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A box containing Wedgwood blue and gilt banded and rose decorated tea wares comprising six large plates, twenty cups, nineteen saucers, twenty side plates and muffin dish, together with a similar Coalport blue and gilt and floral spray decorated part tea service comprising muffin dish, two square serving dishes, two cups, ten small plates and a set of seven Spode Copelands China blue and gilt and floral decorated plates, a set of twelve Copelands China gilt and floral swag decorated wrythen relief plates made for Daniell, Wigmore Street, London, five Copelands China relief work and flora spray decorated plates in the "Blind Earl" style and three Copelands China kutani oxide red and gilt decorated plates and one serving dish CONDITION REPORTS Wedgwood blue and gilt tea wares comprising twenty saucers, twenty cups, six dinner plates, muffin dish with lid, slop bowl and twenty tea plates. One of the large dinner plates has significant crazing to it and eight of the tea cups have crazing, hairline cracks etc. Three of the tea plates have heavy crazing. One tea plate is slightly different colour to the others, more orange than pink. All have wear and tear including wear to the gilding etc, knife marks, in need of a clean - see images for examples. Various back stamps. The base of the muffin dish has a hairline fracture/firing fault to base. The two large Worcester tea cups and one saucer all have crazing and damage. The Coalport tea plates - all have heavy crazing, different back stamps. Copeland red and gilt decorated plates - one plate does not ring true. All have significant wear to the gilding, scratch marks etc. Four of the Coalport blue and gilt rose decorated plates are heavily crazed or have fractures. All have knife marks, wear and tear etc. The gilt and floral decorated Copeland plates retailed by Daniell - all have heavy knife marks, one does not ring true and another has a strange black paint mark to the back. The relief decorated Coalport plates - all have significant wear to the painting, hairline fractures, crazing etc as well as heavy knife marks and one is completely broken - see images for examples. All items in the lot have general wear and tear conducive with age and use to include knife marks, wear to the decoration etc and are in need of a good clean

A GEORGIAN REVIVAL MAHOGANY CABINET ON STAND, late 19th century, the dentil cornice with broken fret pediment over two astragal glazed doors enclosing shelving, the protruding stand with two blind fret frieze drawers with brass drop handles, raised on leaf carved cabriole legs with claw and ball feet joined by a concave undershelf, 41 3/4" x 18 1/2" x 90" high (Est. plus 21% premium inc. VAT)Generally very good condition bar some fading

A LARGE TOO HOT TO HANDLE MARILYN MONROE ROLLER BLIND W- 90CM TOGETHER WITH THREE MARILYN MONROE RELATED COLLAGE POSTERS ETC.

Charles Oliver Murray (1842-1923). Ely Cathedral from the Great Ouse, engraving, signed, Print Sellers UV blind stamp, 46cm x 65cm.

JAMES PRIDDY prints (2) - entitled 'Morning, Caernarfon Castle', with blind stamp, signed in pencil, 28 x 32cms, and 'Evening, Menai Bridge', 27 x 32cms, a similar era print, 'Fairy Glen, Betws y Coed' After WELLS, also, print - coastline flight After WINSTON MEGORAN, GWYNETH THOMAS print, ETC (see several images)

Bean W.J. "Trees and Shrubs Hardy in the British Isles", John Murray 1929, three volumes, photographic plates, illustrations throughout, green pictorial cloth, gilt titles to the backstrip, Robinson, W. "The English Flower Garden and Homegrounds of Hardy Trees and Flowers Only", John Murray 1926, plates, illustrations, blue blind stamp pictorial cloth, gilt titles, Finn, Frank and Robinson E. Kay "Birds of Our Country..." Hutchinson & Co. photographic illustrations throughout, 2 volumes, green blind stamped pictorial cloth with gilt titles, and Hammerton, Sir John (Ed) "Outline of Nature" Waverley, 3 volumes, pictorial cloth with gilt rules and two other volumes (1 box)

20th century authors to include Huxley Aldous "Time Must Have a Stop", Chatto & Windaus 1945, blue cloth, dustjacket, not price clipped, "Brave New World"  Chatto & Windus 1932, second impression, hinges cracked, blue cloth, no dustjacket, Priestley J.B. "Doomsday Men", William Heinemann 1938, pictorial end papers, blue cloth, dustjacket, part of the backstrip missing, Joyce, James "Ulysses" The Bodley Head 1960, green cloth, dustjacket, not price clipped, Fleming, Ian "Dr. No", Jonathan Cape second impression 1958, black cloth with blind stamped figure on front board, white titles, dustjacket, not price clipped, dustjacket is chipped, Waugh, Evelyn "Officers and Gentlemen" , Chapman & Hall 1955, blue cloth, corners bumped, dustjacket, not priced clipped but chipped, "The Bodley Head Scott Fitzgerald"in five volumes with dustjacket, Diment, Adam "The Great Spy Race", Michael Joseph 1968, Charing Cross Road, blue cloth, Foyles small sticker inside front board, dustjacket, not price clipped, Virginia Woolf Uniform edition, Hogarth Press, etc. (1 box)

The Camden Society, various volumes to include "Suppression of the Monastries", "Letters of Eminent Literary Men", "Anecdotes and Traditions", "Kemp's Nine Daies Wonder", "Irish Narratives 1641 and 1690", "The Diary of Doctor John Dee", "The Egerton Papers", "Political Songs", all bound uniform, black cloth with blind stamped front board, gilt titles and decorations to backstrips, 14 volumes, with "The Speaker's Garland and Literary Bouquet" 9 volumes, green pictorial blind stamped and pictorial cloth and a uniform set of Dicken's Works, green cloth, the Diamond Edition, Chapman & Hall 1880 (1 box)

Comettant Oscar "Voyage Pittoresque et Anecdotique dans le Nord et le Sud des Etats-Unis d'Amerique"  Paris 1866frontis with tissue guard, 15 plates with tissue guard throughout, foxed throughout, three coloured plates 'Camp Indie', Lincoln Recevant...' and 'Pony Post' -   two volumes, watered silk end papers, contemporary brown cloth, blind stamped with gilt decorations with Enault Lewis "L'Amerique Central et Meridionale ..." ParisF. de P. Mellado et Cie 1867,  frontis with tissue guard, 17 plates with tissue guards, two coloured plates both titles ' Types Mexicains' , slight foxing throughout, blind stamped decoration to brown cloth , both volumes aeg (2)Condition ReportComettant ................15 plates with tissue guard throughout, foxed throughout, three coloured plates 'Camp Indie', Lincoln Recevant...' and 'Pony Post'Enault........17 plates with tissue guards, two coloured plates both titled ' Types Mexicains' , slight foxing throughout

Double fore edge painting[ Sarah Ellis] " The Wives of England...by the author of " Women of England". Fisher, Son & Co. ( 1843)rebacked, contemporary blind stamped and gilt boards, cream watered silk ep, gilt dentelles, corners very bruised, gilt titles to back strip faded, the double fore edge paintings under the gilt edges are a little faded 

Edwardian mahogany display cabinet with pierced broken arch top above an arrangement of bar glazed doors decorated with pierced and blind fretwork, two alcoves and a single drawer on cabriole supports, 45ins wideThere are no keys present

