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[ART]. PHOTOGRAPHY Mare, Eric de. Photographer: Builder with Light, first edition, Architectural Association, London, 1990, pictorial stiff paper covers, dustjacket, black and white illustrations throughout, quarto, SIGNED BY THE PHOTOGRAPHER; Doisneau, Robert. Photographs, first UK edition, Fraser, London, 1980, brown cloth, dustjacket, translated by Vivienne Menkes, quarto; Siskind, Aaron. Harlem Document. Photographs 1932-1940, first edition, Matrix Publications, Providence, 1981, soft covers, pictorial dustjacket, illustrations throughout, square octavo, SIGNED BY THE PHOTOGRAPHER; and nine other works, including eight titles from The Aperture History of Photography, (12).

HERBERT HOOIJKAAS; a late 19th/early 20th century Dutch silver potpourri modelled as a dropleaf table overall embossed with cherubic figure garden and architectural landscape scenes, 1875-1909, bearing pseudo-Amsterdam and maker's marks to the inside, top 13.5 x 10cm when extended, lacking glass liner, approx 7.3ozt.

A pair of mid-19th century porcelain shaped square sandwich plates painted with architectural landscapes on gilt heightened blue ground, length including handles 26cm, with a matching cup and saucer (probably Coalport), also a floral spray decorated shaped dish on gilt heightened cream ground (af), and a similar lozenge example (5). CONDITION REPORT: Heavy rubbing to the gilding and surface scratches throughout, crack through base of shaped floral dish.

A late Victorian black slate mantel clock of architectural form, the ceramic chapter ring set with Arabic numerals and stamped Salsbury & Son Guildford to centre, height 30cm, and an Art Deco onyx timepiece (both af) (2). CONDITION REPORT: Condition issues to both, surface wear, some chips etc, the onyx example loose to the base, neither running and no guarantees of working order.

WILEMAN & CO; a Foley 'Intarsio' mantel timepiece with shaped architectural case inscribed 'Carpe Diem' beneath the circular dial and with angled side panels with Art Nouveau decoration, printed marks Rd.342317?. 3160, height 29cm. CONDITION REPORT: Some crazing and rubbing to the paint in raised parts, the clock and dial are replacements. No guarantee that this is in working order. It has not been tested.

Brunel's Own Copy - An Explanation of the Works of the Tunnel Under the Thames from Rotherhithe to Wapping, W. Warrington, London, 1839. Oblong 24mo. 24pp, illustrated with nine leaves of engraved plates, three of which fold out, and one which has an overlay showing workers within the tunnel, illustrations include architectural plans and engineering diagrams for the project, frontispiece showing a completed section of tunnel lit with gas lamps, diagrams also demonstrate exactly how workers were able to remove earth and lay bricks and illustrate the tunnels progress relative to landmarks above ground, inside cover with name and address ’Brunel 18 Duke Street, Westminster’ in Marc isambard Brunels hand writing, also with pencil notes and corrections on page 24, light foxing throughout grey paper wrapper with pink printed label to front which reads THAMES TUNNEL Thames Tunnel, construction on the tunnel began in 1825 and was finally completed in 1843. At the time that this booklet was published in 1839, workmen had completed just 640 of the planned 1,300 feet of the tunnel's length. It’s likely that this booklet was an effort to increase public interest and enthusiasm for the project at its midpoint. More guides such as this were produced as the construction on the tunnel progressed.

