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A George III mahogany chest on chest,mid-18th century and later, the architectural pediment with Greek key moulding and Chinese-style blind fret carving to the cornice and canted front edges of the upper section, set with three short and six long drawers, raised on bracket feet, 111cm wide56cm deep207cm highCondition ReportSome fading and discolouration. Pediment is possibly a later addition, with evidence of alteration when viewed from above. Some modern screws and later timbers within, suggesting further repair or alteration. Splits to canted edges. Some minor knocks, losses and repairs to veneer and moulding in places. Some marks and surface wear commensurate with age and use. Moulding to the top of the base section possibly replaced. Drawers run smoothly and joints generally solid, with a tiny bit of lateral wobble in the base section. Generally in fair cosmetic and structural condition and perfectly usable.

CICERO, Marcus Tullius - M. Tullii Ciceronis opera omnia quae exstant, ex sola fere codd. ms fide emendata studio atque industria Jani Gulielmi et Jani Gruteri, additis notis et indicibus ... Full vellum blind stamped with large central device on both covers, it appears the front hinge has split and has been repaired. Interesting engraved title-page which has been repaired. Two parts bound in one. Hamborg, 1618.

DOYLE, Arthur Conan -The Adventures of Sherlock Holmes : illust.org. pictorial cloth worn, lightly rubbed and soiled, text block separating from the binding, rear hinge short split. Text clean with an ownership blind-stamp on the half-title. Tall 8vo, Newnes, first edition, 1892

FLEMING, Ian - Thunderball : org. black boards with skeleton hand blind stamped on the upper cover lettering in gilt on the spine, dust wrapper not p.c. with short tears but complete, stained to front of dustrwrapper, but this is only noticeable on the inside, first edition, 1961. With - The Spy Who Loved Me : black boards with a silver dagger on the front cover lettering sliver on the spine, dust wrapper is p. c. otherwise a little age discoloured, ownership signature on the front endpaper, first edition 1962. With - You Only Live Twice : black boards with Chinese lettering in gilt on the upper cover, spine lettered in silver, dust wrapper intact slight soiling, ownership inscription on the front endpaper which also has a single crease mark, first edition, 1964.(3)

JUSTINANUS 1, Flavius Anicius, Emp.- Codicis Justiniani D.N.Sacratissimi Principis pp. AVG ... Libri X11. Notis Dionysii Gothofredi ... in a complex blind tooled pigskin over wooden boards, the binding is stamped with the date 1620 and initialled I W I with the Latin inscription (Des Est Justa, etc) within an escutcheon around a seated figure holding a double handled sword 4to, Printed in Geneva by J. Vignon, 1614. * a nice clean volume. The revision of Roman law by the sixth century Byzantine emperor formed the basis for much of European law from the 12th century onwards and is still influential today.

COMMONPLACE : " Margaret W. D. Campbell in Remembrance of J.C. 1833 ." Neatly produced album, poetry, song, quotes, emblems, etc. Also a hand coloured botanical, and two comical original sketches. Contemporary olive green calf, morocco label, borders in gilt and blind

GILES : Sunday Express & Daily Express Cartoons - The first three volumes. original pictorial wrappers, oblong 4to, former owner's neat blind stamp, first editions,1946-49. * unusually good condition.

EARLY 19th CENTURY OAK WELSH DRESSER, the three shelf rack with wide backboards over a base of three frieze drawers and two cupboard doors with central blind drawer panel on stile feet, 192cms H, 141cms W, 52cms D

A Georgian mahogany bureau bookcase, the moulded cornice with blind fret decoration above the pair of astragal glazed doors with fall front enclosing carved and fitted and compartments and drawers, above two short and three long drawers, on bracket feet, width 107cm, depth 55cm, height 212cm.

An Edwardian mahogany freestanding display cabinet with blind fret carving, the upper section with glazed door on a two drawer base with undertier, width 77cm.

The Ethnology of the Sixth Sense. Studies and researches into its abuses, perversions, follies, anomalies and crimes. Paris, Charles Carrington, 1899. 1st and only ed. Rebound in blind cl. Printed in 1000 copies, 'Not sold to the trade.' Exhaustive study on the genital organs ('The Sixth Sense'), publ. by legendary Victiorian publ. of pornograpyhy Carrington.(2) Francis King. Sexuality, Magic and Perversion. London, N. Spearman, 1971. 1st ed. Cl. Pioneering study about occult sexuality. (3) Vocabula Amatoria: a French-English glossary of words, phrases and allusions occurring in the works of Rabelais, Voltaire, Molière, Rousseau, Béranger, Zola a.o. With English equivalents and synonyms. London, Privately printed for subscribers only, 1896. Contemp. rebound in halfcl. Impressive collection of sexual (literary) slang through the ages. All 8vo, w. bookplates and in good condition. (total 3)