Snaffles, two hand coloured lithographs, ' Jock ' and ' Good Hunting Old Sportsman ', 11ins x 8ins, with blind stamp marks to the mounts, housed in ebonised framesBoth have stained/foxed cream backing or borders and both are undulating under glass, possibly have been kept in damp conditions in the past

Russell Flint, coloured print, ladies in an interior, bearing blind stamp and signed by the artist in pencil, 13ins x 19ins, another titled ' Roxanna by the Ardeche ', another smaller coloured print and a black and white engraving, Sir Roger De Coverley and the gypsies, 30ins x 9ins

A bust of a blind man, partially glazed faience sculpture from Caldas da Rainha, polychrome decoration, Portuguese, 19th C. (late), broken and glued, marked FÁBRICA DE FAIANÇA DE RAFAEL BORDALO PINHEIRO and dated 1888, Dim. - 51 cm

PINHEL, Aires.- AD CONTITVTIONES | C. DE BONIS MATER AMPLISSIMI | COMENTARII, | Authore Ario Pinelo Lusitano.- Conimbricae: s.n. [apud Antonium de Maris], Anno salutis M. D. LVII. mense Augusto. [1557].- [4], 200, [8] f.; 27 cm.- E., Aires Pinhel (ca. 1512/1515- ca. 1562) studied in Salamanca and got his Phd in the city of Mondego, in Caesarian Law, having been appointed by King D. João III to teach at this University by royal charter of 2 September 1539, shortly after the definitive transfer of the University of Lisbon to Coimbra; he was a judge at the Casa da Suplicação and, at the end of his career, a professor at the University of Salamanca, replacing another Portuguese jurist, Manuel da Costa. He left us an extensive bibliography on legal topics, published in Portugal and abroad. Copy slightly tricropped, with slight handling and some annotations, from the time, in the final index; title page with old ownership and restoration in the lower outer corner, without affecting the text; occasional smaller worm holes, along the backbone. Author identified according to the bibliography. According to the BNP collation, three blank sheets may be missing at the beginning and another three at the end. Recent binding, full sheepskin, blind stamped on the covers and spine, probably from the workshop of master Império Graça (with silk ties). Anselmo, 824. BN (16th century), 591. King D. Manuel II library does not mention it.

[RODRIGO DO PORTO, O,F,M., Frei].- COMPENDIO | E SVMARIO DE CONFESSORES | Tirado de toda a substancia do Manual, Copiado & | abreuiado por hu[m] religioso frade Menor da or- | de[m] de S. Francisco da prouincia da Piedade. | Acresce[n]tarãselhe em os lugares cõuenientes as cousas | mais cõmu[n]as q[ue] se ordenarã em o scto Cõcilio Tride[n]ti. | [gravuras xilográfica].- Impresso em Coimbra: por Antonio de Maris, Impressor do Arcebispo de Braga Primas. &c. De 1567.- [16], 712, [52] p.; 14 cm.- E., Work published without the name of the author (according to the bibliography), Friar Minor of the Province of Piedade. Barbosa Machado considers it “a primeira suma de Moral que saiu em língua vulgar neste Reino”. The “Compendio”, originally published as “Manual de confessores” in 1549, would have at least six more editions during the 16th century. The copy, a little cropped, with slight browning and slight handling, misses two blank sheets at the beginning and one at the end. Very small and light ink stains (contact?) on the title page. Full sheepskin binding (contemporary?), blind stamped on the covers and spine. New endpapers and ties. Anselmo, 845. BN (16th century), 811. Biblioteca de D. Manuel II, 484.

AZPILCUETA NAVARRO, Frei Martin de, C.R.S.A.- MARTINI | AB AZPILCVETA NAVARRI | ET CONIMBRICENSIS | IN DECRETIS PONTI- | FICVM GYMNASTAE | PRIMARII PRAELECTIONES | in cap. Siquando & cap. Cuni contigat. de | rescript. in causa propria cantoriæ Co- | nimbricensis axiomata quæ versa | pagella docet discutientes, | cum popioso indice.- Conimbricae: Ex officina Iohannis Barrerii. & Iohãnis Aluari. M. D. XLIII. [1543].- [24], 188 p.; 28 cm.- E., One of the numerous editions published in Portugal (at least 25), by the famous Spanish humanist (1492-1586) who taught in Coimbra between 1538 and 1554, with the “Manual de confessores” being the one that achieved greater popularity. The title page features an elaborate xilographic architectural frame. The work is dedicated to Queen D. Catarina, wife of King D. João III. A treated, washed and re-glued copy; careful restorations to the lower outer corner of the first three sheets, lightly attached to the base of the xilographic frame. Recent binding, full sheepskin, with elaborate blind stamped on the covers and spine, to the taste of the time, probably from the workshop of master Império Graça. Anselmo, 242. BN (16th century), 55. D. Manuel II, 39.

Large framed signed print with blind stamp 92 x 109 cm including frame

An Antique Refectory Table with foliate carved blind fret frieze and later top, 180(w) x 72 (d) x 75(h) cm

AFTER LAURENCE STEVEN LOWRY RBA RA (1887-1976); a limited edition print 'Outside the Mill, 1930', no.740/850, blind stamp lower left, 49.5 x 32.5cm, framed and glazed. † CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit

A mahogany wall-hanging flat-fronted corner cupboard, the broken swan neck pediment centred with a carved shell motif, above blind fret carved frieze and pair of fielded panelled doors flanked by reeded pilasters, enclosing two shaped shelves above small panelled door, flanked by a pair of drawers, with further internal reeded pilasters and blind fret carved detail, 142 x 91 x approx 48cm.Footnote: From the estate of local architect Herbert Rowse, famous for the design of Martins Bank, the Philharmonic Hall, the India Buildings and the Mersey Tunnel Air Duct. CONDITION REPORT Overall very good condition. The right hand side of the upper frieze with the blind fret carved detail is lacking the carved section - it is present but detached. Further light signs of use visible throughout commensurate with use and age.

A contemporary gilt-framed wall mirror with rectangular bevelled plate within a pierced and foliate scrolling frame, 63 x 79cm, with a 1940s octagonal oak-framed wall mirror, with bevelled plate within a blind fret carved frame, 46 x 69cm (2).

Large selection of vintage records UB40, ZZ top eliminator , Led Zeplin, blind faith etc

Rémy Zaugg (Courgenay 1943 – 2005 Basel). „LOOK,/I AM/BLIND,/LOOK., (No. 3) (violet-rouge/vert)“. 1998/99Lack auf Aluminium, Serigrafie. 68,6 × 69,3 cm (27 × 27 ¼ in.). Rückseitig mit Filzstift in Rot und Schwarz bezeichnet, signiert und datiert: 204.2.4 violet-rouge/vert (204.2) (4) No. 3 R. Zaugg 1998/1999. Ebendort mit einem Etikett der Mai 36 Galerie, Zürich.[3174] Provenienz: Privatsammlung, BrandenburgWir berechnen auf den Hammerpreis 32% Aufgeld.