An Unusual Folding Dancer Microscope, c.1860, English, engraved to foot 'J. B. Dancer Optician, 315, Manchester', standing on a very large folding brass lacquered foot, central boss with supporting architectural-type pillars supporting body on trunnions, large plano-concave mirror in gimbal on a sliding collar, removable stage held in place on a sliding dovetail with a large steel screw to secure it in place, fully mechanical stage with X-Y control via rack and screw with substage aperture for accessories, course focusing via rack work to rear of body tube with fine focusing via screw and lever above nose piece, polished mahogany travel case includes: opaque object revolver and case of disks (missing chain), live box, achromatic substage condenser and set of stops in a brass case, focusing substage Wenham's parabolic condenser, a combination objective marked 1½" and ¾" in a can, an objective engraved '4/10', with correction collar in can, later Leitz objective, very low power eyepiece, low power eyepiece, medium power eyepiece and high power eyepiece, all housed in original French polished mahogany case with folding carry handle, trade label inside lid with list of objective and eyepiece powers, lock damaged and wood broken but all parts present, case width 43.5cmFootnote:Gloria Clifton: 'Directory of British Scientific Instrument Makers' lists John Benjamin Dancer as working at 43 Cross Street, Manchester between 1847 and his retirement in 1878.

δ Eduardo Paolozzi (1924-2005)Architectural PrintScreenprint in colours, 1980, on glossy wove paper, the full sheet printed to the edges, 670 x 390mm (26 3/8 x 15 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A black slate mantle clock of architectural form, together with a spelter mantle clock, a painted wall clock, a modern wall clock etc

REM KOOLHAAS (B. 1944) AND ELIA ZENGHELIS (B. 1937) ROOSEVELT ISLAND REDEVELOPMENT PROJECT, NEW YORK, 1975 (AXONOMETRIC) gouache and graphite on board 103.5cm x 84cm Literature: McQuaid, Matilda, ed., 'Envisioning Architecture: Drawings from The Museum of Modern Art, New York' by Terence Riley, The Museum of Modern Art, 2002, p. 172 Riley, Terence ed., 'The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection, New York' by Bevin Cline and Tina di Carlo, The Museum of Modern Art, 2002, p. 144. Note: The Roosevelt Island Redevelopment Project was a 1974 competition entry prepared by Rem Koolhaas and Elia Zenghelis, in response to a movement to redevelop Roosevelt Island, New York, the narrow strip of land in the East River between Manhattan and Queens. Four identical stepped blocks rise on the waterfront of the East River island. Between them run extensions of the city street grid bordered by low-rise "synthetic brownstones" made from glass, rock, plastic, marble, and aluminium with stoops and postmodern facades. Seven monumental towers echo the dimensions of the grid and are situated so as to maximize the views. Another example of this study is held is in MoMA, New York.

A Third Reich Nazi German alloy architectural mount or emblem, cast as the Hoheitszeichen Adler des Dritten Reiches (eagle and swastika), 46.5cm wide, c.1934 - 1945

WOOD MARTIN VOLUME- PAGAN IRELAND AND PARCEL OF ARCHITECTURAL AND OTHER VOLUMES

ϒAn Anglo Indian, probably Mysore, sandalwood sewing box, circa 1880, of rectangular form, relief carved with elaborate foliate, animal and architectural motifs overall, with a metal swing handle on each side, the hinged cover opening to a foliate carved interior with fitted mirror plate, wooden covers and ivory sewing implements, on later bun feet, 15cm high, 44.5cm wide, 29.5cm deep ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A hardwood corbel or architectural section, carved in relief with a lion passant, 27.5cm wide

A lozenge-shaped white gold ring by Omar Ramsden, c1925, set with an emerald cabochon and two diamonds within white gold lozenge border held on the outstretched arms of two winged deities, their legs extending to form the architectural-style hoop with scroll embossed back, polished inner plate engraved 'OMAR RAMSDEN ME FECIT', size NAccompanied by original purchase receipt from John Jesse dated 19th February 1997.

A collection of silver earrings by Georg Jensen, design no. 126 by Nanna Ditzel, c1957, of architectural hoop form, with London import marks for 1957, 3cm high, design no. 79, c1945-1951, of oval boss form within beaded surround and with screwback fittings, 1.5cm high, design no, 93, post-1945, the circular earrings with chased foliate decoration and with screwback fittings, 1.9cm high, design no. 100, c1945-1951, designed as two entwined tulips and with screwback fittings, 2cm wide, design no. 50A, post-1945, of leaf form with beaded decoration and with clip fittings, 2.3cm wide, design un-numbered, c.1988, designed as large flower head domes and with clip fittings, with London import marks for 1988, 2cm wide, design no. 17, post-1945, the 'seed and pod' upper sections suspend an oval silver boss below and with screwback fittings, 3.5cm high, design no. 18, post-1945, the flower head upper sections suspend silver drops and with screwback fittings, 4cm high, all with maker's marks, together with a pair of un-numbered earrings of flower head form and with screw back fittings

