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Artist: Andy Warhol (American, 1928 - 1987). Title: "Baron Philippe Rothschild". Medium: Color offset lithograph with gold and blind embossing. Date: Composed c1975. Dimensions: Overall size: 6 x 4 in. (152 x 102 mm).Lot Note(s): Signed in black marker, center left. Edition unknown, presumed very small. Very light cream wove paper with gold embossing and letterpress. Full margins. Fine impression. Very good to fine condition with crisp corners; the label has never been affixed to a bottle. Literature/catalogue raisonne: Paul Marechal, “Andy Warhol Ephemera…Catalogue Raisonne, 1950-1987.” Lyon, France: Les amis du Musee de l’Imprimerie, 2018, Section 14, no.53. Comment(s): A limited number of these labels were printed exclusively for distribution to friends, suppliers, etc., and were not intended to be used on the bottle. Chateau Mouton Rothschild is a wine estate located in the village of Pauillac in the Medoc, 30 miles northwest of the city of Bordeaux, France. It produces one of the world's greatest clarets. In 1946 the vineyard began the tradition of having each year's label designed by one of the world's great artists or sculptors of the day (Picasso, Chagall, Miro, etc.). For the 1975 vintage label, Warhol juxtaposes two different images of Baron Philippe Rothschild. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28401-1-400]

Porzellangemälde Albert und Nicolaes Rubens, KPM Berlin, 2. H. 19. Jh.Hochfein gemalte Kopie nach Peter Paul Rubens auf Porzellanplatte, rücks. Blindprägemarke: Zeptermarke mit Zusatz "KPM" und Buchstabe "H". 38 x 31 cm. Rahmen Mitte 19. Jh. ohne Rückwand. Vgl. Bergmann, 1350 Gemälde auf Porzellanplatten, Möhrendorf 2021, Kat. No. 146, hier: abweichende Maße, Maler: Emil Ens. Porcelain painting: Albert and Nicolaes Rubens. Copy after Peter Paul Rubens. KPM Berlin, 2nd half of 19thc t. Blind stamp at reverse. 38 x 31 cm. Frame of the same time.

Säule, Bonn, F. A. Mehlem, E. 19. Jh./ um 1900Blumensäule, mgl. auch als Lampenfuß. Steingut, florales Kupferdruckdekor, in Hals-und Fußzone Reliefrocaillen und Muschelwerk. Balusterform. Reliefs blau bemalt. Deckplatte min. Haarriss und Glasurrisse. Blindprägemarke und Farbstempel. H. 49,5 cm, D. Platte 21 cm Ceramic column, creamware, copper print decoration: flowers. Possibly a base or lampfoot, minimal hairline crack at top. Blind stamp: Franz Anton Mehlem, Bonn. End of 19th ct. / 1900. H. 49,5 cm

Porzellangemälde Der Briefschreiber, KPM Berlin, 2. H. 19. Jh.Kopie nach Caspar Netscher, Gemäldegalerie Alte Meister Dresden. Hochfeine Malerei auf Porzellanplatte, Blindstempel Zeptermarke mit Zusatz "KPM" und Buchstabe "H". 25,3 x 19,3 cm. Im Rahmen der Zeit mit halbrundem Bildausschnitt gerahmt. Ra. 37 x 30,5 cm Vgl. Bergmann, 1350 Gemälde auf Porzellanplatten, Möhrendorf 2021, Kat. No. 77. Porcelain painting, man writing a letter, copy after Caspar Netscher. KPM Berlin, 2nd half of 19th ct. Blind stamp. 25,3 x 19,3 cm, frame of the same time. 37 x 30,5 cm

By & after Margaret Chapman, The Soda Set, signed in pencil to margin, blind stamp DHJ, 27 x 26.5cms, framed; hand coloured engraving of three butterflies, framed; etc (5)

London Underground 1962 Tube Stock DESTINATION BOX, a complete unit that would have been fitted inside the driver's cab, in this case of driving motor car 1534 whose number is on the back of the box. The unit contains a complete blind with all Central Line destinations (including Ongar!) and a working winding mechanism. In ex-use condition with clear plastic covering the display. [1 unit]

1979 London Country Bus Services DESTINATION BLIND for a Leyland Atlantean (coded 'KK', also fits Routemaster) from East Grinstead (EG) or Godstone (GD) garages dated 10/79. A complete, linen, blind made by King & Flack and in excellent, ex-use condition. [1]