Christer Strömholm, The blind Girl, HiroshimaSpäterer Gelatinesilberabzug. 27,5 x 20,5 cm (35,2 x 27,9 cm). Rückseitig mit Bleistift signiert sowie von fremder Hand mit Bleistift bezeichnet.LiteraturChristian Caujolle u.a., Christer Strömholm. Post Scriptum, Ausst.kat. Fotografisky, Stockholm, Stockholm 2012, S. 265 mit Abb.

After SIR DAVID WILKIE, The Blind Fiddler, oil on canvas, unframed. 76 x 63.5 cm.

*Charles Johnson Payne, called 'Snaffles' (1884-1967)'Andsome Is Wot Andsome Does'reproduction in colours with remarque, with Snaffle bit blind stamp and signature to the marginsheet 48 x 44cm*Artist's Resale Right may apply to this lot. overall: 50 x 46cmsome rippling to the backing paper and time staining. Unexamined out of frame.

*Charles Johnson Payne, called 'Snaffles' (1884-1967)'That far far-away Echo', c.1915coloured print, with some hand colouring, with remarque, signed in pencil l.r., with Snaffle bit blind stampimage 24 x 35cm*Artist's Resale Right may apply to this lot.overall: 44 x 55cmSome foxing emerging to the backing paper. Unexamined out of frame.

*Charles Johnson Payne, called 'Snaffles' (1884-1967)The Biggest Walls in the Country was in it'chromolithograph in colours, with printed remarque, signed in pencil l.l., with Snaffle bit blind stampimage 30 x 46cm*Artist's Resale Right may apply to this lot.overall 54 x 71cmThe packground has been painted white some of which is now peeling away, see illustration. Some discolouration to the print. unexamined out of frame.

A JAPANESE CARVED IVORY OKIMONO GROUP, depicting a blind masseur and a figure with a pipe, signed to base, 7.5cm high.

An Edwardian Rectangular Inlaid French Occasional Table with Mixed Veneers and Vase Decoration to Centre of Top, Blind Carved Supports and Cross Stretcher, Some Condition Issues to Veneer, 69cm x 43cm x 64cm high

GEORGE BASELITZ (b. 1938). An abstract study of male & female faces, coloured lithograph, signed, dated ’87 & numbered 94/165 in pencil lower margin, with blind-stamp “Mathier Litho Switzerland”, 18” x 13½”, framed & glazed. (26¾” x 21¼” over-all).

A brass dinner gong in oriental-style blind-fret carved & pierced mahogany frame on shaped end supports, 27” wide x 35” high x 12½” deep.

A GEORGE III MAHOGANY SERPENTINE-FRONT CHEST, fitted brushing slide above four long graduated drawers with original brass swan-neck handles, blind-fret carving to the canted corners, the over-hang top with moulded edge, & on ogee bracket feet, 36” wide x 34¼” high x 23” deep.