MOUGIN, FRANCE, A LATE VICTORIAN/EDWARDIAN ARCHITECTURAL SLATE MANTLE CLOCK, twin train movement with classical bronze frieze, 15 1/2 ins high.

An Antique painted architectural mount, L190cm

A 19TH CENTURY SLATE ARCHITECTURAL MANTEL CLOCK with four columns, with a frieze of figures, circular gilt dial with Roman numerals

A GEORGE II STYLE PINE CORNER CUPBOARD of architectural design, open upper section with an arch enclosing a domed back, the base with a fielded panel with egg and dart moulding, 99cm wide x 208cm high

A George III inlaid mahogany desk top pocket watch stand of architectural form, with painted paper detail and glazed windows and bone pilasters, fitted a single frieze drawer 33cm wide

A set of four gilt ground architectural wall panels, each painted with sprays of flowers, 75 x 40cm

An early 19th century mahogany cabinet bookcase, the architectural pediment and steeple finials over a pair of navette barred glazed doors enclosing four shelves, the base with a pair of cupboard doors on shell moulded feet, 135 x 98cm

λA collection of nine 19th century card cases, various materials, comprising: a tortoiseshell case decorated with architectural scenes, another tortoiseshell case, two mother-of-pearl and tortoiseshell cases, a mother-of-pearl case, a lacquered case with inlaid decoration, a Mauchline ware case, depicting Cowes, Isle of Wight, a leather case and another. (9)

A bound edition of The Graphic, Nov. 30th 1918, c/w photographic supplement insert, to/w Walcot, W., Architectural watercolours & Etchings, 1919, T. E. Lawrence, Seven Pillars of Wisdom, 2nd impression 1935; Gordon Pugh, Surgeon Capt. P.D., Naval Ceramics, 1st, 1971; Hurst, Alex, Arthur Briscoe - Marine Artist, 1st 1974 (signed by Author) slip-case; 7 vols in The Studio How to Draw Series (12)

A French Black Slate Mantle Clock of Architectural Form, 24cm Wide

A Late 19th Century Architectural Black Slate and Marble Presentation Mantle Clock with Eight Day Movement, Dated December 1900, 43 cm Wide

Ebonised nursing chair with upholstered open arms and splat back. Architectural column type legs.

Terence John McCaw (South African 1913-1978) SPIER signed and dated 46; inscribed with the title on the reverse oil on canvas 53,5 by 69cm The work of Terence McCaw is enjoying a revival of interest. His large format landscapes and depictions of buildings and architecture are appreciated for their powerful and evocative portrayal of a serene world that we no longer know, yet value in retrospect. Iconic Cape heritage homesteads, exquisite arched views of Zanzibar and sun-drenched Mediterranean villages demonstrate his competence at rendering architectural landscapes that resonate with a contemporary audience. McCaw enjoyed an excellent training in art including a period at the Central School of Art in London in 1935, together with his contemporaries, Freida Lock and Gregoire Boonzaier. On returning to South Africa the three artists founded the New Group in 1937 to campaign for a fresh vision in the local art world that would embrace European movements and influences. His success at home culminated in an appointment as Official War artist during the Second World War from 1942-1945 in both North Africa and Italy. Completed at the high point of his career on return to Cape Town in 1946, this sensitive rendering of Spier betrays little of the turmoil and horror encountered up North. An atmosphere of calm and sombre solitude is emphasised by the artist’s use of grey, black and green tones. The unusual view of the side gables of the manor house in the famous Spier werf, is painted in the so called “impressionist” style of the New Group for which McCaw is best known. His work is represented in all major public collections in South Africa. - C. K. Berman, E. Art & Artists of South Africa, A.A. Balkema, Cape Town, 1974