1974 Crosville Motor Services DESTINATION BLIND with North Wales destinations. A linen blind, made by Norbury Brothers, probably incomplete at the lower end. Well used in places but very good in others. [1]

c1980s bus DESTINATION BLIND, though to be from Hulleys of Baslow. A complete blind in Tyvek material and in very good, ex-use condition. [1]

1960s Sheffield Corporation bus DESTINATION BLIND, thought to be from Townhead Road and Herries Road depôts. A complete, linen blind generally in very good, ex-use condition. [1]

London Underground C-Stock DESTINATION BLIND for the Circle Line, also including some District and Metropolitan destinations. A complete, plastic blind in very good, ex-use condition. [1]

London Underground 1962-Stock DESTINATION BLIND for the Central Line including the former section to Ongar. A complete, plastic blind in very good, ex-use condition. [1]

London Transport Metrobus DESTINATION BLIND, a KM blind (intermediate with route numbers) from FY (Finchley) garage dated 11.5.87. From the short period when Leaside District reverted to upper-case lettering for its blinds. A complete, linen, blind - LT-manufactured - in good, ex-use condition with some wear. [1]

c 1950s/60s Devon General DESTINATION BLIND from Exeter depôt, almost certainly from one of the company's AEC Regents. A complete, linen, blind in very good, ex-use condition. [1]

London Transport RT bus DESTINATION BLIND coded S (side or rear box) from J (Holloway) garage dated 18.9.61 with 1964 additions. The original panels are in upper case, the later additions in lower case. A complete, linen, blind, Aldenham-manufactured, and generally in very good, ex-use condition with a little wear on some panels. [1]

Pair of 1970s SELNEC/Greater Manchester PTE DESTINATION BLINDS, the first coded 33MI/2.74 and the smaller one AMV1/3.75. Both are complete blinds in good, well-used condition, the former, in a Tyvek-like material, has some edge-fraying in places, the latter is a linen blind. [2]

c1960s/70s Cardiff Corporation DESTINATION BLIND, almost certainly from one of their Leyland PD3s. A lengthy and complete, linen blind in very good, ex-use condition. [1]

1950s/60s Wolverhampton Corporation TROLLEYBUS DESTINATION BLIND. A complete, linen blind in very good, ex-use condition. [1]

c late-1950s Belfast Corporation TROLLEYBUS DESTINATION BLIND. A complete, linen blind in well-used condition but still reasonable to good. [1]

1964 (dated) Birmingham City Transport bus DESTINATION BLIND from Yardley Wood garage. A complete, linen blind in well-used condition but still reasonable to good. [1]

1970 (dated) Wigan Corporation bus DESTINATION BLIND. A complete, linen blind in very good, ex-use condition. [1]

c 1940s/50s Birmingham City Transport TRAM DESTINATION BLIND from Washwood Heath depôt. A complete, linen blind in good, ex-use condition. [1]

London Transport RT bus DESTINATION BLIND coded E (front ultimate) from NS (North Street, Romford) garage dated 9.12.76. Also fits Routemaster, equivalent to NN blind. Includes blue panels for the 174 Express. A complete, linen blind, Aldenham-manufactured, in very good, ex-use condition. [1]

London Country DESTINATION BLIND for a Leyland National bus/coach from RG (Reigate) or HE (High Wycombe) garages dated 6/75. A complete, linen blind, manufactured by King & Flack and in very good, ex-use condition. [1]

London Underground 1973-Stock DESTINATION BLIND for the Piccadilly Line. A complete blind in a plastic material and in very good, ex-use condition. [1]

London Transport trolleybuses etc RELICS including cab bell, interior blind, bell pushes, switch & horn panel, small control box, moquette pieces, rexine patches with class/overhaul dates (one is from RT 12), interior posters (as removed from vehicles) and more plus an Underground strap handle and enamel running number, 4 x BR (E) carriage maps/prints, small Aldershot & District interior plastic notice etc. [around 50 items]