Aurelius Augustinus Wichtige Geschichtsquelle Epistolae. Basel, Johann Amerbach 1493. - Zweite Ausgabe der Briefe des Augustinus - Schöner Antiqua-Druck von Johann Amerbach - Spätgotischer Holzdeckelband mit Neumenmanuskript des 12. Jahrhunderts als Vorsatzblätter Das augustinische Briefkorpus ist nicht nur biographisch von größter Bedeutung, sondern auch eine einzigartige Quelle für die Geschichte der Spätantike. Hier die zweite Ausgabe der 1471 erstmals erschienenen Sammlung. - Schöner rubrizierter Druck in Antiqua mit gedruckten Randnoten. Die fliegenden Vorsatzblätter unter Verwendung einer Brevier-Handschrift des 12. Jahrhunderts mit Vigilien sowie Gesängen mit Neumennotation. Geschrieben in gleichmäßiger Karolingischer Minuskel in schwarzer Tinte mit Versalien in Schwarz oder Rot. EINBAND: Zeitgenössischer Schweinslederband über Holzdeckeln mit reicher Blindprägung: Rahmenaufbau aus dreifachen Streicheisenlinien mit gerautetem Mittelfeld, Außenfelder mit rhombischem Einzelstempel Einhorn sowie Blattwerk und Rosette, Rücken mit Maria-Schriftband sowie Blatt- und Kopfstempel. Folio. 32,5 : 22 cm. - ILLUSTRATION: Mit großer Federwerksinitiale in Blau und zahlreichen eingemalten Lombarden in Rot. Durchgehend rubriziert. - KOLLATION: 328 nn. Bll. Rom. Type. 52 Zeilen und Kolumnentitel. - PROVENIENZ: Innendeckel mit alter Bibl.-Signatur und Vermerk 'Duplum', laut beilieg. hs. Notiz wohl aus dem Benediktinerkloster Ottobeuren. LITERATUR: GW 2906. - Hain/Cop. 1969. - Goff A 1268. - BMC III, 755. - BSB A-888. - Polain 383. Second edition of the Epistolae in a fine antiqua print by Johann Amerbach. Late Gothic wooden boards with 12th century neumes sheets as flyleaves. Contemp. pigskin over wooden boards with rich blind-tooling: Frame structure of three scudding knife lines with lozenged center panel, outer panels with rhombic single stamp unicorn, foliage and escutcheon. Spine with Virgin Mary letter band and sheet and head stamp. Folio. 32.5 : 22 cm. With a large penwork initial in blue and many drawn-in lombards in red. Rubricatd throughout. 328 unnumb. ll. Roman type. 52 lines and column headers. - Worming at beginning and end, however, not affecting most of the book block. Boards worm-eaten, clasps removed. Clean and broad-margined copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Meffreth Rubrizierung durch den Erstbesitzer Sermones de tempore et de sanctis sive Hortulus reginae. Teil 2 (von 3): De tempore, pars aestivalis. Basel, Nikolaus Kessler, 20. Januar 1487. - Frühe Ausgabe der bekannten Predigtsammlung - Bemerkenswertes Exemplar mit Namenseintrag und Rubrizierung des Erstbesitzers - In einem schönen Prägeband mit Wappensupralibros Dritter und letzter Kessler-Druck des zweiten Teils der großen Predigtsammlung. Über den Meißener Priester Meffreth ist nichts weiter bekannt 'als was er selbst in den Prologen zu den beiden Hälften seines Werkes sagt. Hieraus ersehen wir, daß er den Theil De sanctis im Jahre 1443 vollendet und sofort den De tempore begonnen habe .. Sein Predigtwerk fand ungeachtet seines bedeutenden Umfangs eine große Verbreitung. Es erlebte im 15. Jahrhundert 10 Auflagen und wurde noch im 16. und 17. Jahrhundert mehrfach wieder abgedruckt' (ADB XXI, 175f.). 'Beachtenswert sind die nicht selten eingestreuten Zitate mittelalterlicher, frühchristlicher und heidnisch-antiker Poeten. Einen populären Charakter versucht er den Predigten dadurch zu geben, daß er in ziemlich exzessiver und auch kritikloser Weise von Exempeln und von geistlicher Naturauslegung .. Gebrauch macht' (Verfasserlexikon des Mittelalters). EINBAND: Schweinslederband des 17. Jahrhunderts über abgeschrägten Holzdeckeln mit reicher Blindprägung und schwarzgeprägtem Wappensupralibros eines Abtes mit Initialen 'I. A. L.' und Jahreszahl '1606', 2 Messingschließen. Folio. 31 : 21 cm. - ILLUSTRATION: Mit prächtiger Eingangs-Initiale in Mauve auf Goldgrund sowie zahlreichen eingemalten Lombarden und Alineazeichen in Rot oder Blau. - KOLLATION: 323 nn. Bll. (o. d. l. w.). Got. Type. 2 Spalten. 55 Zeilen und Kopfzeile. - PROVENIENZ: Titel mit zeitgenöss. Besitzeintrag 'Smidt' in Rot, wohl der Erstbesitzer, von dem auch die Rubrikation und einige rote Marginalien stammen. Ferner mit Besitzeintrag von Leonhardus Dorstadler, Pfarrer in Oberösterreich (gest. nach 1554) sowie mit späterem gekrönten Stempel. LITERATUR: Hain 11005. - GW M22634. - Goff M 442. - BMC III, 764. - BSB S-305. - Verfasserlex. VI, 299. Early edition by Kessler in Basle. Fine and interesting copy with inscription of the first owner, who has rubricated the book. With magnificent initial in mauve on a gold ground as well as numerous painted lombards and paragraph marks in red or blue. 17th cent. pigskin over wooden boards richly blind- and rollstamped with armorial centrepiece of an abbot dated 1606 and 2 brass clasps. - Some worming throughout (mostly in white margins, first and last leaves stronger), here and there minor staining, initial with marginal chipping at gold ground, title loosened and with German poem by a contemp. hand, partly marginalia by 2 or 3 15th and 16th cent. hands (partly trimmed). Binding a little bit wormy, edges somewhat bumped, else clean and decoratively bound copy with interesting provenance: Title with contemp. ownership inscription in red 'Smidt', 16th cent. inscription 'Leonhardus Dorstadtler' and later crowned stamp. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Caspar Huberinus Postilla teutsch .. Der erste Teil Vom Advent biß auff Trinitatis. [Nürnberg, J. vom Berg und U. Neuer] 1561. Seltene Postille des lutherischen Schriftstellers Caspar Huberinus, illustriert mit biblischen Holzschnitten. Erstmals 1548 erschienene, mehrfach aufgelegte Postille, hier mit 31 Holzschnitten mit biblischen Motiven, jeweils mit seitlichen Zierleisten versehen (ca. 4 : 7 cm). Das Vorwort ist 1545 datiert. Caspar Huberinus (1500-1553) wirkte vor allem in Augsburg und Öhringen. 'Die Hauptwirksamkeit hatte H. im 16. Jahrhundert durch seine Schriften polemischen, tröstenden und erbauenden Inhalts .. Bei allen Längen haben die Schriften H.s eine gewisse Frische und darstellerische Kraft' (NDB). Seit 1535 war er in kirchlichen Ämtern in Augsburg tätig und als entschiedener Mitstreiter Luthers am Zustandekommen der Wittenberger Konkordie beteiligt. EINBAND: Lederband der Zeit über Holzdeckeln mit reicher Blind- und Rollenprägung und 1 Schließe (von 2). 8vo. 17 : 11,5 cm. - ILLUSTRATION: Mit 31 Textholzschnitten und einigen figürl. Holzschnitt-Initialen. - KOLLATION: 375 num. Bll. (o. d. l. w.). LITERATUR: VD 16, H 5408. - Nicht bei Adams und BM STC. - Vgl. NDB IX, 701. Rare postil by the Lutheran writer Caspar Huberinus. With 31 woodcuts in the text and several figurative woodcut initials. Contemp. calf over wooden boards richly blindtooled with 1 (of 2) clasps. - Stained in places and waterstained in bottom margin, 1 leaf with corner tear. Binding scraped and blemished, spine end with loss. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Kaspar von Stieler Der Teutsche Advokat, Oder Lehrschrift, Anzeigend: Auf was Weise ein rechtlicher Beystand in Teutschland, so wol vor Gericht, als auser demselbigen, Zunge und Feder, dem Rechten und Gerichtsbrauch gemäss, geschicklich, zierlich und gebührlich anwenden und führen solle. Herausgegeben von dem Spahten. 2 Teile und Anhang, in 2 Bänden. Nürnberg, J. Z. Nisius in Jena für J. Hofmann, 1695 (Tl. 1), 1691 (Tl. 2) und 1693 (Anhang). Bedeutendes umfangreiches Werk zur deutschen Advokatur, verfaßt von dem bekannten Barockschriftsteller Kaspar von Stieler. Zweite und letzte Ausgabe. Stieler führte als Mitglied der Fruchtbringenden Gesellschaft den Namen 'Der Spate'. EINBAND: Zeitgenössische Schweinslederbände über Holzdeckeln mit reicher Blind- und Rollenprägung sowie Messingschließen. 34 : 22 cm. - ILLUSTRATION: Mit gestochenem Frontispiz. - PROVENIENZ: Titel mit altem Namenszug. LITERATUR: Dünnhaupt 30.2. - VD 17, 3:606405F. - ADB XXXVI, 202. Dabei: Christoph Heinrich Schweser (Pseud.: Germanus Philoparchus), Der kluge Beamte, oder Informatorium juridicum officiale. 2 Bde. Nürnberg 1705-1710. Pergamentbände d. Zt. 22 : 17 cm. - Bd. 1 in zweitem verb. Druck. - Humpert 13387. - 1 weiteres Werk beiliegend. Second revised edition. 2 parts & appendix in 2 vols. With engraved frontispiece. Contemp. blindstamped pigskin over wooden boards with brass clasps. - Partly browning or some foxing, few leaves with slight wormtraces, endpapers with rests of mounting. Edges of binding with cover defects, upper spine with defective spot, vol. 1 clasps removed. - 2 additions. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