approx. 240 unnumb. p. and some loosely inserted contributions, almost all in pen but a few in pencil, in 2 clothbound board notebooks w. owner's entries "Sara Wijnberg Oosterpark 45 Amsterdam", respectively "Sara Wijnberg Januari 1931" on first free endpapers, folio.W. a loosely inserted contribution on envelopes/ business writing paper with her address Oosterpark 45 in Amsterdam, and printed advertorial line: "Reeds een groot aantal ernstige gevallen van Doofheid en Ooorlijden [sic] vond bij mij blijvende geneezing". Also loosely inserted are a manuscript card and a letter addressed (both unsent and displaying great uncertainty) to "Beste Cees" and dated 26/ 28 December 1933, and some other letters, contributions, newspaper clippings. Sara Wijnberg is mentioned on the website 'Joods Amsterdam' as known from an newspaper advert in which she offers her services as a specialist in ear-related problems (1931). The diary shows that she is a pious protestant, the reformed "Elthetokerk" is mentioned regulary). The very nice and personal diary starts with annotations concerning a certain "Jr.", with whom she makes music, together with others. "Ik heb den heelen nacht van Jr. gedroomd. Steeds werd ik weer wakker en als ik dan weer insliep, verscheen hij weer." (7 April 1930). They are both members of a musical group that performs at so-called "catechisatie-avonden". Sara Wijnberg displays a great uncertainty towards this Jr., very explicit jealousy towards other women and incredible calculative behaviour in company. She confides only in her friend Lea. After a strange confrontation (13 April 1930): "Lea troostte me al: "Er komt misschien nog iets goeds van. Nu merkt hij misschien, dat je een meisje bent." "Ja één van tweeën: of hij denkt: stik! of hij zal me gaan waardeeren (om het zacht uit te drukken)." "Maandag 14 April. (...) Den heelen dag zeg ik tegen mijzelf "en vandaag is hij jarig." Ja vandaag is Jr. 18 jaar. Ik kan hem niet gelukwenschen, maar wel bidden." "Donderdag 17 April (...). Ik stel mijzelf tot plicht: Hooren, zien en zwijgen. Nu voel ik wel hoe moeilijk het is je tong te bedwingen. Maar ik heb mijn dagboek en dat is geduldig en liefdevol. Morgen een heelen dag werken. Het is al elf uur en ik ben moe, moe van de onzekerheid." "Maandag 16 Juni Avond. Lea dwingt me te schrijven n.l. dat heel bijzondere: we hebben lichte kousen aan! Dat beteekent voor onze familie heel veel, Onze zwarte onderdeelen gaven een cachet aan degelijkheid aan alle oorden waar we verscheenen. Nu zijn we de wereld gelijkvormig geworden." "Maandag 18 Augustus, avond (...). Als ik een vergelijk tusschen Kees of Jr. dan moet ik erkennen, Kees is hoffelijk, zelfs lief, maar voor Jr. zou ik iets overhebben. b.v. (zoo stel ik mij voor) wanneer Kees eens blind zou worden of aan iets anders onvolledig mocht worden, zou hij voor mij geen aantrekkingskracht meer hebben, daarentegen als Jr. ooit zoiets zou overkomen, geloof ik, dat ik hem hetzelfde hart zou toedragen, hem met dezelfde gezindheid van nu zou bedenken."

der nalatenschap van den WelEdelgeboren Heer Jan Jacob Blussé, gewoond hebbende en overleden te Dordrecht den 30 Januari 1893. dat 26 april 1893." Notarial manuscript for the use and benefit of Blussé's widow Helena Johanna Vriesendorp (1838-1907) and their 6 children, (86) p., with occas. blind tax stamps and at the end "Uitgegeven voor afschrift [signed:] J. Jongkindt, notaris" and with his stamp (Dordrecht).Includes an interesting large list of the household effects in order of the rooms they were in, each with individual valuation (among them "Een schilderij van Ludolf Bakhuyzen op vier honderd gulden"). The list ends with: "Geteekend A. Mak", apparently the valuations were done by him. The manuscript also comprises an extensive list of stocks owned by the family. The house is indicated in the manuscript as "het huis genummerd 3, staande te Dordrecht aan het Blauwpoortsplein, alwaar genoemde heer Jan Jacob Blussé in leven Notaris gewoond heeft en is overleden (...)". Old photographs of the exterior and interior of the house can be found online. The Dordrecht Blussé family is best known for their activities as booksellers and publishers in the 18th and early 19th centuries. See also lot 920 in this auction, a book that is not individually listed in this manuscript. But "In de kamer van Mijnheer" two bookcases with "eenige diverse boekwerken" are listed.

Ca. 1930-1935. Various sizes. Photos of a.o.: teaching of the Open Air School in London for the prevention of and to combat the rise of tuberculosis; teaching of deaf and blind children; and many other subjects. W. descriptions and copyright stamps on verso of Fox, Keystone and Fotobureau Holland. (total 30)

beginnende mette opdrachte der selver landen, gedaen by Keyser Karel de V aen zijnen zoon Koninck Philippus van Spangien, tot de droevige doot van zijn Excell. Willem Prince van Orangien. Leiden/Amst., Govert Basson/Michiel Colijn, 1621-(1630). 5 parts in 6 vols. Folio. 3 vols. with engr. title-p., title vol. 4 with large vignette, full-p. map, 150 half-p. engr., 22 portraits of which 2 are full-p., 2 woodcuts in the text, uniform blind-tooled vellum, ribbed spines with titles and vol. nos. in ink.Vol. 3, 4 and 5 with contemp. owner's mark in ink, stamps on front endpapers and a few half titles. Incomplete set, 14 fol. w. engr. and portraits cut out, a few w. inner margin cut through surrounding lvs., occas. incorrect pagination, a few engr. views pasted over the orig, full-p. portrait of the author has loose leaf w. text pasted on recto of leaf, some waterst., bindings sl. worn/discol. (total 6)

