We found 44918 price guide item(s) matching your search

19th Century mahogany twin pedestal sideboard, the carved gallery back above a break front top, with three drawers and two blind panelled doors to each pedestal on a projecting base. 184 x 62 x 127cm approx. (B.P. 21% + VAT) Heavy wear and losses to veneer in various parts, especially to the base. Usual marks, scratches and wear commensurate with age.

Early 19th Century Welsh oak two stage press cupboard, the moulded cornice above two blind panelled doors, the interior revealing fitted shelves, the projecting base with an arrangement of six drawers, standing on bracket feet. 135 x 51 x 188cm approx. (B.P. 21% + VAT)Retains a nice colour, however there are many losses including replacement and missing handles. Breakages, splits and losses to most of the bracket feet. Rather dry and faded in places, some losses to mouldings etc.

19th Century walnut tabletop two door blind panelled collectors cabinet, the interior revealing three fitted drawers with brass recessed handles, standing on a projecting moulded base. 29 x 19 x 30cm approx. (B.P. 21% + VAT) Some losses to veneer, especially to one of the doors on the side. Some splits and losses in places. Rather dry and faded. The interior appearing in good condition with good colour. Key is present.

19th Century burr walnut table top two door blind panelled collectors cabinet, the moulded top with recessed brass carrying handle, the interior revealing two straight front fitted drawers with brass recessed handles, standing on a projecting base. 27 x 18 x 25cm approx. (B.P. 21% + VAT) Good condition overall, retaining a good colour, some splits in places, losses to veneer, part of the lock is missing to one side of the door but good useable condition.

20th Century good quality oak two stage rack back pot board dresser, probably by Titchmarsh and Goodwin, the moulded top above a shaped apron with small central blind panelled door, two fitted Delft shelves, the projecting moulded base with an arrangement of three drawers, shaped apron standing on three turned supports and pot board base. 138 x 43 x 180cm approx. (B.P. 21% + VAT) Overall in good condition, no major or obvious damage noted. Minor wear and tear, a few stains commensurate with age.

19th Century Welsh oak two stage press cupboard, the moulded cornice above two blind panelled doors, the interior revealing shaped shelf and another, the projecting base with an arrangement of two short and two long drawers, standing on shaped bracket feet. 116 x 51 x 178cm approx. (B.P. 21% + VAT) Rather dry and faded in places. There is one large breakage/split to front bracket left foot and a split to the other side. Evidence of worm to the back boards. General wear and tear, losses in places as expected commensurate with age.

Early 19th Century Welsh oak two stage press cupboard, the moulded top above two blind panelled doors with four pointed ogee fielded panels, the projecting base with an arrangement of four drawers standing on bracket feet. 133 x 51 x 138cm approx. (B.P. 21% + VAT) Replacement handles to the two doors, general wear, stains and marks. Horizontal split to the top. Splits to the side panels and some losses, especially to the bracket foot on the back left side. Good colour in places and still in useable condition.

19th Century Welsh pale oak two stage linen press cupboard, the moulded cornice above two blind panelled doors with ivory escutcheon, the interior revealing two fitted shelves, the projecting base above an arrangement of two short and two long drawers with turned handles, standing on bracket feet. 122 x 56 x 200cm approx. (B.P. 21% + VAT) Severe shrinkage splits to the side panels and splits to the doors. Very good colour overall. Minor wear and tear as expected with age. Some losses to the bracket feet.

G Plan style teak sideboard, the bow front top flanked by two blind panelled doors and four graduated drawers to the centre, with turned handles, on tapering legs. 205 x 49 x 81cm approx. (B.P. 21% + VAT) Overall in good condition. Some wear and light marks to the top, water stains etc. Appearing complete with no serious or obvious damage.