ZERO Lenk - Mack - Pfahler - Uecker. XXXV Biennale di Venezia padiglione tedesco. Essen, Folkwang 1970. Vier Ausstellungskataloge für den deutschen Pavillon auf der Biennale Venedig 1970. Mit je einer Orig.-Graphik von vier der bekanntesten Künster der Düsseldorfer Künstlervereinigung ZERO. Die vier Hefte mit erläuterndem Text in Deutsch, Italienisch und Englisch von Dieter Honisch. Enthalten sind die Graphiken: Schichtung (Farbserigraphie) von Thomas Lenk. - Venedig-Gitter (Serigraphie auf Silberfolie) von Heinz Mack (Kuhn 80). - Ohne Titel (Farbserigraphie) von Georg Karl Pfahler. - Ohne Titel (Nagel-Relief, Prägedruck) von Günther Uecker (Van der Koelen L. 7003). EINBAND: 4 farbige Orig.-Broschuren in Orig.-Pappumschlag mit blind- und farbgeprägtem Deckeltitel. 36,5 : 22,5 cm. - ILLUSTRATION: Mit 4 Orig.-Graphiken von T. Lenk, G. H. Pfahler, H. Mack und G. Uecker sowie zahlreichen Abbildungen. 4 exhibition catalogues by T. Lenk, H. Mack, G. H. Pfahler and G. Uecker from the artists' group ZERO. Released on occasion of the 35th Biennale, Venice 1970, for which the four artists created the German pavillion. Contains: Thomas Lenk (Schichtung). Heinz Mack (Venedig-Gitter, Kuhn 80). Georg Karl Pfahler (no title). Günther Uecker (no title, van der Koelen L. 7003). Loose sheets in 4 issues, each with an German, Italian and English text by Dieter Honisch as well as numerous illustrations in black and white. In original wrapper with typographic and embossed title. - Orig. wrappers partly very slightly rubbed. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Biblia latina Bedeutende Bibel-Edition Biblia cum postillis Nicolai de Lyra. 4 Bände. Nürnberg, Anton Koberger 1497 und 1485. - Vollständiges Exemplar der großen Edition bei Koberger - Vierbändige Ausgabe mit Holzschnitt-Illustrationen - Mit dem einflußreichen Kommentar von Nicolaus de Lyra - Das nach Gutenberg größte und am häufigsten gedruckte Bibelprojekt - Mit 3 eingemalten Schmuckinitialen auf Goldgrund Nach der ersten Ausgabe von Herbort 1481 in Venedig, den Ausgaben von Nikolaus Jenson (Köln 1481) und Franciscus Renner (Heilbronn 1482-83) hatte Anton Koberger (1440-1513) den umfangreichen Text insgesamt viermal gedruckt. Vorliegend die Bände I-III im vierten (1497) und Band IV im ersten Druck (1485). Da die Texte dieser Drucke kaum voneinander abweichen, wurden häufig unterschiedliche Auflagen zusammengestellt und einheitlich gebunden. Die Holzschnitte wurden erstmals in dem Koberger-Druck der Postilla von Nicolaus de Lyra (1481) verwendet und sind damit die ältesten Illustrationen der Offizin. Sie wirkten lange nach, vor allem in der Lutherzeit. Dargestellt sind die Arche Noah, die Bundeslade, der große Leuchter, die Gesetzestafeln, der Tempel Salomonis, der Hohepriester, astronomische Diagramme etc. EINBAND: Einheitliche Kalblederbände des frühen 18. Jahrhunderts über Holzdeckeln mit reicher Blindprägung im spätgotischen Stil sowie mit Messingschließen. Folio. 34 : 24 cm (Bd. IV etw. abweichend: 32 : 22 cm). - ILLUSTRATION: Mit 38 Textholzschnitten, zahlreichen eingemalten roten Lombarden (Bde. I-III) bzw. doppellinigen roten Antiqua-Initialen (Bd. IV), teils mit auslaufendem Federwerk. Ferner mit einer 13zeiligen farbigen Eingangs-Initiale auf Goldgrund und je einer 4- und einer 5-zeiligen Initiale in Gold- und Farben, alle drei mit farbiger Akanthusbordüre mit Früchten und Goldpunkten am Rand. - KOLLATION: 424 nn. Bll.; 338 nn. Bll.; 317 nn. Bll. (ohne d. l. w. Bl.), 383 nn. Bll. (ohne das erste w. und die letzten 2 w. Bll.). - Got. Type. 2 Spalten, Text von Kommentar umgeben. - PROVENIENZ: Alle Bände auf dem Titelbl. mit hs. Besitz- und Kaufvermerk des Parochialmönchs Johannes Morser aus Kloster Santeins (Satteins): 'Ex libris Joannis Morser parochi in Santeins', datiert 1717. Morser war es wohl auch, der die Bände einheitlich und im Stil des 15. Jahrhunderts binden ließ: Das fliegende Vorsatz des vierten Bandes enthält ein kalligraphisch verziertes Register von seiner Hand, ebenso die in diesem Band eingemalten roten Initialen. - Bd. I mit hs. Eintrag des 19. Jhs. zu Nikolaus von Lyra auf dem fliegenden Vorsatz. LITERATUR: GW 4288 und 4294. - Hain/Cop. 3166 und 3171. - Goff B 613 und 619. - BMC II, 427 und 443. - BSB B-452 und 477. Complete copy of the grand Koberger bible edition in four volumes with woodcut illustrations and the influential commentary by Nicolaus de Lyra. Uniform early 18th century calf bindings over wooden boards with rich late Gothic blind tooling and brass clasps. Folio. 34 : 24 cm (vol. IV somewhat differing: 32 : 22 cm). With 38 woodcuts in the text, numerous painted lombards (vols. I-III) and double-lined red antiqua initials (vol. IV), partly with penwork. Also with a 13-line color opening initial on gilt ground and with a 4- and a 5-line initial in gold and in colors, all three with color acanthus borders with fruits and gold dots in margin. 424 unnumb. ll.; 338 unnumb. ll.; 317 unnumb. ll. (without last blank leaf), 383 unnumb. ll. (without first and last two blank ll.). - Goth. type. 2 columns, text surrounded by commentary. - Minor isolated staining and browning, first leaves of vol. I with trace of damp in upper corner, last leaves of vol. I and vol. IV with stronger waterstains, isolated small traces of worming, a few backed marginal blemishes. Bindings slightly rubbed in places, front joint of vol. I brittle, 2 spines ends with small losses, spine of vol. IV restored in original style. Dieses Objekt wird regelbesteuert angeboten (R).

Henri Michaux Befreite Rechte Droites liberées. Poème sur quatorze gravures de Sebstian Matta. Paris, G. Visat 1971. - Eine der wichtigen Gemeinschaftspublikationen von Michaux und Matta - 1 von 100 Exemplaren - Schöne kräftige Abzüge der Graphiken 'Peintre? Poète? Philosophe peintre? Savant utopiste? Tout à la fois? Rien de tout cela? Matta refuse de s'identifier à un peintre' (Alain Jouffroy) 1 von 100 numerierten Exemplaren, im Druckvermerk von Henri Michaux signiert. Entstanden im Atelier von Fequet und Baudier in Paris; Druck der Radierungen bei Georges Visat, die Platten wurden nach dem Druck zerstört. 'Man hat bei Matta von einem 'Futurismus des Organischen' gesprochen, seine Welt als Science-fiction charakterisiert. Sie ist beides: Science und Fiction, Science als Fiction, und sie ist zugleich ein drittes: Sie ist Bild, Vision, Imagination.' (Wieland Schmied) EINBAND: Lose Lagen in Orig.-Umschlag mit blindgeprägtem Titel, in Orig.-Leinenkassette. 44 : 32 cm. - ILLUSTRATION: Folge von 14 signierten Orig.-Farbradierungen von Sebastian Matta sowie eine zweite, gleichfalls signierte Suite sämtlicher Graphiken auf Japanbütten. - PROVENIENZ: Privatsammlung Baden-Württemberg. LITERATUR: Sabatier 271-284. - Ferrari 446-459. - Ortega-Marquez S. 21. An important joint effort of Michaux and Matta, from an edition of 100 copies. Loose sheets in orig. wrapper with blind-tooled title in orig. cloth case. 44 : 32 cm. Series of 14 signed orig. color etchings by Sebastian Matta and a second signed suite of all prints on Japon. - Case foxed and stained, inside fine and clean copy Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.