Illustrations de Henri Georget. Paris, Mercure de France, 1914. 79,(1) p. 4to. No. 55 of 300 numb. copies, 1 of 250 copies on vélin, finely bound in full tooled brown leather by Kieffer (label on endpaper) w. orig. wr., t.e.g., col. ills. by Georget.Front board reset, otherwise a good, untrimmed copy. (2) Paul Fort. Pontoise ou La folle journée. Orné d'illustrations de E. Legrand. Paris, R. Kieffer, 1920. (4),55,(1) p. 4to. No. 461 of 550 numb. copies, 1 of 500 copies on Arches, finely bound in full blind tooled green leather by Kieffer (label on endpaper) w. orig. wr., t.e.g., w. col. ills. by Legrand. Binding discol., top cover loose. (total 2)

12 BOTTLES GINProcera 1881 (50cl); Blind Tiger Imperial Secrets (50cl) and Piper Cupera (50cl); Maredsous Valeo (50cl), Aequatis (50cl) and Invictus (50cl); Greyson's London dry; Tesco London Dry; Finsbury London Dry Single Batch; Co-op Special London Dry; Broken Bones London Dry (50cl); Copper Head Black Batch (50cl)

Two antiquarian engravings one by Henrietta Rae, 'Apollo and Daphne', Arlington Proof blind stamp lower left corner, 56cm x 66cm; the other entitled 'Innocence', in oval aperture, 42cm x 35.5cm (2)Extensive foxing and some marks overall to both mount and pictures, scuffs, marks and general light wear to frames as expected

An antique camel back two seater settee with scrolling arms and blind fret carved decoration, 150cm wide x 64cm deep x 50cm high at the seat, 91cm high at the backMinor marks, dents, and scratches overall due to use. Upholstered in leather.

THREE BOXES OF ASSORTED SUNDRIES, to include a boxed set of Prinzsound Pro 5AA headphones, a pair of Chinon binoculars, a collection of 1990s martial arts magazines, an M.A.R. International punch/kick ball, a boxed Ultra Vac car vacuum, a BCE snooker cue, a boxed aluminium Venetian blind, a D.A.M Seaspray Boat Pier Combo fishing rod, an Alba DVD and video player, a York music centre (turntable, tape, radio), a Hitachi VM-E340E 8mm video camera/recorder, etc (3 boxes + loose)

Mid-18th century chain driven 30hr longcase clock with a brass dial engraved Thomas Kefford, Royston (Herts), broad flat-topped hood with dog-tooth moulding and blind fret, square hood door flanked by two reeded pillars with brass capitals, with a long trunk, round topped conforming trunk door and quarter columns to the sides, raised on a square plinth with applied shaped skirting, 12� brass dial with cast spandrels, chapter ring, roman numerals, five-minute Arabic's minute track and quarter hour track, matted dial centre with engraved square date aperture and calendar disc behind, striking the hours on a domed cast bell. With weight, no pendulum.Thomas Kefford is recorded as working �at the dial in Fore Street Royston, (b.1686) working c1710-1770, when succeeded by Samuel Coxhall�.Dimensions: Height: 213cm  Length/Width: 47cm  Depth/Diameter: 23cm

30-hour 18th century oak cased longcase clock by Jeremiah Standring of Bolton, (Lancs) c 1770, with a swan's neck pediment on a flat top with a blind frieze beneath, square brass dial flanked by reeded pilasters and wooden capitals, long trunk door with a concave wavy top, trunk with reeded quarter columns on a rectangular plinth on a decorative skirting, dial with a formerly silvered chapter ring and engraved dial centre, with Roman numerals, five minute Arabic's, square date aperture, circular boss engraved with the makers name, cast spandrels and �dummy� winding arbors, dial pinned directly to a rope driven countwheel striking movement, striking the hours on a bell. With weight and pendulum. 30-hour clocks with �dummy� winding arbors are more commonly found on later 19th century painted dial longcase clocks, this is an earlier example by a recorded Lancashire clock maker born in Rochdale in 1712, dying in Bolton 1782. Dimensions: Height: 225cm  Length/Width: 48cm  Depth/Diameter: 23cm

Edwardian mahogany display cabinet, arched top and enclosed by two glazed door, lined interior fitted with two shelves, on square supports with blind fretwork decoration joined by shaped undertierDimensions: Height: 182cm  Length/Width: 123cm  Depth/Diameter: 38cm

A George III Mahogany Tallboy, the upper part with moulded dental cornice and blind fret carved frieze, fitted two short and three long graduated drawers with blind fret carved cant corners, the base with slide and fitted three long drawers on bracket feet, 43ins wide x 22.25ins deep x 74.5ins high

THE ROLLING STONES - NO 2 LP 1st PRESSING DECCA LK 4661 MONO -1A/-1A UNBOXED DECCA LABEL, BLIND MAN TEXT VINYL - VG+

YAMA AND JIRO'S WAVE - GIRL TALK LP, THREE BLIND MICE TBM2559, JAPANESE RELEASE, RARE JAZZ, VINYL VG-EX, NO OBE OR BOOKLET

10 X 12" AND 1 X 10" ROCK SINGLES AND EPS: THE HONEY DRIPPERS VOL 1 10" EP, 2 X AC/DC 12" SINGLE, BIG GUN AND DIRTY DEEDS (LIVE) WITH LTD EDITION SLEEVE, 4 X BON JOVI 12"S, BLUE VINYL LET IT ROCK EP. BLUE VINYL THE BOYS ARE BACK IN TOWN. YELLOW VINYL NEVER SAY GOODBYE AND BLAZE OF GLORY, BRYAN ADAMS LTD EDITION NUMBERED. THOUGHT I'D DIED AND GONE TO HEAVEN, BLIND MELON LTD EDITION NUMBERED PIC DISC, CHANGE, DEEP PURPLE - PERFECT STRANGERS AND THE WHO SUBSTITUTE.