Alexis Preller (South African 1911-1975) THE SHELL signed and dated '48; oil on board Alexis Preller Retrospective, Pretoria Art Museum, 1972 (Exhibition label adhered to the reverse) PROVENANCE A label adhered to the reverse bears the inscription 'Shell, Property of Guna Masyn listed as private' The Guna Massyn family 16,5 by 22cm In 1948 Alexis Preller visited the Seychelles. During his time here, he would be inspired by all nature of sea life - the beach would become his theatre and many diverse objects, from boats and sandals to mangoes and fish, would play out their surrealist drama here. Preller would absorb each object he came into contact with during his vacation, and would let them simmer in his mind and playout in his art. It is interesting to note that the still lifes of Preller’s Seychelles period would often be placed within a landscape of dirt ground and a moody sky, much like we see in The Shell. The setting is neither land nor sea, but an imaginary scape born out of the depths of Preller’s mind, where the ground would sometimes glow with the intensity of the object it held, as we notice in the ochre-yellow tones of the ground at the forefront of the shell in the present work, giving the object an architectural feeling, rather than a mere still life rendering. Preller would complete a number of works in this small format, often depicting objects that became staples in his oeuvre - fish, shells, egrets and mangoes, amongst others. On these small canvases Preller’s African aesthetic would meet with the Seychelles influence within his surrealistic imaginary scapes. For Preller the imagery of the shell would be a point of departure for a major theme he later developed, that of the human head, in all the many shapes and forms he would develop in his work. “The living shell is a house for an animal. I see the skull as a fabulous piece of architecture – a habitation for the human animal! - his brain his thoughts, everything that can register his experience and his living reactions”¹ It is fascinating to note that the first publicly available auction record for Guna Massyn is for a shell study, completed in 1969.² One can only speculate as to whether Massyn created this work in reaction to receiving The Shell, most likely as a gift from Preller. We know only that The Shell came to be in Guna Massyn’s personal collection before 1972 - the year of Preller’s retrospective exhibition at the Pretoria Art Museum, as the Museum label adhered to the reverse of the work lists Massyn as the painting’s owner. Born Conelius de Jager, Guna Massyn insisted from a young age that he was to be called Guna. It was only in his late teens that Guna de Jager would become Guna Massyn, upon the marriage of his mother, Hazel, to her second husband, Frans Massyn, both of whom were keen to have Guna change his surname in accord with theirs. On a winter’s morning in 1968, Preller came across a note in the postbox he held in Brits expressing a desire to meet him. It was not long before Preller discovered the author of this note was in fact the postal clerk himself, who, at the time, introduced himself as Guna de Jager. With great enthusiasm the young man explained that he was studying art and would love the opportunity to show Preller some of his work and garner his opinion on it. Tall, slim, blond, of modest demeanor and serious about a career in art, Guna was an attractive youth. Both his appearance and his earnest request appealed to Preller who indicated his willingness to meet with him and discuss the aspiring artist’s work. Preller invited Guna to his home, Dombeya, in Hartbeespoort, to visit every now and then to discuss his progress. Before long, it became clear that there was a growing attachment between the mentor and his protègé. While Preller found himself strongly attracted to the young Massyn, it was not merely a physical attraction. In Massyn, Preller saw a younger version of himself, and he was eager to mould Massyn into a successful and sophisticated gentleman. Through this, Preller, in a way, was recovering some of his own youth. He found it immensely rewarding to observe Massyn blossoming under his encouragement and revelled in his worshipful enthusiasm. It was not long before Guna gave up the art lessons he was attending in Johannesburg to become Preller’s full time assistant. As Preller’s assistant, Guna would gladly do all manner of menial tasks with gladness and quiet adoration. One of his more important roles was that of assisting in the hanging of Preller’s exhibitions, and he would often accompany Preller to the Lidchi Gallery a day or two before the opening of an exhibition to hang the show. Massyn played an instrumental role in the preparation for Preller’s retrospective, held at the Pretoria Art Museum, where, more so than hanging the show, he would assist in the restoration of some of Preller’s works on loan from private collections. The museum had requested to loan some works from Guna’s personal collection too, of which The Shell was one. In 1975, Preller would undergo surgery for an ailment that had been bothering him for some time. Preller, convinced that his heart had been weakened by many years of smoking, was almost certain that he wouldn’t survive the surgery, and gave Massyn strict instructions of what was to occur if this was the case. Preller did indeed preempt his death, and on 13 December 1975, he passed away from heart failure before he could awake from the procedure he underwent. Guna lived just long enough to pass on Preller’s dying wishes to those nearest and dearest to them, before he too would succumb, a mere five days later, in a car accident. Alexis Preller and Guna Massyn are buried side by side at Dombeya, Hartbeesport. - K. W. Berman, E. & Nel, K., Alexis Preller: Africa, the Sun and Shadows, Shelf Publishing, Johannesburg, 2009 The World of Alexis Preller, Raymond Hancock Films, SABC Johannesburg, 1973-1975 ¹ Alexis Preller to Esmé Berman, on documentary film, The World of Alexis Preller, 1973 - 1975 ² Sold: Bernadi, Pretoria, 14 February 2010, lot 483