A Chinese Chippendale revival serpentine mahogany chest of drawers, early 20th century, retailed by Wolfe of Birkenhead, the book match veneered and cross banded top above a brushing slide and four graduated long drawers, flanked by canted corners with blind fretwork detail, raised upon bracket feet, retailers label to the back of the chest, 79cm H x 85cm W x 48cm D

A Victorian oak church lectern, the sloping book rest supported on a pair of gothic ogee uprights extending to triform foliate terminals, united by three panels applied with blind tracery, and raised upon a plinth base, 143cm H x 103cm W x 33cm D

Paul Henry (1877-1958),An Irish landscape with lake, bog and mountains,Print on paper,Signed in pencil and blind stamped to lower margin,published by W.J. Stacey, London,45.5cm x 49.5cm,Framed,With a further print on paper, 'Pont - Notre Dame', indistinctly signed, 32.5cm x 42cm, framed and glazed (2) CONDITION REPORT:Paul Henry print: The print is currently framed, but the frame would also have been glazed at some point.  The colours appear clean and strong, but are likely to have faded somewhat over time, particularly since the glass was removed.  There are two pale lines in the clouds above the mountain (one at 45 degrees 2.5cm long, the other vertical 3cm long).  These are likely to be surface damage, but do not present as scratches.

Laurence Stephen Lowry RBA RA (1887-1976),'The Reference Library Manchester',Signed limited edition print on paper,Signed in pencil lower right margin, Fine Art Trade Guild blind stamp lower left margin (number code partially below mount, but probably for number 035),27cm x 36cm,Framed and glazed,