A George III Mahogany Bureau Bookcase, circa 1770, the moulded, dentil and blind fret-carved frieze above moulded cupboard doors enclosing adjustable shelves, the crossbanded fall enclosing a good quality fitted interior of pigeon holes and small drawers all around a central cupboard door, the base with two short over three long oak-lined drawers, on moulded bracket feet113cm by 59cm by 202cmGood quality timber various faults throughout with section of moulding missing on left hand panel below the blindfret carved frieze further faults throughout with the cornice cupboard doors rather scuffed and scratched the fall some minor splitting but section of moulding missing on corner as photographed drawer fronts previous handle marks visible with later brasses drawers are oak lined faults to cockbeading natural? splits in the base end panelsMiddle drawer/front stuckFront bracket foot section missing possibly in stuck drawer?

BOOKS ON CHINESE JADE INCLUDING AUCTION CATALOGUES. GOETTE, Jon. Jade Lore. New York: John Day with Reynal & Hitchcock , ND [1936]. First Edition. Tall 8vo. (27cm x 20cm). xi, 321, including bibliography to rear. Covers slightly marked, wear to tips, spine ends, intermittent foxing to pages. Rear hinge weak, with developing crack to gutter. Otherwise a clean copy, no marks or scribbles, pages secure, of a desired title. Good. NOTT, Stanley Charles. Chinese Jade Throughout the Ages A Review of its Characteristics, Decoration, Folklore, and Symbolism. Tokyo and Vermont: Charles E. Tuttle, 1970. Seventh printing. ISBN: 0804801002. Sm 4to. Jade green pictorial endpapers. Previous owner's name to verso of flyleaf. xx, 193. 39 colour plates, 110 b&w plates and 73 line drawings. A classic account of jade, first issued by Batsford in 1932, and still authoritative. A very sound copy, bright and clean, in like, well-kept dust jacket housed in transparent protective sleeve. Near fine in very good dust-jacket. LIN, Shwu-shin. The Jade-Carving Art in The Ch'ing Dynasty. Taipei: Kuang-nan Huang National Museum of History, 1996. Third Edition. ISBN: 9789570078008. 4to. (30cm). Pictorial boards, in the slipcase. pp. 191. Features the acclaimed jade collection of Taiwanese connoisseur, Yeh Bor-wen, all fully illustrated in colour. Exhibited at the Bowers Museum of Cultural Art. Text in English and Chinese. Fine in fine slipcase. Bonhams, Hong Kong. Strength and Diligence: A Magnificent Large Green Jade Water Buffalo Lot No. 16, 27 November 2014. Hong Kong: Bonhams, 2014. 4to. pp. Blind embossed pale green linen over boards, blocked black titles. pp. 21 + terms and conditions. Colour illustrations. A separately produced catalogue for this lot of a monumental seated jade water buffalo, at the 27 Nov, 2014 sale. As new. CHRISTIE'S. A Private English Collection of White Jade Carvings 12 May, 2009 London London: Christie's, 2009. 4to. pp. 59. 18 Lots. Prices realised enclosed. Most with provenance of William Clayton invoice slips. Including a pair of finely carved white jade quail boxes and covers; a well carved white jade buffalo and boy group, and a mughal-style jewel-encrusted white jade scent bottle. Fine. SOTHEBY'S. Fine Chinese Jade Carvings and Jade Jewellery Tues, 19 November, 1985 Hong Kong: Sotheby's, 1985. First Edition. (27cm). 182 lots. With original price list laid down. Creased, bumped to front lower corner of covers and pages. An otherwise clean, firm copy. Very good. (6)

PEMBROKESHIRE BANK £5 BANKNOTE, no. 1509, signed William Walters, with blind stamp; and an 'A. Eynon Grocery Store' of Tenby receipt for Mrs Griffiths, dated Sept. 22 1894 filled in with details of the order totally 5/9-, both famed (2)

(1933 London - 2016 Paris)Sitzendes Mädchen mit Kaffeetasse in einem InterieurSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 24 cm x 16 cm; Blatt 30,2 cm x 23,8 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 19,3 cm x 29 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

Ovaler, von plastischen Blüten und Blättern belegter Sockel. Höfische Rokoko-Gesellschaft in edler Kleidung mit Spitzenputz beim "Blinde-Kuh"-Spiel. Polychrome Malerei mit reicher Goldstaffage. Best.; Manufakturmarke. H. 23 cm. 44 cm x 29 cm. A large Thuringian porcelain figure group of a courtly society playing the "Blind man's buff". Chipped. Manufacturer's mark.Thüringen. Aelteste Volkstedter Porzellanmanufaktur. Um 1915 - 1934.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie/Papier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Minim. stockfleckig. Darstellung 24,2 cm x 16 cm; Blatt 35 cm x 24,5 cm.Black and white photograph on paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist. Minor foxing.