(2) 19th C European School Architectural Paintings. Oil on Canvas. Sight Sizes: 17 x 24.5 in. Overall Sizes: 24 x 31 in. Condition: loss to frames, small tear to canvas (pic)

Three large framed architectural prints, to include the Parthenon Athens, The Colosseum Rome and one other.

Architectural Salvage - A pair of flower form trailed glass lampshades, the frilled crimped edge tinted in blue, 17.5cm max; and a single straw opal glass light shade, of bell form, mould blown with trellis design, 12.5cm high (3)

A 19TH CENTURY EMPIRE DESIGN GILT BRASS MANTEL CLOCK, architectural urn finials with floral crest over a front flanked by cast caryatids, the circular dial with Arabic numerals, fitted 8-day chiming movement

† 15 prints 'The Architectural Review', each numbered in pencil to margin. Numbers 7/40, 21/40, 19/40, 25/40, 24/40, 23/40, 22/40, 20/40, 18/40, 16/40, 14/40, 12/40, 10/40, 8/40, 6/40. Each sheet 36 x 30.5cm. Provenance: single owner collection of art offered for sale following an insolvency. Please note that VAT is payable on top of the hammer price at 20% in addition to standard buyers premium inc. VAT for this lot . .

Gustav Becker double weight Vienna regulator wall clock, the 8" silvered chapter ring with subsidiary seconds dial and calendar aperture, under a moon phase to the arch, within an architectural walnut carved case with turned pillars, 56" high (pendulum, two weights and key)

Lenzkirch oak ting-tang mantel clock, the 6.5" square dial with silvered chapter ring enclosing a matted centre, within an architectural carved stepped case surmounted by a triangular pediment, 17.5" high (pendulum and key)

German two train mantel clock striking on a gong, within an architectural stepped carved case, 17" high; also an Ansonia 'Long Alarm' timepiece and a two train shelf clock (two with pendulums and keys) (3)

A George V silver dressing table tray made for Cartier, by Maison Puiforcat, with French maker's and silver standard marks, sponsor's mark Jacques Cartier, London import marks, 1912, rectangular shaped with rounded corners and with reed and feather edge decoration, 12.4ozt 25.50 x 19cm (10 x 7in) Other Notes: The Parisian Puiforcat family is regarded as one of the legendary names in European silver craftsmanship. Founded in 1820, it soon established itself as a purveyor of silverware to royalty. Jean Puiforcat is widely regarded as one of the most important silver craftsmen of both the European and Art Déco movement and the most important Art Déco silversmith in France. His work has been widely exhibited in museums around the world and belongs to permanent collections - notably the Louvre and the Metropolitan Museum of Art in New York. The company introduced a sleek new look at a time when most fine quality silverwork was still decorated with fussy ornamentation, and their signature pieces of the era were characterised by clean architectural lines and notable simplicity. This tray is a classic example, and was imported to London and retailed by Maison Cartier. shallow dent in one corner and one or two minor dents and dings

