20 items.

BREWING and BREWERIES: A small collection including: Pearson, L. 'British Breweries An Architectural History'. And other brewery interest books.

MODERN ARCHITECTURE: McGrath & Frost, 'Glass in Architecture and Decoration', Architectural Press, 1937. Green boards in excellent condition.

MODERN BRITISH ARCHITECTURE: DE WOLFE, Ivor (pseud.), 'Civilia'. A key book in the debate about modernism in architectural planning. In very good condition throughout with protected dust-jacket. Although there is a small label to spine, it doesn't appear to be an ex-library book. Comes with 'Italian Townscape' also by de Wolfe.

COLUMBIAN EXPOSITION ALBUM: In green boards and in good condition throughout (small marks and small rub to top of spine etc.). "...containing Views of the Grounds, Main and State Buildings, Statuary, Architectural Details, Interiors, Midway Plaisance Scenes, and Other Interesting Objects." Chicago, 1893. Rand, McNally & Co, publisher.