(1933 London - 2016 Paris)Ruhender weiblicher Akt auf einem LedersofaSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 20 cm x 29 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Stehender MädchenaktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 24 cm x 16 cm; Blatt 30,5 cm x 23,8 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Stehender weiblicher AktSchwarzweißfotografie/Papier. Verso sign. u. dat. (19)90. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 24,2 cm x 15,3 cm; Blatt 33,7 cm x 24,2 cm.Black and white photograph on paper. Signed and dated (19)90 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Aktfotografie eines jungen PaaresFarbfotografie/Kodak-Fotopapier. Auf dem Passepartout (Hinterlegkarton) sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". 20,2 cm x 29,7 cm; Passepartout 25 cm x 36 cm.Colour photograph on Kodak photographic paper. Signed and dated (19)94 on the mat (backing cardboard), blind stamp by the artist.

(1933 London - 2016 Paris)Zwei weibliche Akte im GartenSchwarzweißfotografie. Silbergelatineabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 24 cm x 17 cm; Blatt 30,2 cm x 23,8 cm.Lit./Abb.: "Vier Meister der erotischen Fotografie. Sam Haskins - David Hamilton - Francis Giacobetti - Kishin Shinoyama. Dokumentation einer Fotoausstellung", Texte von Michael Naumann et. al., Bertelsmann-Verlag, Gütersloh 1970.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktFarbfotografie/Fujichrome-Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 20 cm x 30 cm; Blatt 23,7 cm x 34 cm.Colour photograph on Fujichrome photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 21,9 cm x 28,7 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Sitzender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Auf dem Original-Passepartout sign. u. dat. (19)92. Miit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". 30,2 cm x 23,6 cm; Passepartout 34,2 cm x 25,5 cm.Gelatin silver print on photographic paper. Signed and dated (19)92 on the original mat, blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 19,3 cm x 29 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Zwei liegende weibliche AkteSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 19,3 cm x 29 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Auf dem Original-Passepartout sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". 12,5 cm x 16 cm; Passepartout 23 cm x 29,8 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the original mat, blind stamp by the artist.

(1933 London - 2016 Paris)Stehender MädchenaktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 23,8 cm x 15,2 cm; Blatt 30,2 cm x 23,8 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 19,2 cm x 28,2 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.

Miniature books.- The Famous History of Valentine and Orson, pencil inscription to pastedown, 1801; The History of the Seven Champions of Christendom, 1801; A Collection of Tales of the Fairies, 1801; The Fables of Pilpay, an Ancient Indian Philosopher, 1801, "Lilliputian Folio Editions", each 35 x 28mm., light spotting, original coloured boards with blind stamp decoration to covers, lightly soiled, reprinted for R. Snagg; and 6 others, small books (10)

Gillray (James) The Bear and his Leader, etching and aquatint with original hand-colouring, on wove paper, sheet 245 x 345 mm (9 3/4 x 13 1/2 in), tipped onto card support, trimmed to or just within the platemark, small repaired splits to upper centre, minor spotting, unframed, published by Hannah Humphrey, 1806Literature:BM Satires 10566⁂ Satire on the 'Broad Bottom' coalition Ministry, with Fox as a muzzled dancing bear led by Grenville, accompanied by Sidmouth as a blind violinist and the chancellor, Lord Herny Petty, as a dancing monkey.

NO RESERVE Levant.- Belon (Pierre) Plurimarum singularium & memorabilium rerum in Graecia, Asia, Aegypto, Judaea, Arabia..., first edition in Latin, collation: *8, A-Z8, a-h8, numerous woodcut illustrations, extra-illustrated with contemporary pen-and-ink drawing captioned in French of 2-horned animal resembling an oryx ("envoye d'Etiopie au Roy") and 2 folding engraved views of Mt. Sinai and Jerusalem, Antwerp, Christopher Plantin, 1599; bound with De neglecta Stirpium Cultura, first edition in Latin, collation: A-E8 F4, Antwerp, Christopher Plantin, 1589, each work with printer's device to title, ink annotations and corrections, some light foxing and soiling, contemporary blind-stamped vellum, soiled, later paper spine label, lacking ties, 8vo⁂ Belon (1517-64) was one of the first explorer-naturalists and these two works, which originally appeared in French in 1553 and 1558 respectively, give an account of his travels in the Levant, with illustrations of the peoples and fauna and flora observed, plus his treatise on the cultivation of exotic plants and trees.Provenance: Bibliotheca Hamburgensi Wolfiana (book label)Literature: Adams B566 & 556; cf. Blackmer 115, French edition; Nissen ZBI 305, first title only.

South East Asia.- St. John (James Augustus) Views in the Eastern Archipelago, Borneo, Sarawak, Labuan, first edition in book form, tinted lithographed pictorial title, 24 tinted lithographed plates, of which 3 folding, paper guards, some spotting and foxing, including to plates, cracking to gutter with a few plates and text ff. towards the beginning loose, original green cloth, blind-stamped and gilt, a few minor instances of soiling to covers, spine lightly sunned, bumping to spine ends and small tear towards head, [c.f. Abbey, Travel 548 (in parts)], folio, Thomas McLean, 1847.⁂ Scarce. Originally published in parts (see Abbey), the work lauds British influence and expansion within the Eastern Archipelago, in particular the activities of Sir James Brooke in Singapore (which is depicted in one of the plates), Borneo, Labuan and Sarawak, where he became the first governor in 1841. The tinted lithograph views are by J.W. Giles, after drawings made from life by Captain Drinkwater Bethune, Commander L.G. Heath and others.