A late Victorian black slate cased mantle clock of architectural form; the movement faced by a white enamelled Roman dial, on a plinth 14''h RSB

A 1930s black slate mantle clock of architectural form; the movement faced by a white enamel Roman dial, on a plinth 14.5''h 15''w RAB

A GOOD 19TH CENTURY CATHEDRAL CLOCK, with eight-day movement striking on a bell, the case embellished with ornate architectural cast mounts, on a rouge marble base. Clock 25ins high.

Architectural detailPencil drawingDated 1848Together with a pencil drawing, Weasel by Marjorie BLAMEY (1918), signed and dated 1970

Faiencerie Thulin Belgian Art Deco vase of architectural form with green drip glaze, Airain series, marks to base 39 cm .

A Victorian Aesthetic Movement walnut, ebonised and Jasperware mounted sideboard, by Lamb, Manchester, stamped and numbered 1338, the mirror back with an arrangement of niches, projecting inverted break centre base, with glazed door flanked by a pair of architectural panelled doors, incise carved and parcel gilt throughout, turned legs, 192cm high, 184cm wide, c.1880

A William IV silver rectangular castle top visiting card case, cast with two topographical and architectural elevations of Warwick Castle, chased with scrolling leafy foliage, hinged cover, 10cm long, Taylor & Perry, Birmingham 1831

A 19th century Flemish oak side cabinet, central door flanked by a pair of stained and leaded glass doors, projecting base with a pair of frieze drawers and a further pair of cupboard doors, flanked by pillars and applied throughout with geometric and architectural mouldings, bun feet, 189cm high, 150cm wide, c.1880

A Victorian slate and marble mantle clock, circular brass dial with enamel chapter ring bearing Arabic numerals, German eight day movement with coil strike, the case of architectural form, with key, 30.5cm H, 34cm L, 13.5cm D

An Edwardian overmantle mirror of rectangular form with bevelled edge plate within a moulded walnut frame beneath an architectural pediment with carved foliate detail, 132 cm wide x 106 cm high

A 19th century black slate marble architectural mantel clock with circular dial together with a collection of Napoleon top hat and other mantel clocks of varying design and a contemporary oak cased wall clock with circular dial and inlaid detail (11)

An Edwardian walnut secretaire bookcase, the upper recess section with architectural pediment over a pair of rectangular leaded light panelled doors, the lower fitted with a secretaire drawer, with brass push button release and partially fitted interior, over a cupboard enclosed by a pair of panelled doors with carved foliate and further detail, 120cm wide

Two botanical colour prints  Flowers for the months of December and March and three further architectural prints (5) 

A Victorian mantel clock in black slate and marble architectural case, bearing presentation plaque for Old Hill Church

An early 20th Century Continental mantel clock in architectural case with looped handles and urn mount, fitted with a brass movement striking on a bell

William Suddaby, watercolour, architectural design, artist impression, Western District Office, 23ins x 28ins

Late 19th Century American walnut cased wall clock of Art Nouveau design with an architectural pediment, a two train movement and embossed brass pendulum CONDITION REPORT Good condition, no signs of damage or repairs. Chapter ring is brown and discoloured but original. The clock is currently working although we do not guarantee it will remain so.

19th Century oak Gothic Revival bracket clock, the architectural case with spire surmounts above an arched door flanked by cluster columns above an arcaded and moulded plinth base, the silvered dial with Roman numerals, chime / silent, slow / fast and chime selectors, the three train fusee movement chiming on eight bells and striking on a gong, 29.5ins high

A quantity of WH Goss model buildings including A Window in Thrums, Robert Burn's Cottage, Charles Dickens House, etc, together with further crested architectural models

Two train Vienna type wall clock with architectural pilaster case and mounts, 100cm high

Beidamire two train Vienna type wall clock, in a stepped architectural case, 107cm long