Biblia germanica Biblia, Das ist, die gantze Heilige Schrifft, Altes und Neues Testaments. Mit einer Vorrede Joh. Dieckmanns. 3 Teile in 1 Band. Stade, C. Holwein 1702. Stader Bibel von Johann Diecmann (1647-1720). Das Frontispiz mit einer Ansicht von Stade. Zweite Ausgabe, erstmals 1690 erschienen. EINBAND: Zeitgenössischer Schweinslederband über Holzdeckeln mit reicher Blind- und Rollenprägung, blindgeprägten Mittelplatten sowie 2 Messingschließen. 40 : 25 cm. - ILLUSTRATION: Mit radiertem Frontispiz und zahlreichen kleinen Textholzschnitten. - KOLLATION: 5 Bll., 27 S., 22 nn., 324, 194, 148 num. Bll. LITERATUR: Bibelslg. Württ. Landesbibl. E 1021. - Slg. Böhme 1559. - Vgl. Reinitzer 172. Second edition. With engr. frontispiece and numerous small woodcuts in text. Contemp. pigskin over wooden boards richly blind- and rollstamped, with 2 brass clasps. - Without the 11 copperplates (like the copy in the WLB Stuttgart). Partly some browning and minim. waterstaining, last leaves with few wormholes, endpapers renewed. Binding slightly stained and rubbed. Else well-preserved copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Bugenhagenbibel Die erste vollständige Lutherbibel De Biblie uth der uthlegginge Doctoris Martini Luthers yn dyth düdesche ulitich uthgesettet. 6 Teile in 1 Band. Lübeck, Ludwig Dietz 1533 (Kolophon: 1. April 1534). - Seltene erste Gesamtausgabe der Lutherbibel in Niederdeutsch - Noch vor der ersten hochdeutschen Vollbibel erschienen - Erstmals mit den Apokryphen - Mit Summarien zum Neuen Testament von Johann Bugenhagen - Prachtvoll illustriert mit Holzschnitten von Erhard Altdorfer - Mit der bekannten Weltkarte Daniels Traum Die berühmte Lübecker Bibel ist die erste niederdeutsche Ausgabe einer Vollbibel nach Luthers Übersetzung. Sie erschien noch vor der ersten hochdeutschen Vollbibel (Wittenberg, September 1534). Wegen der Herausgeberschaft Johannes Bugenhagens wird sie auch Bugenhagenbibel genannt. Sie gilt aufgrund der hochwertigen Holzschnitte und der besonderen typographischen Gestaltung als ein Meisterwerk der Druckkunst. Da das Mittelniederdeutsche die Sprache der Hansezeit war, wurde die Lübecker Bibel zum Prototyp von Ausgaben in verschiedenen Sprachen und Ländern Nordeuropas. Der Drucker Ludwig Dietz selbst wurde 1548 von König Christian III. nach Kopenhagen berufen, wo er mit den gleichen Lettern und Illustrationen die erste dänische Vollbibel druckte. EINBAND: Zeitgenössischer Schweinslederband über Holzdeckeln mit reicher Blind- und Rollenprägung (Allegorien), Mittelplatten mit Luther sowie Melanchthon; Besitzmonogramm 'I I' (= J J), ferner mit 2 Messingschließen. Folio. 39 : 26 cm. - ILLUSTRATION: Mit 1 figürlichen Holzschnitt-Titelbordüre (st. 2), 1 Titelholzschnitt und 80 Textholzschnitten (davon 5 altkoloriert und 2 blattgroß). - PROVENIENZ: Titelbl. des NT im Unterrand mit Besitzeintrag eines 'Jochen Jost' (?), datiert 1594. Auf dem letzten Blatt, unterhalb des Kolophons und durch Randhinterlegung überdeckt, gleicher Besitzeintrag, datiert 1593. - Der faks. Titel verso mit kl. Sammlerstempel 'Bibliothek Scheier' (20. Jh.). LITERATUR: VD 16, B 2840. - Borchling/Claussen 1182. - Volz S. 234 und 238-243. - Reinitzer 96. - Vogel 135. - Dodgson II, 378. - Thieme/B. I, 349. - Jürgens, Altdorfer S. 33ff. (mit Auflistung der einzelnen Holzschnitte). - Shirley 68 (Weltkarte). Rare first complete edition of the Luther Bible in Low German, published even before the first complete Bible in High German (Wittenberg, Sept. 1534). With the Apocrypha for the first time and Summaries of the New Testament by Johann Bugenhagen. Considered a masterpiece of the art of printing due to the woodcuts by E. Altdorfer and the typographical design. 6 parts in 1 volume. With fig. woodcut title border (of 2), 1 title woodcut and 80 (5 colored, 2 fullpage) woodcuts by E. Altdorfer, among them the Daniel's Dream Map (Shirley 68). Contemp. pigskin over wooden boards, richly blind- and rollstamped (allegories) and panels with Luther resp. Melanchthon; 2 brass clasps. - Lacking the main title (replaced by skilfull facsimile), otherwise complete. The colored woodcut plate (paradise) bound as frontispiece at the beginning. - In general slightly stained (few leaves somewhat more), mostly some waterstaining at upper margin, towards end some wormholes, few restored marginal tears, leaf 7 with corner torn off (affecting text), last leaf at bottom with old backing (covering old ms. inscription). Binding spotted and scuffed, front joint partly cracked, spine ends repaired, later endpapers. Despite the defects, a good copy of the rare and important bible edition. - Provenance: Ownership inscription on the title of the New Testament, dated 1594. The same owner inscribed below the colophon with date 1593 (backed in later time). The replaced title with small private stamp 'Bibl. Scheier' (20th cent.). Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Böhmisches Landrecht Vladislavsche Landesordnung Boemisches Landrecht (Rückentitel). Deutsche Handschrift auf Papier. Prag 1564. - Bedeutende zeitgenössische Abschrift der Vladislavschen Landesordnung aus dem Jahr 1564 - Prachtvolle Handschrift aus dem Besitz von Hans von Bernstein (1525-1589), dem 'Premierminister' Augusts von Sachsen - Von großer Seltenheit Das Vorwort unterschrieben 'Präger Schloß. Sonnabent nach Maria Himelfahrt. Anno im Vierundsechtzigsten (d. h. 1564) .. Wolff von Wrzeßowitz, öbrister Landschreyber im Königreich Behemen'. Wolf oder Wolfgang von Wrzesowitz (auch Wrzesowiz oder Wrzezowetz) war Herr auf Töplitz und Graupen. 1550 bis 1557 wirkte er als Kaiserlicher Kammer-Präsident in Böhmen, darüberhinaus war er oberster Landschreiber in Böhmen. Im Jahr 1500 war es in Böhmen zur ersten gesetzlichen Zusammenfassung des gesamten Landrechts, zur sogenannten Vladislavschen Landesordnung gekommen. Diese Landesordnung war ein Dokument der Übermacht der Stände, d. h. des Adels. Die Revisionen der folgenden Jahrzehnte spiegeln die Veränderungen im dauernden Kräftespiel zwischen König und Adel. Die 1530 gedruckte Landesordnung ist noch ganz im Geiste der Vladislavschen Landesordnung gehalten, ergänzt durch die seither gefaßten Landtagsbeschlüsse. Die darauf folgende von 1549 wurde unter dem persönlichen Einfluß Ferdinands I. nach der Niederwerfung des ständischen Aufstandes im Jahr 1547 beschlossen - diese Landesordnung beginnt deshalb mit den Kapiteln über die Würde, Gewalt und die Gerichte des Königtums. 'Die noch zu Lebzeiten Ferdinands geschaffene, aber erst nach seinem Tode im Druck publizierte und seinem Nachfolger zugeeignete Landesordnung von 1564 ist den Ständen wieder günstiger. Dies ist schon äußerlich bemerkbar, da die Wahl und der Eid des Königs wieder an die Spitze gestellt werden.' (Otto Peterka, Rechtsgeschichte der böhmischen Länder , Bd. 2, S. 123). Der Besitzer der vorliegenden Handschrift war Hans Christoph von Bernstein, 'seit 1565 ständiger Hofrat Kurfürst Augusts von Sachsen und zugleich hervorragender Vertreter des landständischen Adels, seit 1566 als Obereinnehmer der Trank- und Landsteuer und seit 1570 als Bergrat tätig. Steuer- und Bergverwaltung wandelte er in kurfürstliche Zentralbehörden neben Kanzlei und Renterei um. Bei Gründung der politischen Oberinstanz, des Geheimen Rates, durch Kurfürst August 1574 zu dessen vornehmstem Mitglied ernannt, nahm er auch noch unter der Regierung Kurfürst Christians I. in der Innen- und Außenpolitik Kursachsens eine einem Premierminister vergleichbare Machtstellung ein' (NDB II, 134 f.). EINBAND: Zeitgenössischer Schweinslederband über Holzdeckeln mit reicher Blind- und Rollenprägung, Vorderdeckel mit dem schwarzgeprägten Wappensupralibros von Hans Christoph von Bernstein (1525-1589) sowie dessen Monogramm 'HCVB' und Jahreszahl '1573'. Folio. 32,7 : 22 cm. - KOLLATION: 5 S. (Vorwort), 1267 S., 13 leere S., 79 S. (Register). Blattgröße 30,5 : 19,8 cm, Schriftspiegel ca. 22 : 9,5 cm. 21 Zeilen. Deutsche Kanzleischrift in rotbrauner und dunkelbrauner Tinte, seitlich regliert. - PROVENIENZ: Hans Christoph von Bernstein, Geheimer Rat des Kurfürsten von Sachsen (s. o.). An extremely rare important contemporary transcript of the Land Constitution of Vladislaus from 1564. A splendid manuscript from the possession of Hans von Bernstein (1525-1589), the prime minister under Augustus, Elector of Saxony. Contemp. pigskin over wooden boards with rich blind- and roll tooling, front board with black-stamped armorial bookplate of Hans Christoph von Bernstein (1525-1589) and his monogram 'HCVB' and the year '1573'. Folio. 32.7 : 22 cm. 5 pp. (preface), 1267 pp., 13 blank pp., 79 p. (index). Size of sheet 30.5 : 19.8 cm, Text area ca. 22 : 9.5 cm. 21 lines. German chancery script in red-brown and dark-brown ink, ruled sideways. First 2 blank leaves missing, else complete. - Slightly browned, last leaves with water stains, covering of rear board damaged by moisture, movable clasp parts removed. Else well-preserved and clean manuscript in a contemporary binding. Dieses Objekt wird regelbesteuert angeboten (R).