Voyages.- Cook (James) A Voyage to the Pacific Ocean, 3 text vol. only, first edition, 24 engraved plates and maps, some folding, double-page table, some offsetting, vol.1 marginal repair to one leaf, contemporary mottled calf, gilt, rebacked, worn, vol.3 with upper different (blind-stamped calf) cover, 4to, Printed by W. and A. Strahan, 1784.⁂ First edition of the official account of Cook's third and final voyage. The third volume was written by Capt. James King. Without the accompanying folio atlas.

*** Please note, the description of this lot has changed ***Psalter, Use of Liège, in Latin, illuminated manuscript on vellum, 117 leaves (plus 2 modern paper endleaves at front and back), wanting the Beatus initial leaf from opening of main text, another single leaf from the fifth quire and some quires from the end: now ending abruptly midway through the Litany, else complete, collation: i6, ii-iv8, v7 (that originally the second leaf in quire removed), vi-xv8, text in single column of 23 lines of a good early gothic bookhand, one-line initials in red or blue, 2-line initials in gold on blue and pink grounds heightened with white penwork, twelve calendar illustrations of the occupations of the months (each of a human figure in burnished gold robes), ten large historiated initials in blue or pink with central scenes on burnished gold grounds, the whole within a gold frame and with coloured foliate extensions on thick gold grounds extending into the borders on up to three sides, a few leaves with ink flaking away and smudged, a few smudges to initials, leaves at each end slightly cockled, a few spots and stains, else in good condition, 169 x 120mm., bound by Budden of Cambridge in 19th-century red morocco over bevelled boards, each board tooled in rows of foliate designs and spine with six compartments with a single flowerbud, gilt edge and gauffered, 8vo, Southern Netherlands (Liège), [c.1270].⁂  The sequence of gold-clad figures in the Calendar and glittering historiated initials here set this apart as one of the most visually arresting Psalters to be produced in Liège in the 13th century. The atelier that produced this manuscript has been identified by Judith Oliver, and named after its principal production: a Psalter now Paris, BnF., Latin 1077. The artists who collaborated in this atelier appear to have been responsible for the importing of the French Gothic style into the Meuse valley. The historiated initials here are especially influenced by the French Gothic style, with tall and elegant figures with delicate expressive faces framed by thick hair, highly placed mouths often in smiles, and clothing edged with a thin white line. The so-called 'third hand' of the Paris Psalter was responsible for the figure painting in the present volume, and in addition notable links exist between the Calendar miniatures here and those in another Psalter from the same atelier: Princeton Art Museum, MS. 57-189, with single figures also in burnished gold robes standing on wavy lines. However, the quality of the work here is finer than that of the Princeton manuscript.The Calendar miniatures comprise: (1) fol. 1r, feasting beside the fire; (2) fol. 1v, pruning a tree; (3) fol. 2r, digging; (4) fol. 2v, a standing youth; (5) fol. 3r, youth by a tree playing a viol; (6) fol. 3v, man with a basket harvesting; (7) fol. 4r, cutting hay with a scythe; (8) fol. 4v, harvesting wheat with a sickle; (9) fol. 5r, treading grapes in a tub; (10) fol. 5v, sowing seeds; (11) fol. 12r, carrying a hog; (12) fol. 6v, slaughtering an ox. The historiated initials comprise: (i) fol. 7r, David harping; (ii) fol. 22v, Christ healing a blind man; (iii) fol. 40v, an execution; (iv), fol. 41r, King David and the fool; (v) fol. 51r, Christ above Jonah and the whale; (vi) fol. 63v, David playing the bells; (vii) fol. 74v, two monks singing; (viii) King David in prayer; (ix) fol. Christ in majesty; (x) fol. 111r, Doubting Thomas.Comparative manuscripts are published as J.H. Oliver, Gothic manuscript illumination in the diocese of Liège, 1988, pp. 148-58, ill. 12, 52, 105 and 110.Provenance: (1) written and illuminated for a wealthy patron in the vicinity of Liège: the Calendar has SS. Domitian, Servatius and Remaclus, bishops of Tongres and Maastricht in the diocese of Liège, as well as Theodardus, Hubert and Lambert (this last saint with three feasts noted), all bishops of Liège; (2) John Gilchrist Clark (1830-82) of Speddoch, Dumfries (and with a note on this manuscript with information from Francis Wormald on Speddoch notepaper included in volume), who married a daughter of William Henry Fox Talbot, the early photographer (and an albumen print of Gilchrist Clark by Camille Silvy, dated 1862, survives in the National Portrait Gallery): his ex libris dated 1851 on first modern endleaf. He also owned a French Book of Hours last appearing on the market in Swann Galleries' sale on 7 March 2019, lot 167; (3) Christie's, 29 November 2000, lot 8, evidently consigned by Gilchrist Clark's descendants, where it sold for £80,750.