BIEDERMEIER Fundus Badepuppen und Zubehör für das Puppenstuben-Badezimmer, 19. Jh. bestehend aus 15 Ganzkörper-Porzellan-Puppenstubenpuppen in versch. Größen: 8 x Miniatur, H ca. 4 cm, 4 x mittlere Größe, H ca. 6-7 cm, 3 x groß, H ca. 10-14 cm, (5 x Gliedmaßen gebrochen, 1x geklebt) sowie 5 Biedermeier-Brustblattköpfe in verschiedenen Größen, H 4-14 cm, tlw. ber., Altersspuren, dazu 1 sitzendes Biskuitpuppen- Kinderpaar (aneinander modelliert, hell u. dunkel, besch.) und Zubehör für das Puppenstuben-Badezimmer, wie 2 Badewannen, Waschgarnitur und Seifenschalen aus Porzellan, Bürsten, 2 Spiegel (1 x besch. u. blind), Fläschchen, Deckeldosen u. Flakons aus Glas, 3 x '4711-Kölnisch Wasser'-Fläschchen mit Inhalt und Flasche 'Lichtenheldts echter Lichtbalsam', uvm. Alters- und Gebrauchsspuren. Aus einer süddeutschen Privatsammlung.| BIEDERMEIER convolute of bathing dolls and accessories for the dollhouse bathroom, 19th century, consisting of 15 full-body porcelain dollhouse dolls in various sizes: 8 x miniature, H approx. 4 cm, 4 x medium-sized, H approx. 6-7 cm, 3 x large, H approx. 10-14 cm, (5th x broken limbs, 1x glued) and 5 Biedermeier shoulder headed dolls in different sizes, height 4-14 cm, partially used, signs of age, plus 1 sitting bisque dolls - children's pair (modeled together, light and dark, damaged) and accessories for the dollhouse bathroom, like washing set and soap dishes made of porcelain, brushes, 2 mirrors (1 x damaged and blind), vials, lidded jars and flacons made of glass, 3 x '4711 Cologne water' vials with contents and a bottle of 'Lichtenheldt's real light balm', and much more. Signs of age and use. From a southern German private collection.

MEISSEN, 2 Vasen, 20.Jh. Entwürfe von Ludwig Zepner, Weißporzellan mit strukturierter Oberfläche, glasiert, unterglasurblaue Schwertermarke und blinde Schwertermarke mit "weiss", gepresste Modellnr. "50203" und "143Z" H: 23 cm. und 20 cm. Leichte Altersspuren. | MEISSEN, 2 vases, 20th c.Designs by Ludwig Zepner, white porcelain with textured surface, glazed, underglaze blue sword mark and blind sword mark with "weiss", pressed model no. "50203" and "143Z" H: 23 cm. and 20 cm. Slight signs of age.

DoppelhenkelvaseStaatliche Porzellan Manufaktur, Meissen 1972-1980. - Blumenbukett - Porzellan, weiß, glasiert. Kobaltblauer Fond. Polychrom und Gold bemalt. Goldrand. Unter der Glasur blaue Schwertermarke. 1. Wahl. Korpus und Fuß produktionsbedingt z. T. blind verschraubt. H. 24,5 cm.

Gutai Group - - Kazuo Shiraga. (1924 Amagasaki, Japan - 2008 ebd.). Un. 1990. Farbserigraphie auf Papier. 65,1 x 85 cm (72,5 x 95,5 cm, Sichtmaß). Signiert und betitelt auf Japanisch, zusätzlich bezeichnet "p.p.". Punktuell auf Unterlage und unter Passepartout montiert. Unter Plexiglas gerahmt. - Guter Zustand. Die Farbe sehr satt und pastos. Leuchtend und rein in der Wirkung. Printers proof abseits der herkömmlichen Auflage von 60 Exemplaren. - Aus dem "Shiraga Kazuo Portfolio", 1990. - Mit dem Blindstempel der Druckerei Hoshida Graphics, Kyoto. - Kazuo Shiraga war einer der prominentesten Akteure der japanischen Nachkriegsavantgarde. Als Mitglied des Kunstkollektivs Gutai, das für seine unkonventionelle Praxis bekannt ist, bewegte sich Shiraga spielend und frei zwischen Malerei und Performance-Kunst. Einflüsse des westlichen abstrakten Expressionismus (insbesondere Jackson Pollocks Action Painting) und des Tachismus ebenso wie Elemente der japanischen traditionellen Kultur aus Dichtung, Malerei und dem Buddhismus vereinigte Kazuo zu gestisch-impulsiven Arbeiten. Shiragas Werke sind international in öffentlichen Sammlungen zu besichtigen, darunter das Musée d'Art Contemporain, Marseille oder das Museum of Modern Art, Tokio. Colour silkscreen on paper. Signed and titled in Japanese, additionally inscribed "p.p.". Spot mounted on backing and under passepartout. Framed under plexiglass. - Good condition. The colour very rich and impasto. Luminous and pure effect. - Printers proof off the usual edition of 60. - From the "Shiraga Kazuo Portfolio", 1990. - With the blind stamp of Hoshida Graphics, Kyoto.