ALBERTO GIACOMETTI (1901-1966)Tête (recto); Tête de femme (verso) signed 'A Giacometti' (lower right)coloured pencil and pencil on paper14.2 x 10.6cm (5 9/16 x 4 3/16in).Executed circa 1950Footnotes:The authenticity of this work has been confirmed by the Comité Giacometti. It is recorded in the online Alberto Giacometti Database as AGD 4236. ProvenanceB.C. Holland Gallery, Chicago, no. C84-9-4 (acquired by 1994).Private collection.Acquired by the present owner in 2020.'A blind man is feeling his way in the night'- The first line of a poem Alberto Giacometti wrote when asked to write about himself, quoted in D. Sylvester, Looking at Giacometti, New York, 1994, p. 110. Rendered with frenzied, swirling lines of red, blue, black and yellow, the present lot emphasizes an important technique of Alberto Giacometti's late period. Giacometti mastered all media – sculpture, drawing, and painting – but his exploration of the human figure is most obvious in his drawings, which exude the same feverish energy as his sculptures. Tête reveals the artist's confident handling of the pencil, and his expressive ability as a draftsman to reveal his hand and process. Despite his mastery of multiple media, Giacometti declared that 'one has to focus uniquely and exclusively on drawing. If one could master drawing, everything else could be possible' (Alberto Giacometti quoted in J. Lord, Dessins de Giacometti, Paris, 1971, p. 26). Intensely introspective, Tête is a revelation of Giacometti's exploratory genius as a draughtsman.Executed circa 1950, Tête shows an elongated head and neck floating atop a tangled network of sprawling lines against a vast expanse of paper. Detached from its corporeal support, Giacometti's delicate, yet incisive use of line not only gives vigorous definition to the figure's features, but also forcefully builds the perspectival focus, leading the viewer's eye directly to the sitter's haunting gaze. By this time, Giacometti felt he had exhausted the possibilities inherent in his stick-like, ghostly figures of the late 1940s, and he aimed to reclaim a more concrete sense of space. Barely visible under the tangled interplay of lines is a large 'X', crossing just atop the centre of the figure's brow, and again at the centre of the figure's throat. Throughout Giacometti's drawing oeuvre, the artist's fascination with representing visual perception is evident; here, these lines document Giacometti's attempt to situate the sitter's presence in space. His lines, fast moving, intensely layered in some areas while sparse in others, capture the ever-changing spirit of a human being's presence – a materialization of Giacometti's experience of perception. Like his mentor Paul Cézanne, Giacometti returned to the same motif time and again, relentlessly attempting to perceive visible nature and preserving the feeling of what is seen. Giacometti replicates his pencil in the same repetitive movement around the eyes. The outline around the eyes dissolve into a zone that no longer outlines, but rather energizes their centre. Jacques Dupin described these drawings as Giacometti's 'focus' compositions: 'The line is not so much a definition of forms as it is a challenge to them to appear, revealing themselves in the curve. Their frequency and emphasis are heightened as they near the focus' (Jacques Dupin quoted in B. Lamarche–Vadel, Alberto Giacometti, Paris, 1984, p. 94). Giacometti aimed to depict people as visual phenomena, stating that 'heads, figures are nothing but the perpetual movement of their inside, of their outside, they re-make themselves with no pause, they are not a real consistence... they are a moving mass' (Alberto Giacometti quoted in A. de la Beaumelle (ed.), Alberto Giacometti: Le dessin l'oeuvre, exh. cat., Paris, 2001, p. 190). After World War II, Giacometti almost entirely devoted his sculpture to the singular, skeleton-like figure which was an eerie reminder of alienation and loneliness in the aftermath of post-war Europe. His drawings, on the other hand, allowed the artist to move forward – acting as a neutral backdrop for his imagination. While it can be presumed that the present drawing is likely of Diego, the artist's brother who dominated the artist's creative output, Alberto did begin drawing his friends and associates during this time – including the composer Igor Stravinsky, Giacometti's biographer James Lord, and the poet Pierre Reverdy. In these portraits, almost all the sitters face frontally. They are depicted through rapidly applied lines which repeatedly encircle the outward region of the face, while narrower lines divide the sitter's features. In the present work, the sitter's eyes are reinforced by large and heavily drawn circles. Yves Bonnefoy has explained the significance of the figure's head: 'It is already surprising enough to find an artist at the height of his powers, who in the space of three or four years had sculpted some of the major archetypes of modern art and was immediately recognized as such, practically abandoning this type of creation in order to devote himself to the portraits of a few individuals...During this final period, of almost fifteen years, the heads studies were exclusively Diego, Annette, Annetta [the artist's mother], Caroline and a very few other persons, all close friends, which proves that Giacometti had indeed chosen the existence of individuals, the here and now as the chief object of his new and future study; and he instinctively realized that this object transcended all artistic signs and representations, since it was no less than life itself' (Y. Bonnefoy, Alberto Giacometti, A Biography of His Work, Paris, 2012, p. 369). In May 1985, the artist's biographer James Lord wrote: 'Giacometti said that it was by means of style that works of art attain truth, and he added that, while art is interesting, truth alone is of enduring consequence. By main force and long-drawn-out labor he forged a style instantly recognizable as his, and his alone, owing nothing to anyone, and through it he attained his own truth, now bequeath to us all as part of our living heritage' (James Lord quoted in Alberto Giacometti, exh. cat., New York, 1985). Tête bears witness to the artist's intimate relationship with his subject, providing a way for Giacometti to emphasize the intensity of the sitter's gaze and symbolize man's existence in a post-war era.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSMATSUNO SOFU 松野奏風 (Japan, 1899-1963) February: "Dance of a Blind Man"  Oban tata-e / woodblock print 1970 “Yoroboshi” from the series “Twelve Months of Noh Pictures” (Juni-ka-getsu Noh ga Suri) Notes: 1. This series was made by Sofu's 6 original designs plus 6 designs by his son, Hideyo. 2. Sofu Matsuno was born in Tokyo. He studied under Otake Kokkan, Tsukioka Kogyo. He was specialized in Noh-ga painting.Provenance: PROPERTIES FROM A FRENCH COLLECTOR

A Mid 20th Century Oak Three Shelf Open Bookcase with Blind Carved Top Rail, 90cm wide

Seven Millifiori style paperweights to include a Baccarat example ** Proceeds going to Guide Dogs for the Blind **

A tray containing 17 assorted glass paperweights ** Proceeds going to Guide Dogs for the Blind **

A tray containing 16 assorted glass paperweights to include Atlantis Glass, Uredale Glass etc ** Proceeds going to Guide Dogs for the Blind **

A tray containing 15 assorted glass paperweights to include Royal Brierley, Mtarfa etc ** Proceeds going to Guide Dogs for the Blind **