Illuminated manuscript.- Substantial fragment of a Book of Hours, perhaps for Franciscan Use, in Latin and French, illuminated manuscript on vellum, 53 leaves only, wanting leaves throughout (but apparently in present state in late 19th century), single column of 17 lines of a good late gothic bookhand, capitals touched in yellow, rubrics in red, line-fillers in blue and burgundy heightened with white penwork and drops of liquid gold, one- and 2-line initials in gold on similarly coloured grounds, some of these with single-line foliage sprays in adjacent borders terminating in coloured leaves, flowerbuds and gold bezants, larger initials in same colours, enclosing scrolling foliage on gold grounds, leaves with large initials with decorated floral borders on three sides, small spots, stains and small smudges, some leaves slightly cockled in places, else good condition, 161 x 121mm., bound in 19th-century brown calf, blind-tooled with floral sprays at corners and double fillet, floral tools on spine with gilt title: "MISSAL", rubbed, corners bumped and joints with small splits, marbled endleaves, small 4to, North Eastern France or French Flanders, [c.1460].⁂ This is the first appearance of this volume on the market in nearly a century and a half. This volume opens with Vespers and Compline from the Hours of the Virgin, with parts of the Seven Penitential Psalms and a Litany, Hours of the Holy Spirit and Office of the Dead following. It ends with the Doulce dame de misericorde prayers in French, ending abruptly in the fifteenth and last prayer. Provenance: (1) Written and illuminated for a patron in north-eastern France or French Flanders: the litany includes SS. Audoin and Mellonius (4th- and 7th-century bishops of Rouen), as well as SS. Francis and Anthony of Padua, an early Franciscan preacher; (2) Charles H.L. Woodd (1821-93) of Rosslyn House in Hampstead, wine merchant, evangelical and close friend of John Ruskin: his ex libris on front endleaf dated November 1874; and by descent to present owner.

Illuminated manuscript.- Gradual, in Latin, decorated manuscript on vellum, 88 leaves only, wanting 4 leaves from first gathering and approximately another 4 gatherings from the opening of the volume, contemporary foliation: 1-2, 7-8, 42-124 (with occasional errors in this last part), collation: i4, ii-xi8, xii4, six lines of text in a large Iberian liturgical hand, with music on a 4-line red stave (rastrum: 43mm.), rubrics and running titles in red, initials in elaborate penwork strokes or simple red designs, one large red initial with acanthus leaves overlaid in white penwork on a blank vellum stylised acanthus leaf ground on green hatched in black penstrokes, parchment cockled in places, spots and stains, bottom section cut away from last leaf of main text, some pages with traces of glue and paper from sections of newer music once overlaid on paper strips, else good condition, 555 x 370mm., in remains of early blind-tooled binding over heavy wooden boards, tooled with repeating designs of parallel circles, and front board with remains of gilt inscription at its head, the leather here torn and partly repaired, front board once split and whole binding most probably shortened to accommodate reduced volume of leaves and leather extensively replaced in several places, two metal clasps, large folio, Spain, [16th century].⁂ This is a substantial remnant of a Gradual for the entire ecclesiastical year, opening with part of the offices for Christmas, and ending with those for Advent. To this has been added an index and further offices by contemporary hands.

Troy.- Early English provenance.- Columna (Guido de) Historia destructionis Troiae, collation: [a-i10 k8 l10 m-o8], [132] ff., the first and last blank, 34 lines (variable), Gothic type, opening initial in red and blue, the others in red, chapter headings, paragraph-marks and foliation in red, occasional early ink marginalia and notes in different hands (see note below), initial blank detaching, f.33 small section of upper corner torn away, affecting one number of supplied foliation, ff. 51 & 61 tear to lower inner corner, mostly marginal, but on f.51 just touching 1 letter recto and verso (without loss), f.94 short marginal tear at foot, a few ff. working loose, some spotting and staining, remains of early 17th century vellum document used in binding (mentioning Southwark), 17th century English calf over pasteboards, spine in compartments, covers with triple blind-ruled borders, head of spine and corners worn, rubbed and scuffed, housed in a modern dark brown morocco-backed cloth drop-back box, gilt, folio (284 x 196mm.), [The Netherlands,?Utrecht], [Printer of Alexander Magnus, ?Gerardus de Leempt], [c.1477-1479].⁂ A very good wide-margined copy of the editio princeps of this history of Troy by the 13th century Sicilian judge Guido de Columna. Here with evidence of early English readership. Only two other copies (one of this edition) are recorded as being in England before 1557. Recorded holdings show no copies in an Italian institution, and locate only one in the United States (Walters, Baltimore). Furthermore, we can trace no other copy at auction. Around 1271 Matteo della Porta, the Archbishop of Salerno had suggested to the author that he write a work in Latin on the fall of Troy. The first book was written within the lifetime of the archbishop, but without his encouragement the final 34 books were not written until 1287, when all were completed within three months. The work is based on the mid-twelfth century Roman de Troie of Benoît de Saint-Maure. The first book goes back to Peleus, father of Achilles, and the search for the Golden Fleece, while the final book deals with the death of Ulysses. It enjoyed huge success in its time.It is one of only four books that are attributed to the so-called 'Printer of the Historia Alexandri Magni'. It has been suggested that the printer was in fact Gerardus de Leempt. The suggested timeframe of printing comes from the watermarks present, which are found in books printed 1477-1479 (see Watermarks in Incunabula printed in the Low Countries, available through the ISTC entry). It is feasible that the 'historia troiana' written on the first and final blank in red crayon was done so at the atelier of the printer. Provenance: 'Wyllyam Algar' and 'Tho secund[?i]' (?Thomas Twine) (16th century ink inscriptions to recto of initial blank); 'Nulla sors longa, dolor est voluptas / invicem cedunt; brevior voluptas', a quotation from Seneca's Thyestes, ll.596-597 (ink inscription of c.1600 to recto of front blank); f.131 ink accounting notes in an English 16th century hand and a few lines from book III of Chaucer's Book of Fame, ll. 1564-1572; The Macclesfield copy (engraved North Library armorial bookplate with press mark 116. F. 12, and armorial blind-stamp to upper margin of first 3 ff.). References: BMC IX, 108; Goff C-768; HC 5505; GW 7224; Bod-Inc C-392; BSB-Ink G-431; ISTC ic00768000.