Informel - - Karl Otto Götz. (1914 Aachen - 2017 Wolfenacker/Westerwald). Figurinen. 1983. Mit 10 Lithographien. Je auf chamoisfarbenem Umdruckpapier. Blattmaße je 30 x 40 cm. Je signiert, betitelt, nummeriert und bezeichnet "Umdruck 1983". Je lose in original Mappe liegend. - Guter Zustand. Kontrastreiche Abzüge. Götz, 91 - 100. - Eines von 20 Exemplaren. - Grundlage für die Lithographien waren Zeichnungen, die K. O. Götz bereits 1946 angefertigt hatte. 1983 ließ er diese dann als Umdrucke bei Mandred Hügelow drucken (mit dem Blindstempel). Each on buff transfer paper. Each signed, titled, numbered and inscribed "Umdruck 1983". Each loose in original folder. - Good condition. High contrast prints. - One of 20 copies. - The basis for the lithographs were drawings K. O. Götz had already made in 1946. In 1983 he had them reprinted by Mürfeld Hüfeler (with the blind stamp).

Informel - - Hans Hartung. (1904 Leipzig - 1989 Antibes). o.T. 1978. Kaltnadel- und Farbaquatintaradierung auf chamoisfarbenem Vélin. 52 x 40,3 cm (67,5 x 52 cm). Signiert und nummeriert. - Im weißen Rand mit sehr zarten Spuren von Graphit und einem sehr kurzen Randeinriss, das Motiv nicht betroffen. Verso mit wenigen, leichten Anschmutzungen und einer Bezeichnung von fremder Hand in Graphit. Insgesamt prächtige und gratige Arbeit. Eines von 100 Exemplaren. - Aus dem Portfolio "Eddy Batache: Requiem pour la fin des temps", 1978 erschienen bei Georges Visat, Paris (mit dem Blindstempel). Drypoint and colour aquatint on buff vélin. Signed and numbered. - In the white margin with very delicate traces of graphite and a very short marginal tear, the subject not affected. Verso with a few, light smudges and an inscription by another hand in graphite. Altogether a splendid and fine work. - One of 100 copies. - From the portfolio "Eddy Batache: Requiem pour la fin des temps", published in 1978 by Georges Visat, Paris (with the blind stamp).

Claudio Parmiggiani. (1943 Luzzara - lebt in Turin). 10 opere grafiche. Offset und Collage auf festem Karton. 70 x 50 cm. Die Kartone je signiert und nummeriert. Im linken unteren Eck je mit blindgeprägtem Editions-Stempel. - In Originalbox aus weißem Kunststoff (angeschmutzt). Die Kartone entlang der Ränder gebräunt, teils etwas bestoßen und fingerspurig. Eins von 125 Exemplaren. - Edition Artestudio Macerata. Offset and collage on strong cardboard. Each signed and numbered and with blind embossed edition stamp. - The cartoons browned along the margins, partly somewhat bumped and finger-marked. - One of 125 copies.

Abstrakter Expressionismus - - Sam Francis. (1923 San Mateo - 1994 Santa Monica). o.T. 1990. Farblithographie auf chamoisfarbenem PTI 120 Waterleaf. 117,5 x 76,2 cm (117,58 x 76,2 cm. Signiert und datiert. - Verso mit Spuren der vorherigen Montierung. Insgesamt wohlerhalten. Sehr expressiv und leuchtend in den Farben. Lembark, L 284; SF-343. - Eines von 50 Exemplaren. - Hg. v. The Litho Shop, Santa Monica, Kalifornien (mit dem Blindstempel). - Druck bei George Page bei The Litho Shop. - Sam Francis Arbeiten zeichnen sich durch Spontanität, Dynamik und gesättigte Farbigkeit aus. Der Künstler, der vom Spiel des Lichts zur Malerei inspiriert wurde, entwickelte mit Verve einen unverwechselbaren Personalstil, der zwischen Abstrakten Expressionismus, europäischem Tachismus sowie japanischer Kalligraphie, Malerei und dem Zen-Buddhismus frei und lebendig changierte. Colour lithograph on buff PTI 120 Waterleaf. Signed and dated. - With traces of previous mounting on verso. Overall in good condition. Very expressive and bright colours. - One of 50 copies. - Published by The Litho Shop, Santa Monica, California (with the blind stamp). - Printed by George Page at The Litho Shop.