A tray containing 18 assorted glass and resin paperweights to include Warwick Castle, Blackpool Tower, Art Glass paperweight ** Proceeds going to Guide Dogs for the Blind **

A tray containing 17 assorted glass paperweights to include Selkirk Glass, early 20th century Tourist paperweights etc ** Proceeds going to Guide Dogs for the Blind **

A tray containing ten assorted glass paperweights to include Caithness, together with a Waterford Crystal desk clock ** Proceeds going to Guide Dogs for the Blind **

Seven glass paperweights to include Mdina glass and Murano ** Proceeds going to Guide Dogs for the Blind **

A tray containing 15 assorted glass paperweights to include Caithness, Isle of Wight Glass ** Proceeds going to Guide Dogs for the Blind **

A tray containing 17 assorted glass paperweights to include Langham Glass, Selkirk Glass etc ** Proceeds going to Guide Dogs for the Blind **

A tray containing 17 assorted glass paperweights to include V Mason and C Murano Italy, Caithness etc ** Proceeds going to Guide Dogs for the Blind **

A JAPANESE GOLD LACQUER FOUR-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated to both sides with a continuous design of Okame in an interior, the Goddess of Mirth peacefully sleeping against a large rectangular pillow whilst holding an open fan, a blind open behind her; the other side with a black lacquer tsuigasane (table tray) and a wooden tray, the designs rendered in gold, silver, red and black takamaki-e, hiramaki-e and tsukegaki on the nashiji ground, the base signed with three tensho characters, possibl for Hosen saku, attached to a coral ojime, the inro 9.2cm. Provenance: an English private collection, Somerset.

A foiled garnet and split pearl brooch, mid 19th c, in gold, 19mm, an agate desk seal, blind matrix, an Edwardian gold cornelian and bloodstone fob swivel, another contemporary hexagonal fob seal in gold coloured metal and a 15ct gold cross, the last 2.3g (5) The lot in good condition for age

Dr Christopher Dresser. A Minton bone china vase, c1870, the vivid turquoise body and flared neck decorated with stylised flowers and leaves on relief moulded brown and gilt blind fret feet, 19cm h, impressed mark Slight handing wear, the brown colour evenly laid and not crazed or flaking, not cracked or chipped, old accretion of adhered dirt and grime, tiny flea bite surface graze to foot, no restoration

A Victorian mahogany bow front chest of drawers, the top with moulded lip above central blind drawer flanked by two faux drawers, two short figured and three long cockbeaded drawers under, flanked by panelled pillars, turned feet, turned wooden handles, 116cm w, 116cm h Veneer fillets inset to top, extensive scratches, cracks and wear, some veneer losses, cracks to side, moulding loss, other general wear

A mahogany display cabinet, early 20th c, the rectangular top with figured frieze centred on a blind fret carved tablet, the glazed door applied moulded glazing bars on acanthus carved squat cabriole legs with claw and ball feet, 62cm w, 108cm h Wear, abrasions, scratches, some veneer loss to corners

A mahogany Pembroke table, early 19th c, the rectangular top and pair of D-shaped leaves inlaid with broad satinwood, coromandel, ebony and boxwood crossbands and stringing, fitted frieze drawer and blind opposing on slender turned tapered legs, 90cm w Losses to crossbanding, stringing, scratches, general wear, castors lacking, handles replaced

An Edwardian mahogany hanging corner cabinet, c1910, with dentil moulded cornice and blind fret carved frieze, the glazed door applied moulded glazing bars, shelved interior, 112cm h Generally good with some abrasions and wear

A George III mahogany Pembroke table, late 18th c, with oval top, drawer and opposing blind drawer on square tapered legs, 69cm h; 73 x 86cm Top faded, repair to one leaf near hinge