A GEORGE III CARVED MAHOGANY AND UPHOLSTERED SIDE CHAIRIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770The arched back above a blind fretwork frieze and cluster legs97cm high

Y A REGENCY ROSEWOOD AND GILT METAL INLAID CONSOLE TABLE CIRCA 1820 With two frieze drawers above the mirror back and columnar supports, on inverted bowfront undertier and moulded feet94cm high, 111cm wide, 29.5cm deepThe proceeds of this lot will be donated to the Ukraine Crisis AppealCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some minor old chips and losses to veneers, lifting to some elements of the gilt metal inlays, one section in particular is held with masking tapeThe mirror plate is almost certainly original, it has signs of age including depletion and bloom as well as spotting. The drawers are 'blind' to the frieze with a space for a hand to pull the drawer outThe columnar supports are slightly chamfered to the rears, this is not evident from the front and is presumed to be part of the construction of the piece, this is uneven and more pronounced to one column than the otherOverall solid and stablePlease refer to additional images for visual reference to condition Condition Report Disclaimer

A LATE GEORGE III CALAMANDER AND BRASS WRITING TABLEIN THE MANNER OF GEORGE OAKLEY, CIRCA 1810The cedar lined shallow cushion drawer with distinctive brass interlaced line and star inlay77cm high, 122cm wide, 62cm deepProvenance:Formerly in Dodington ParkGeorge Oakley (1773-1840) was a leading exponent of 'Grecian-black' calamander furniture which was highly fashionable. The Zebra like stripes of the timber, combined with brass inlay, helped to earn the firm royal patronage and private commissions, becoming one of the most famous cabinet makers in Regency London. In 1801 the Journal des Luxus und der Moden speaks of 'everyone of taste and discrimination making their purchases at Oakley's, the most tasteful of London's cabinet'.The use of calamander, triple line brass inlay and six point brass inlaid stars with circular ebony centres are all features seen on Oakley's recorded work.See Margaret Jourdain, Regency Furniture, p.51, 'From a manuscript inventory of the furniture supplied by George Oakley in 1810 for Papworth Hall, Cambridgeshire...the account includes the more important pieces ... A calamander wood circular loo table ....the top inlaid with a border of stars in brass and ebony £13 10 6'. See pl. 98, a Zebra wood sofa table made in 1810 by George Oakley with brass line and star inlay.See Christie's, New York, British Interior, 21st January 1999, Lot 476, ($14,950) for calamander and brass quartetto tables with related brass six point stars by George Oakley supplied to Papworth Hall in 1810. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, there are various elements of the brass inlays lifting and protruding from the table, the majority appear to be present, there are various chips and losses to the banding and other inlaid elementsThere is no key to the drawer, the lock is unlocked at time of report, there are no handles by design, the drawer is 'blind' Overall solid and stableThe green leather top is scuffed and marked and with clear signs of age and use, there are some deeper gougesSome misshaping to the gilt metal elements around the feetPlease refer to additional images for visual reference to condition Condition Report Disclaimer

Y A REGENCY ROSEWOOD AND BRASS INLAID SOFA TABLECIRCA 1820The rectangular top with drop ends above a single blind frieze drawer, rectangular tapered support, platform base, and hipped outswept legs71cm high, 150cm wide, 71cm deep  The proceeds of this lot will be donated to the Ukraine Crisis AppealCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, some repairs to the legs where they meet the castors. Some minor lifting to the brass inlays in places but overall none are protruding too far from the surface to detract from the appearance Fading and colour variation overallThe lower collar to the stem where it meets the platform would have been gilt originally, this has worn and the bole layer is now visible Overall solid and stableThe drawer is 'blind' to the frieze with a space for a hand to pull the drawer outPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A pair of oval framed engravings after Angelica Kauffmann 'Blind Man's Bluff' and another (Dia 40cm)