Pop Art - - James Rosenquist. (1933 Grand Forks - 2017 New York). Pushbuttons. 1972. Lithographie auf chamoisfarbenem Hodgkinson Handmade Oatmeal Papier. 78,8 x 92,7 cm (78,,8 x 92,7 cm). Signiert, datiert, betitelt und nummeriert. - Unter Glas gerahmt (ungeöffnet). - Guter Zustand mit hübschem Schöpfrand. Glenn, 51. - Eines von 75 Exemplaren. - Hg. v. Petersburg Press, London (mit dem Blindstempel). Lithograph on buff Hodgkinson Handmade Oatmeal paper. Signed, dated, titled and numbered. - Framed under glass (unopened). - Good condition with nice scooped margin. - One of 75 copies. - Published by Petersburg Press, London (with the blind stamp).

Amerikanische Moderne - - Terry Winters. (1949 Brooklyn/New York - lebt in New York und Genf). o.T. Aus dem Portfolio "Set of Ten". 1998. Intaglio Druck aus Xerox-Transfer und Aquatintaradierung auf chamoisfarbenem Papier. 34,7 x 27 cm (48 x 38 cm). Signiert und nummeriert sowie in der Platte durchnummeriert und betitelt. - Sehr kräftiger, gratiger Abzug mit schönem Plattenrand. Eines von 38 Exemplaren. - Aus dem Portfolio "Set of twen", welches 10 Radierungen umfasst, die auf Gemälden von Winters basieren. Für das Portfolio wurde jeder Druck von einer einzigen Platte gedruckt. Dieser besteht aus einer zentralen Form, die am oberen und unteren Rand jeweils von einem dunklen Rand eingerahmt ist. Die Nummer, die die Position der einzelnen Drucke in der Serie angibt, ist in die Platte geätzt und erscheint auf der linken unteren Seite jedes Werks spiegelverkehrt. - Hg. Universal Art Editions (mit dem Blindstempel "ULAE"). - Die von Winters' in schweren, geschichteten Zeichen beschriebenen Formen haben eine fast architektonische Struktur, gleichzeitig sind sie aber auch organisch oder zellulär. Winters bezeichnet diese Formen in seinem Werk als Schriftzeichen oder Zeichen, ähnlich wie Kalligraphie. Im Entstehungsprozess reagiert er dabei auf sich entwickelnde Muster und lagert Gesten und Zeichen übereinander, um seine Werke zu erschaffen. Diese betrachetet er als "eine Art zu denken", wobei Winters die Formen seiner Arbeiten absichtlich mehrdeutig gestaltet. Intaglio print from Xerox transfer and aquatint etching from the portfolio "Set of Ten". On buff paper. Signed and numbered as well as numbered and titled in the plate. - Very strong, burr-free print with nice platemark. - One of 38 copies. - From the portfolio "Ste of twen", which comprises 10 etchings based on paintings by Winters. For the portfolio, each print was printed from a single plate. This consists of a central form, each framed by a dark border at the top and bottom. The number indicating the position of each print in the series is etched into the plate and appears mirrored on the lower left side of each work. - Ed. Universal Art Editions (with the blind stamp "ULAE").

Amerikanische Moderne Mark Tobey (1890 Centerville/Wisconsin - 1976 Basel)Trio. 1970. Aquatinta auf unbeschnittenem Bütten. 31,5 x 24 cm (53 x 44 cm). Signiert und nummeriert in Graphit. Leichte Altersspuren. Verso Reste einer alten Montierung. Wohlerhaltenes Blatt mit schönem Schöpfrand. Heidenheim, 1. - Eins von 75 Exemplaren. Mit Blindstempel der Edition de Beauclair, Frankfurt am Main. Aquatint on untrimmed laid paper. Signed and numbered in graphite. Slight signs of age. On the back side remains of an old mounting. Well preserved sheet with a nice untrimmed margin. - One of 75 copies. With blind stamp of Edition de Beauclair, Frankfurt am Main.

Sir Alfred Munnings, 'Before The Start, Newmarket', signed in pencil and blind stamped, colour print, I.40.5 x 63cm.  