SOUL/ DISCO/ BLUES - 7" PACK. An excellent selection of 20 7" singles. Artists/ titles include BB King - The Thrill Is Gone (SS 2161, demo), Betty Wright - Clean Up Woman (K10335, demo), Donna Summer - Heaven Knows, (BF18652), Otis Redding inc My Sweet Lorene (601031), Mr Pitiful. Ike & Tina Turner - River Deep Mountain High (AMS 7039, demo). New York City - I'm Doin Fine Now, Marvin Gaye inc Sexual Healing, I Wish It Would Rain, It's Got To Be A Miracle, I Heard It Through The Grapevine. Grand Funk Railroad - Inside Looking Out, Jnr Walker And The All Stars - Road Runner, Little Milton - Blind Man, William Bell & Judy Clay - Private Number, Grover Washington Jr - Inner City Blues. Harold Melvin And The Bluenotes, The Four Tops, The Temptations. Condition is superb VG+ to Ex+.

THE ROLLING STONES - LPs (UK ORIGINAL/ EARLY PRESSINGS). An excellent pack of 6 LPs by The Rolling Stones, includes some original/ early UK pressings. Titles include The Rolling Stones (x2) inc (LK 4605, 2A/ 3A matrix. unboxed red labels. Type 3 MacNeil non-flipback sleeve. Record VG+/ sleeve Ex) & (LK 4605, Unboxed grooved red labels. Type 1a MacNeil flip-back sleeve. 1A/ 4A matrix. VG+/ VG), Between The Buttons (LK 4852, unboxed red label, mono. 4A/ 5A matrix. James Upton flip-back sleeve. Ex/ Ex), Out Of Our Heads (x2) inc (LK 4725, unboxed red label. Mono. 3A/ 1A matrix. Robert Stace sleeve with 'I'm All Right' A6. Ex/ Ex) & (LK 4725, unboxed red label. 6791/1 / 6792/1 matrix. VG/ VG+), No2 (LK 4661, unboxed red label. Blind Man flip-back Jame Upton sleeve. 2A/ 2A matrix. VG+/ Ex).

A SILVER PARCEL GILT TAPERED JUG BY STUART DEVLINLONDON 1968The silver rim polished, the blind cagework beneath gilt, the interiors gilt, 26cm (10in) high, 736g (23.65 oz)

Helen Bradley signed print with artisit blind stamp

Small snooker balls together with vintage dominos for the blind

Hubbard Gallery, two full length silhouttes, two studies of Joseph King 1834, blind stamped, 28 x 20cm and 24 x 17cm, and an oval silhouette of Alexander Powell, 15 x 11cm

*After Cyril Power 'Hockey' giclée print in colours, with Bookroom Art Press blind stamp, numbered 5/950 in pencil 25 x 40cm Provenance: The Lawson Gallery, Cambridge. *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Appears to be in good condition. Modern print.

*HRH Charles Prince of Wales (b.1948) Hilly landscape lithograph in colours, with blind stamp of Prince of Wales crest verso, printer's proof from the Curwen Studio sheet 52 x 70cm, unframed *Artist's Resale Right may apply to this lot.Condition report: Some marks to the left margin, please refer to images, although this could be covered by a mount/frame. Some printing of grey colour on the reverse; however, this does not impact the image from the front. Image 26 x 38.5cm

David Walker (1934-2008) Two costume designs for 'William Tell', Royal Opera House, Stockholm, 1966 the first inscribed 'Peasant women and children/William Tell/Royal Opera House/Stockholm/1966', the second inscribed 'Peasant men and boys/William Tell/Royal Opera House/Stockholm/1966', watercolour 31 x 50cm and similar; together with a further costume study signed indistinctly and dated '5/5/1986', watercolour, with blind stamp 'PL, Palermo Sicilia' 35 x 27cm (3) Provenance: The two costume designs with Wright Hepburn Gallery.

*Susan Aldworth (b.1955) 'Dreaming Voices 5' lithograph in colours, signed and dated 'Susan Aldworth/2012' l.r., inscribed as titled and numbered 1/15 in pencil, with 'The Curwen Studio' blind stamp sheet 75.5 x 52cm, unframed This work is part of a series called 'Reassembling the Self', which was exhibited at the Hatton Gallery, Newcastle, 2012. Aldworth combined her own mark making, anatomical drawings and scans of the body to explore the relationship between the mind and the body. Aldworth writes that she aimed to 'make a series of images where the body is put together in the wrong order to evoke the feeling of a person being at odds with their own body'. Sold on behalf of the Curwen Print Study Centre to raise funds for the expansion of the studio, gallery space and additional equipment. Visit curwenprintstudy.co.uk *Artist's Resale Right may apply to this lot.Condition report: In generally good condition.