Seneca (Lucius Annaeus) Tragoedia, collation: a-z8, &8, A-D8, woodcut decorative initials, initial spaces with guide-letters, D8 blank, a2r (opening of preface) richly decorated with initial in gilt and blue and an unidentified coat of arms at foot incorporating 2 red lions or leopards separated by a red oblique on a gilt ground, all within an ornate floral border in blue, red, green and gilt, [Florence], [Filippo Giunta], [July, 1513] bound with Euripides. Hecuba et Iphigenia in Aulide Euripidis tragoediae in Latinum tralatae [sic] Erasmo Roterodamo interprete..., collation: [1-4]8, a-i8, initial spaces with guide-letters, woodcut printer's device to verso of final f., [Florence], [Heirs of Filippo Giunta], [December, 1518], together 2 works in 1 vol., some staining and foxing, contemporary blind-stamped panelled calf, lacking ties, new head-caps, rubbed and scuffed, 8vo (165 x 101mm.)⁂ Two scarce Juntine editions of the classics, the second of which with Latin translations by Erasmus. Literature: I: Camerini Annali, 42; Pettas 53; EDIT 16 CNCE 28726 II: Adams E1047; Camerini Annali, 111; Pettas 122; EDIT 16 CNCE 18375.

Venetian binding.- A dated morocco binding by the 'Arabesque Outline Tool Binder', chestnut morocco over pasteboards, central panels richly gilt-tooled in the arabesque style, enclosing the name 'Laurentio Maripetr' on upper cover and date 'MDLIII' on lower cover, all within various gilt and blind-ruled decorative or filet borders, two sets of which with floral corner-pieces, spine in compartments and with a background of intersecting blind-rules surmounted by a single gilt central floral motif at point of intersection, double gilt filet borders at spine ends, lacking ties, spine with chip at foot and several wormholes, some marking, rubbed, 234 x 174mm., [Venice], 1563.⁂ A handsome example of a binding by the 'Arabesque Outline Tool Binder', who was active in the 1560s and into the early 1570s. There are around 30 known works from this bindery. Provenance: Lorenzo Malipiero, who is recorded as Podestà of Conegliano in 1564 (name to upper cover). Literature: I. Schunke, 'Venezianische Renaissance-Einbände. Ihre Entwicklung und ihre Werkstätten', in Studi di bibliografia e di storia in onore di Tammaro de Marinis, Verona, 1964, vol. 4, pp. 123-200; A. Hobson & P. Culot, Italian and French 16th-century bookbindings, Brussels 1991, p.47; L. Nuvoloni, 'Commissioni dogali: Venetian bookbindings in the British Library', in 'For the love of binding', Studies in bookbinding history presented to Mirjam Foot, London, 2000, pp. 81-109.

Fables.- Justinus van Nassau's copy.- Aesop. Fabulae, elegantisimis eiconibus veras animalium species ad vivum adumbrantes, collation: A-Q⁸ R⁴, lacking 2 ff. of 'Praefatio' (signed A and unsigned) inserted between title and A2, title with woodcut printer's device, woodcut illustrations by Virgil Solis, very light spotting to first and last few leaves, later blind-stamped parchment boards, Dutch floral endpapers, lightly rubbed and toned, an excellent crisp copy, 8vo (155 x 105mm.), Frankfurt, Georg Corvinus, Sigmund Feyerabend & Heirs of Weigand Han, 1566.Provenance: 'Sum Justiniai L Naßau 1578'. Justinus van Nassau (1559-1631), illegitimate son of William the Silent and Dutch army commander, who unsuccessfully defended Breda against the Spanish (ink inscriptions to front free endpaper, title ?in a different hand, two other inscriptions referring to him on rear free endpapers, in later hands); 'Antoine ?Luyins 1576' (ink inscription to rear free endpaper); 'P. Burmanni', possibly Pieter Burmann the Dutch classical scholar, or his nephew of the same name (ink inscriptions to front free endpaper and title); 'J. P. Heseltine', painter and art collector (bookplate to front free endpaper). Literature: VD 16 A 521.

Astronomy.- [Edwards (John)] Cometomantia. A Discourse of Comets, only edition, lacking initial blank, title browned and laid down, lower right corner of title defective with loss to a few words, mostly of imprint, blind stamp of Unitarian Home Missionary College, N1 with tear to inner margin, affecting some text, U4 with small hole to a couple of letters, some light spotting and finger-soiling, front free endpaper detached, later vellum, rebacked, leather label to spine, 8vo, [Wing E199], Printed for Brab. Aylmer, [1684].⁂ Rare in commerce, we can trace one copy at auction since 1946. The book treats both the physics and meaning of comets, discussing (as the title page indicates) their "substance, place, time, magnitude, motion, number, colour, figure, kinds, names, and more especially their prognosticks, significations and presages."