Qty of penknives inc 2 x mother of pearl fruit knives, Snowdrift Lubricants advertising, Guinness, Guide dogs for the blind - all in good used condition t/w pencil / toothpick / needle case (?) combination, propelling pencil & 5 x pocket knives (a/f)

George Cunningham, 'Harry Metcalf's and 'The Beer On', limited edition colour prints of 250, each pencil signed with blind back stamp 21.5 x 28.5. (2)

A mahogany chinoiserie triptyc mirror with blind fretwork carved supports, 106cm (fully open) by 91cm

A Regency style parcel gilt ebonised secretaire bookcase of slender form, the cornice carved with blind fret work over a glazed door above a secretaire four front opening to reveal a fully fitted interior, 72cm by 42cm by 215cm25.5cm the depth, the shelves are adjustable, the lowest level is 15cm, 4cm between each level, top level is 77.5cm

After Luca Madrassi (1848-1919): A Bronze Figure of a Girl, playing Blind-Man's-Buff, walking with a ribbon over her eyes on an oval base, signed MADRASSI LUCA, 41cm highNo breaks or repair. Some expected wear and light scratching to the patination.

[Fluxus] Willem de Ridder, Paper Fluxwork New York, Fluxus, ca. 1967. Transparent plastic box with b/w label glued on lid, 9 x 12 x 1.3 cm, containing 14 printed cards. In very good condition. Blind stamped on the label on lower right corner 'ReFlux'.

[Fluxus] Ben Vautier, La Signature. Art is a question of signature Saint Paul de Vence, Atelier Laage, 1975. Nine silkscreens (8 on board, 1 on clear plastic), 23 x 32 cm. Loose in printed cloth portfolio with ties, 25 x 33 cm. No.41 of 80 numbered copies, with the justification and the publisher's mark stamped on the inside of the portfolio's front cover.All silkscreens, except the one on clear plastic, have the justification stamped on reverse and the publisher's mark blind stamped. The back cover bears the following text by the artist: 'Pour changer l'art il faut changer l'homme/ pour changer l'homme il faut changer l'ego/ mais l'ego ne pourra changer/ que le jour ou l'homme ne signera plus'. Two silkscreens with very tiny foxing spots, otherwise in fine condition.

[s and 1970s] Marcel Duchamp chess case catalogue Antwerp, Galerie Ronny Van de Velde, 1991. Luxury exhibition catalogue with loose objects in a wooden box, 37 x 37 x 6 cm, the top and bottom bearing reproductions of Duchamp's 'mental' Chess Board. From a limited edition of 850, this is number 160. The box contains the following items: a list of contents; an exhibition list; a portfolio with faithful reproductions of works by Duchamp, also including a copy of H. Vuibert 'Les Anaglyphes geometriques' and a reproduction of a page from The Blind Man No.2; a book with articles on Duchamp by André Breton and Arturo Schwarz (inserted, on a separate sheet, a reproduction of Le Grand Verre); an audiocassette of Duchamp speaking with a reproduction of 'The Breast' on the cassette case; a postcard with photo of ‘Marcel Duchamp at the Age of Eighty-Five’. The box is housed in a black paper slipcase which shows some toning and mild scratching. The condition of the inserts is fine, with the exception of the audiocassette and the exhibition list which are stuck together due to excessive glue leaking from 'The Breast' (can probably be separated).

[s and 1970s] Gordon Matta Clark, (1) Splitting New York, 98 Greene Street Loft Press, 1974. First Edition. Softcover, stapled printed wrappers, 18 x 22 cm, 32 pp. profusely illustrated in b/w. Self-published artist's book documenting Gordon Matta-Clark's legendary 1974 chainsaw-assisted drawing and quartering of an abandoned house located at 322 Humphrey Street. The glossy white wrappers show minimal dust staining, otherwise near fine. (2) Splitting. New York, Holly Solomon Gallery, 1990. Softcover with blind stamped title, 15.5 x 15.5 cm, 28 pp. Exhibition catalogue based upon the artists' book by Matta-Clark, produced in conjunction with exhibition held November 20 - December 15, 1990. Text by Mary Jane Jacobs. Mint copy. (total 2)