*John Pasche (b.1945) 'The Rolling Stones European Tour 1970' lithograph in colours, signed 'John Pasche' and numbered 'P/P 4/4' in pencil, with blind stamp 'John Pasche Print by Curwen Studio', printer's proof from the Curwen Studio 84 x 60cm, unframed *Artist's Resale Right may apply to this lot.Condition report: Soft creases to the corners, generally in good condition.

*John Pasche (b.1945) 'The Rolling Stones American Tour 1972' lithograph in colours, signed 'John Pasche' l.r. and numbered 'P/P 2/4' l.l. pencil, with blind stamp 'John Pasche Print by Curwen Studio', printer's proof from the Curwen Studio sheet 84 x 60cm, unframed *Artist's Resale Right may apply to this lot.Condition report: A couple of light handling creases, but generally in good condition.

*Banksy (b.1974) 'Visit Historic Palestine' offset lithograph in colours, with 'The Walled Off Hotel' blind stamp l.l., also stamped verso sheet 59.2 x 42cm, unframed *Artist's Resale Right may apply to this lot.Condition report: Light handling creases, a light bend to the sheet in a diagonal across top left corner, but the paper is not creased.

*Laurence Stephen Lowry RA (1887-1976) ‘Britain at Play’ offset lithograph, signed 'L S Lowry' in pencil l.r., with the Fine Art Trade Guild blind stamp l.l. image 44 x 60cm *Artist's Resale Right may apply to this lot.

ANDY WARHOL 'Liza Minnelli', 1978, lithograph, numbered 83/100 Leo Castelli Gallery, edited by Georges Israel (blind embossed) on Arches paper, gallery stamped on reverse, 58cm x 38cm, framed and glazed

ANDY WARHOL 'Muhammed Ali', from Athletes Series 1977, numbered 4/100 by Leo Castelli Gallery, edited by Georges Israel (blind-embossed) on Arches paper, gallery stamped on reverse, 58cm x 38cm, framed and glazed.

After DAVID SHEPHERD - 'The Waterhole Trilogy'. Limited edition (9 of 1,000) set of three. Each with blind stamp and signed in pencil by the artist, parcel-gilt wooden frames. (No. 1 image size 35 x 23cm. Nos 2 and 3 approx 20 x 28cm)

After DAVID SHEPHERD - 'Life Goes On - September 1940'. Limited edition 1,174 of 1,500, with blind stamp and signed in pencil by the artist, parcel-gilt wooden frame (image size 47.5 x 67.5cm)

An impressive George III oak standing corner cupboard, the upper section with dentil cornice, blind fretwork frieze and fluted sides, the lower section with a pair moulded panel doors, 116cm by approximately 80cm by 250cm