Static (British, b.1983) Mexican Standoff, 2009 Screen print on 300gsm Fabriano paper  Signed, titled and numbered 23/75 in pen, with the artist’s blind stamp 70 x 82 cm (27 x 32 in) STATIC is the creative output of East London based artists Tom and Craig, who have been working as one since 2006. The combination of their backgrounds in Graphics and Fine Art allows for their collaborations to create an award-winning aesthetic that fuses elements of urban art with fine art, merging a clean graphic style with stencils, spray paint, screen printing and paint brushes to create unique pieces which have been exhibited on the streets of London as well as a number of international gallery spaces. STATIC established their studio in 2006 and have been printing, painting and pasting all their own work to maintain a consistency of output and directly influence the decision-making processes that go into each idea, original artwork and edition they produce. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ben Eine (British, b.1970)Circus Alphabet, 2006Screenprint in colours on wove paperSigned and numbered 79/100 in silver pen with blind stamp70 x 50 cm (27 x 19 in)Benjamin Flynn born 23 August 1970 in London, known professionally as Eine, is an English artist based in London. Eine became known for his alphabet lettering on shop shutters.Some of these letters have been mapped for ease of finding. He has also taken his lettering to the streets of Paris, Stockholm, Hastings and Newcastle upon Tyne.Eine first started to explore more commercial avenues in a workshop above the Dragon Bar in Leonard Street, London (since demolished). Eine produced a number of custom clothing designs notably some custom "VANDALS" sweatshirts and started to explore screen prints, eventually founding the cult screen print company Pictures On Walls (POW) with Banksy. Eine produced many of the hand pulled prints for artists represented by POW including Jamie Hewlett, Mode2, Modern Toss and David Shrigley. His natural talent for colour combinations meant that he was able to enhance the work supplied by the artists. He left this position to continue to pursue his own solo career in 2008.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Daniel Halpin – ‘TOX’ (British, b. 1985)Tox09 (pink), 2009Screen printSigned and dated in pencil, with gallery blind stamp (Souled Out Studios)Professionally framed and glazed76 x 56 cm (30 x 22 in)Daniel Halpin, also known as Tox, is a British graffiti writer. He has found fame for adding his tag, always simply the word Tox followed by a number indicating the year, in a very large number of locations across the London Underground network and walls around London and Glasgow.  The notorious graffiti vandal hit the headlines in 2011 when he was convicted of a string of spray paint attacks across England between 2007 and 2010. His TOX 'tag' covered trains, buses, bridges, walls and even a funeral home. At his trial, the prosecution mocked him for being 'no Banksy' because he lacked the necessary artistic skills.  In a deliberate reference to his plight, Banksy created a London as work depicting a young boy creating bubbles in TOX's name on a wall. The piece, that was situated on the corner of Jeffrey’s Street and Kentish Town Road, Camden, was within walking distance of where self-styled 'King of the Taggers' Halpin lived. Some believe the hitherto unmasked Bristol-based Banksy, who has never been convicted for his 'art', was making light of the 'amateur' efforts of the convicted criminal. Others think the piece was a tribute to the TOX tagger, who at the time was detained in prison.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shepard Fairey (American, b. 1970) Obedience Problems / Obey 99', 2006 Screen Print on cotton rag archival paper Signed and numbered 6/89 in pencil with blind stamp 106 x 73 cm (41 x 28 in) Frank Shepard Fairey (born February 15, 1970) is an American contemporary artist, activist and founder of OBEY Clothing who emerged from the skateboarding scene. In 1989 he designed the "Andre the Giant Has a Posse" (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD). Fairey designed the Barack Obama "Hope" poster for the 2008 U.S. presidential election. The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Politicians Kill, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Religion Can Seriously Harm You And Others Around You, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Poverty Can Seriously Damage Your Wealth, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Spiegelobjekt, konkave Linse und Spiegel unter Plexiglas, 18,5 cm x 18,5 cm x 8 cm x verso signiert, 77 datiert, cm, altersbedingter Zustand, Spiegel an den Ränden partiell mit blinden Flecken, Plexiglas partiell mit Klebespuren.Adolf Luther (1912 - 1990) war ein bedeutender deutscher Maler und Objektkünstler nach 1945. Nach frühen monochromen Bildern mit pastös aufgetragener Farbe wandte er sich 1958 der Erforschung des Lichts in seinen energetisch-optischen Eigenschaften zu. Er arbeitete teils seriell mit angeordneten optischen Linsen, Gläsern und Spiegeln, die durch Lichtbrechung und Spiegelungseffekten eine Art von Immaterialität erzeugen. Geradezu interdisziplinär sind seine Arbeiten, die sich mit den feinsten Phänomenen des Lichts und der Optik beschäftigen, indem er sie in künstlerischer Sprache durch eingerahmte Linsen, übersetzt. Das Spiel aus konkaver/ konvexer Form und der Farblosigkeit, die durch das eintreffende Licht selbst spiegelnd zu natürlicher Farbe auf umgebenden Oberflächen wird und ebendiese Farblosigkeit aufhebt. So fein und zart erscheint uns das Licht durch das Objekt und wird von einer wissenschaftlichen Apparatur zu einem Werk der zeitgenössischen Kunst. Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Mirror object, concave lens and mirror under Plexiglass, 18.5 cm x 18.5 cm x 8 cm, verso signed, 77 dated, age-related condition, mirror around the edges partially with blind spots, Plexiglass partially with adhesive traces.Adolf Luther (1912 - 1990) was an important German painter and object artist after 1945. After early monochrome paintings with pasty applied paint, he turned to researching light in its energetic-optical properties in 1958. He worked partly serially with arranged optical lenses, glasses and mirrors, which create a kind of immateriality through light refraction and reflection effects.His works are almost interdisciplinary, dealing with the most subtle phenomena of light and optics by translating them into artistic language through framed lenses. The play of concave/convex form and colourlessness, which is mirrored by the incoming light itself, becomes natural colour on surrounding surfaces and cancels out this very colourlessness. The light appears so fine and delicate to us through the object and turns from a scientific apparatus into a work of contemporary art.

A Chippendale style mahogany side table, rectangular top over figured frieze, raised on blind fret carved square section supports with a chamfered inner edge terminating in blocks, H73cm, W97cm, D50cm

Aleman, Mathew.: The Rogue, or the Life of Guzman de Alfarche. Written in Spanish by Matheo Aleman, Servant to His Catholike Maiestie and Born in Sevill. London, Printed for Edward Blount.1623 [and second part] London. Printed by R.B. for Robert Allott. 1633. [24], 267; [16], 357, occasional mis-numbering of leaves. Early blind-panelled calf rebacked, hinges strengthened with part of a manuscript letter on vellum, large portion of front free endpaper excised, ownership signatures of Henry Hatcher dated 1637 to verso of title page of part two; booksellers' catalogue clippings to front pastedown with the armorial bookplate of Nicholas Dobree, Guernsey. The first English translation by James Mabbe who also translated works by Cervantes and is held by some to be the I.M. whose verses are prefixed to the first folio Shakespeare. [William St Clair estate]

Two pairs pf matching glazed chinz interlined curtains, a pair of matching headboards, matching Roman blind and single matching cushionCurtain Measurments - 203cm H X 192cm W.