Ryff (Walther Hermann) Confect Buch, vnd Hauß Apoteck. Kvnstlich zuberaiten, Einmachen, vnd gebrauchen, Wes inn Ordentlichen Apotecken, vnd Haußhaltungen zur Artznei, Täglicher notturfft, vnd auch zum Lust, dienlich vnd nutz, second edition, title with 2 woodcut tureens, woodcut vignette of an apothecary's shop with an alligator hanging from the ceiling and illustrations in text, including incense burners, a beehive, cooking utensils, a wine barrel and goblets, and botanical specimens, e8 and final f. blank, A1 lower blank corner torn away, a few instances of small marginal loss, foxed, some staining, lightly browned, contemporary ornately blind-stamped pigskin over boards, 1 (of 2) metal clasps, corners little worn, rubbed and soiled, [Weiss Gastronomia 3297; Notaker 705 (note); VD 16 R 3929; cf. Bitting p.412, Cagle 505-507, Simon BG 1335 & 1336; Simon BB 574 & 575 & Vicaire 764], 8vo, Frankfurt, Christian Egenolff, [1548].⁂ The rare second edition of this collection of medical and culinary recipes, which includes an illustrated herbal, and a section on wines. Ryff was a German humanist apothecary.

S[hirley] (J[ohn]) The Accomplished ladies rich closet of rarities: or, The ingenious gentlewoman and servant-maids delightful companion, third edition, engraved additional pictorial title, 2 full-page woodcut of pies and tarts, last 2ff. blank, additional title trimmed at outer and lower margins to just within border, title trimmed at outer and lower margins, with loss of a few letters of title and part of lower line of imprint, F6 small repaired hole within text at foot, with loss of several letters, a few instances of later marginal pink pencil trials (including to one of final blanks), closely trimmed in places, occasionally just touching a catchword or text, some spotting and staining, lightly browned, contemporary blind-ruled speckled sheep, spine with some splits (repaired and solid) and with ends chipped, corners worn, little stained, rubbed, [Oxford pp.43-44 (note); Wing S3499; cf. Bitting p.513 & Simon BG 1380 (1706 edition)], 12mo, Printed by W. and J. Wilde, for N. Boddington in Duck Lane; and J. Blare on London-Bridge, 1691.⁂ Rare. We can trace only four copies at auction since 1971, one of which was defective. Includes distilling, wine making, pickling, baking, making of sauces, confectionary, perfumes, and the duties of servants (including wet nurses).

NO RESERVE American.- Filippini (Alessandro) The Table: How to Buy Food, How to Cook it, and How to Serve it, first edition, half-title, portrait frontispiece, 2 full-page facsimiles of letters between the author and his publisher, lightly browned, original blind-stamped and gilt roan, backstrip detached and loosely inserted in 2 parts, corners worn, rubbed, [Bitting p.157], New York, Charles L. Webster, 1889; and 7 others, American, v.s. (8)

Preservation.- Appert (Nicolas) The Art of Preserving all kinds of Animal and Vegetable Substances for Several Years, second edition in English, engraved folding frontispiece, advertisement f. at end, lacking half-title, frontispiece offsetting on to title, some foxing, lightly browned, contemporary speckled calf, sympathetically rebacked, spine gilt and preserving original red leather label, [Bitting p.14; Vicaire 35 (erroneously calling it the first edition in English); cf. Cagle 545, Simon BG 135 & Oxford p.141], Printed for Black, Parry, and Kingsbury, 1812 § Robinson (James) The Whole Art Of Curing, Pickling, and Smoking Meat and Fish...With Useful Miscellaneous Receipts And Full Directions For The Construction Of An Economical Drying-Chimney and Apparatus, first edition, 32pp. publisher's catalogue at end, occasional spotting or finger-marking, lightly browned, hinges little weak, original blind-stamped cloth, spine titled in gilt, spine ends and corners little frayed, rubbed, cocked, [Bitting p.401; Cagle 967; Oxford p.177-178; Simon BG 1298], Longman, Brown, Green and Longmans, 1847; and another, similar, 8vo (3)

NO RESERVE Cocktails.- [Knowles (Frederic Lawrence)] The Cocktail book. A sideboard manual for gentlemen, first English edition, printed in red and black, half-title, spotted, mostly at ends, partly unopened, original red cloth, blind-tooled cocktail glasses pattern and gilt lettering to upper cover, spine lettered in gilt, spine faded, some marking and light soiling, 8vo, John Macqueen, 1902.⁂ Scarce in commerce.