Theologie.- Biblia, Das ist, Die gantze Schrifft, Altes und Neues Testaments. Teutsch, D. Martin Luthers: Auff gnädige Verordnung deß ... Fürsten und Herrn, Herrn Ernsts, Hertzogen zu Sachsen ... Nürnberg, Endter, 1662. Titel, 61 Bll., 1118, 416 S., 9 Bll. Mit 7 gestoch. Titeln u. Zwischentiteln, 13 ganzseit. Kupferporträts, 1 ganzseit. Wappenkupfer, 2 doppelblattgr. Kupferplänen, 4 doppelblattgr. Kupferkarten sowie 13 (3 doppelblattgr.) Kupfertafeln. Folio. Dekorativer Schweinsldr. d. Zt. über Holzdeckeln mit reicher Blind- und Rollenprägung (mit Porträts von Luther und Melanchthon, Namensprägung des Besitzers 'Martin Gebauer / Anno 1667') sowie Messing-Eckbeschlägen u. -Schließen (leicht berieben, HDeckel mit kl. Wurmlöchlein, dezent restauriert, Lederband der Schließen erneuert). Fünfte Ausgabe der Weimarer Kurfürstenbibel.- Prächtige Kurfürstenbibel mit Porträts der Kurfürsten und der sächsischen Herzöge sowie einem Porträt Martin Luthers, ferner mit zwei Plänen von Jerusalem, Abbildung der Arche Noah, Ansicht vom Augsburger Reichstag 1530, Kalender etc. Die Karten zeigen das Mittelmeer samt arabischem Raum, den Weg der Reise der Kinder Israels aus Ägypten durch das Rote Meer, das Gelobte Land u.a.- Vorsätze erneuert.- Teils leicht fleckig und etwas gebräunt, teils schwacher Feuchtrand in den weißen Außenrändern, vereinzelt mit kleinem Wurmgang im weißen Kopfsteg bzw. mit kleinen Randläsionen bzw. Verstärkungen im weißen Rand.- Vorderes Vorsatzblatt mit kalligraphischem Besitzvermerk von Martin Gebauer aus Greiffenberg von 1670.

Hamburg.- Vor dem Zollanschluss. Ansichten aus den zum Abbruch bestimmten Stadttheilen. 1.-2. Serie in 2 Bdn. Hamburg, Strumper, 1883-84. Mit 22 Tafeln. 4°. Lose in roten, blind- u. goldgepr. OLwd.-Decken (gering angestaubt). Die Tafeln mit Karten der durch den Zollanschluss veranlassten Veränderungen sowie des zukünftigen Freihafengebietes, außerdem mit Fotografien von Wandrahm, Zippelhaus, Brook, Kehrwieder, Binnenhafen, Holländische Reihe, Brooksgraben, Stadtdeich u.a.- Ränder leicht gebräunt.- Dabei: Dublette der 1. Serie.

Theologie.- Sacra Biblia. Das ist: Die gantze Heilige Schrifft, Alten und Neuen Testaments: Nach der letzten Römischen Sixtiner Edition mit Fleiß übersetzet Durch Caspar Ulenberg. 3 Tle. in 1 Bd. Bamberg, Zieger u. Lehmann, 1701. 24 (von 34) Bll., 654 (recte 642) S. Titel, S. 3-278 Titel, S. 3-243. Mit 1 gestoch. Titel u. 25 Kupfertafeln. Folio. Schweinsldr. d. Zt. über Holzdeckeln mit Blind- u. Rollenprägung (etwas fleckig u. beschabt, Ldr.-Bezug am unteren VDeckel mit Fehlstelle, außerdem 1 kl. Fehlstelle am vorderen Außengelenk, Schließen fehlen). Dritte Ausgabe der erstmals 1630 erschienenen Ulenberg-Bibel, die als Überarbeitung der Dietenberger-Bibel von 1534 zu den drei katholischen Gegenbibeln zur Lutherbibel zählt.- Es fehlen zu Beginn die Approbatio und die Vorrede, außerdem das letzte Blatt am Schluss.- Bindung zu Beginn lädiert. Kupfertitel und letztes Blatt jeweils mit Fehlstellen und in die Innendeckel montiert, Titel und Vortitel des ersten Teils aufgezogen. Etwas gebräunt und leicht stockfleckig, stellenweise (insbesondere zu Beginn und am Schluss) mit Läsionen im weißen Außenrand.

William Russell Flint, after, 'La Quatorze Juillet', signed and titled in pencil to margin, Frost and Reed blind stamp to margin, collotype print, 49cm x 63cm.Provenance: collection label to verso

Thomas George Cooper (19th century British School), by and after, 'Cattle by a Stream', signed within the etching, blind stamp to margin, etching, 42cm x 54cm.

A 20th Century 1930's oak open bookcase cabinet having four section shelved top with flyaway cornice above. Below a double blind fronted door base with brass knob handles opening to reveal with all raised on a plinth base. Overall good condition. Measures approx; 123cm x 135cm x 44cm.