After "Snaffles" Charles Johnson Payne (1884-1967); 'Foxcatchers, For the Love of it', colour print, signed in pencil, with blind stamp, 38cm x 45cm

After "Snaffles" Charles Johnson Payne (1884-1967); 'A Sight to Take Home and Dream About ', colour print, printed signature, blind stamp, and another Snaffles print; 'A Bona Fide Fox Chaser', printed signature, blindstamp, 55.5cm x 73cm max (2)

CLAIRE EVA BURTON (B.1955) Two limited edition prints Rodrigo de Triano, Lester Piggott Up Bears Chelsea Green Editions blind stamp 211/850 Signed in pencil Framed and glazed Picture size 46 x 54.5cm Overall size 70 x 76.7cm Mr F. Frisk 1990 Grand National Winner Bears Chelsea Green Editions blind stamp 173/950 Signed in pencil Signed in pencil by jockey Marcus Armitage Framed and glazed Picture size 54 x 60.7cm Overall size 73.5 x 81cm

STEVEN TOWNSEND (B.1955) Three limited edition prints Early Light, A Pair Of Sheep Dogs Sitting In The Frost 364/650 Signed in pencil to mount Bears blind stamp for Northern Editions Framed and glazed Picture size 44 x 57.5cm Overall size 68 x 81cm End Of A Working Day 48/675 Signed in pencil to mount Bears blind stamp for Northern Editions With certificate of authenticity Framed and glazed Picture size 43 x 56cm Overall size 68 x 80cm Border Collie Sheepdog On The Moor 587/660 Signed in pencil to mount Bears blind stamp for Northern Editions Framed and glazed Picture size 40 x 54cm Overall size 66.5 x 81cm

STEVEN TOWNSEND (B.1955) Four limited edition prints Our Valley 73/675 Blind stamp for Northern Editions Together with certificate of authenticity Framed Picture size 49 x 71cm Overall size 75 x 98.5cm Early Morning In The Dales 528/600 Blind stamp for Northern Editions Framed and glazed Picture size 42 x 56.5cm Overall size 68.5 x 82.5cm Sheep Dogs At Work In The Snow 331/600 Blind stamp for Northern Editions Framed and glazed Picture size 42 x 56.5cm Overall size 68.5 x 82.5cm Daybreak 363/650 Blind stamp for Northern Editions Framed and glazed Picture size 40.5 x 55cm Overall size 67.5 x 81cm

STEVEN TOWNSEND (B.1955) Nine limited edition prints Isla 299/675 Signed in pencil Blind stamp for Northern Editions Together with certificate of authenticity Overall size 50 x 39.5cm End Of A Working Day 456/675 Signed in pencil Blind stamp for Northern Editions Together with certificate of authenticity Overall size 49 x 63.5cm Mac (The Sheepdog) 406/675 Signed in pencil Blind stamp for Northern Editions Together with certificate of authenticity Overall size 47.7 x 56cm (inc. mount) Tip and Pip 246/675 Signed in pencil Blind stamp for Northern Editions Together with booklet Overall size 46.5 x 58.5cm (inc. mount) Rarin' To Go 501/660 Signed in pencil Blind stamp for Northern Editions Overall size 57.5 x 47.7cm (inc. mount) Our Valley 76/675 Signed in pencil Blind stamp for Northern Editions Together with certificate of authenticity Overall size 57.5 x 80.5cm (inc. mount) Summit Meeting 310/660 Signed in pencil Blind stamp for Northern Editions Together with booklet Overall size 56 x 78cm (inc. mount) Mac (The Sheepdog) 399/675 Signed in pencil Blind stamp for Northern Editions Overall size 47.5 x 56cm (inc. mount) Up North 219/676 Signed in pencil Blind stamp for Northern Editions Together with certificate of authenticity Overall size 73 x 59cm (inc. mount)

After David Shepherd (1931-2017) Immortal Hero, A Spitfire In Flight Limited edition print 299/960 Blind stamp Signed in pencil and inscribed to mount 'To Bob with best wishes David Shepherd' Framed and glazed Picture size 48 x 56.2cm Overall size 73.5 x 77.5cm

Three mahogany-cased roller-blind shutters, one complete with pneumatic release bulb; two Watkins Bee Meters, one in maker's box; eight various lenses, two in shutters; a quarter plate Bynoe Printing Frame by R & J Beck in brass casing; and various filters, and supplementary lenses. (a lot)