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After William Russell Flint, a limited edition print entitled "The Trio" pencil signed lower right, FATG blind stamp, framed and glazed, 46cm x 60cm

A late 18th Century mahogany astragal glazed corner cupboard with blind fret decoration

Michael Rothenstein "Peacock Bird" (1908-1993) signed Artists Proof IV, woodcut printed in colours with peacock and butterfly, blind stamp to top left corner overall size 74cm x 93cm (ARR may apply)

WWII Royal Observer Corps sector clock, the chain driven single fusee movement by Elliott Ltd, No. 18782, dated 1941, the backboard stamped A/159408, 46cm dia. Provenance :- This clock was at Manston Aerodrome until 1951, when it was purchased at public auction by the current vendor's relative, it was then displayed in his Pub until 1971 and has been passed down through the same family.Colour Sector Clocks were used in all Royal Air Force and Royal Observer Corps Operations Rooms during WW2 and continued in use for aircraft plotting until 1960. The dial of a Sector Clock had a very specific design to aid the complex efforts of RAF controllers. Radar would pick up approaching hostile aircraft well out to sea but once over the land, radar was, in the early years, blind. Aircraft were then tracked by numerous Royal Observer Corps Posts with information sent to ROC and RAF Operations Rooms. This included the altitude, bearing, and strength of approaching hostile or indeed allied aircraft. Incoming reports at RAF Ops Rooms would be shown by colour coded flags of either red, yellow or blue according to time of receipt. ROC Ops Rooms used coloured arrows plotted on the Ops Table according to the position of the Minute Hand on the Coloured segment of the Sector Clock at a succession of 5 Minute intervals. This was later reduced to 2.5 Minute intervals as aircraft speeds increased during the end of WW2

Sitzendes Mädchen. Mosbacher Fayence 20. Jh. Weiß glasiert, am Boden Blind- und Unterglasurmarke, H=25 cm.

Arnulf Rainer - - 1929 Baden bei Wien - lebt und arbeitet in Wien Zentralgestaltung. 1951. Öl auf Rupfen. Rechts im Rand mittig monogrammiert 'TRR'. 69 x 54 cm (27,1 x 21,2 in). • Frühe Arbeit des wichtigen österreichischen Avantgarde-Künstlers. • Der Ausstellungsbesuch 1951 bei der Galerie Nina Dausset in Paris mit den frühen Tachisten führt dazu, dass Rainer sich mit den Prinzipien des Automatismus und der Blindmalerei auseinandersetzt. • Rainer beginnt im Geist zu zeichen, mit geschlossenen Augen entstehen zentrale und vertikale Linien, die der Körpermotorik entsprechen. • An dem rhythmischen Liniengeflecht lassen sich kurze und schnelle sowie langsame und weichere Bewegungen ablesen. Wir danken dem Studio Rainer für die wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Süddeutschland (direkt vom Künstler erworben). Privatsammlung München (2003 von der Vorgenannten erworben). Aufrufzeit: 19.06.2021 - ca. 13.17 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONArnulf Rainer -1929 Baden bei Wien - lebt und arbeitet in Wien Zentralgestaltung. 1951. Oil on burlap. Monogrammed 'TRR' in center of right margin. 69 x 54 cm (27.1 x 21.2 in). • Early work from the important Austrian avant-garde artist. • A visit of a Tachism exhibition at Galerie Nina Dausset in Paris in 1951 inspired Rainer to examine of the priciples of automatism and blind painting. • Rainer's drawings form in his mind, he then creates central and vertical lines according to his physical gesture. • The rhythmic lines suggest short and long, as well as soft gestures. We are grateful to the Studio Rainer for the kind expert advice. PROVENANCE: Gisela Franz-Osterwald (acquired from the artist). Private collection (acquired from the above in 2003). Called up: June 19, 2021 - ca. 13.17 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Fritz Winter - - 1905 Altenbögge - 1976 Herrsching am Ammersee Ohne Titel. 1936. Mischtechnik. Öl und Wachskreide auf Papier. Lohberg 664. Rechts unten monogrammiert und datiert. Auf chamoisfarbenem Ingres-Bütten (mit Wasserzeichen). 63,5 x 48,5 cm (25 x 19 in), blattgroß. [JS]. • Frühes 'Licht-Gemälde', das mit seinem Formenrepertoire und seiner transluziden Schwerelosigkeit entscheidende Elemente von Winters berühmtem Zyklus 'Triebkräfte der Erde' (1944) vorwegnimmt. • Herausragendes Zeugnis von Winters meisterlicher Inszenierung sich sanft überlagernder, kristalliner Formgebilde, das Winters Nähe zum zeitgleichen avantgardistischen Schaffen Naum Gabos belegt. • Wie in dem 1944 geschaffenen Werkzyklus 'Triebkräfte der Erde' gelingt Winter hier bereits eine von innerem Leuchten getragene Komposition, die durch ihre metaphysische Präsenz begeistert. • Bereits in den 1950er Jahren stellt Winter in Amerika aus und ist auf zwei Ausstellungen des Museum of Modern Art, New York, vertreten. PROVENIENZ: Privatsammlung Süddeutschland (vor 1981). Galerie Thomas, München. Sammlung Deutsche Bank (vom Vorgenannten erworben). AUSSTELLUNG: Galerie Gunzenhauser, München 1981, mit Abb. (Faltblatt). Bauhaus-Künstler, Kunstsammlungen zu Weimar / Museum Wiesbaden / Bauhaus Dessau, 1993/94, Kat.-Nr. 146, mit Abb. S. 109. Auf Papier - Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt a. M., 3.3.-30.4.1995; Berlinische Galerie, Berlin, 18.5.-2.7.1995; Museum der Bildenden Künste, Leipzig, 10.8.-8.10.1995, Kat.-Nr. 214, S. 344-355, mit ganzs. Abb. Man lebt im Wirken der Schöpfung. Fritz Winter zum 100. Geburtstag, Kunst-Museum Ahlen, 10.9.2005-29.1.2006. Blind Date Istanbul, Sabanci University Sakip Sabanci Museum, Istanbul, 8.9-1.11.2007. Von einzigartiger Immaterialität und von einem sanften inneren Leuchten getragen sind Winters frühe 'Licht-Gemälde' der 1930er Jahre. In dieser wunderbaren Komposition hat Winter das 'immaterielle' Weiß zum Protagonisten erklärt, dessen abstrakte Formgebilde sich scheinbar flüchtig und schwerelos überlagern und im Zentrum verdichten, vor die scheinbar unendliche Weite des dunklen Raumes treten. Winter strebt in diesen seltenen frühen Kompositionen danach, geistig-immaterielle Inhalte zu schaffen, und nutzt dafür eine gesteigerte Reduktion der Bildmittel. Ab 1934 erreicht Winters Beschäftigung mit der Raum-Licht-Durchdringung dann ihren Höhepunkt und er nähert sich in seinen von universellen Gedanken getragenen Kompositionen schließlich, wie in der vorliegenden Arbeit, den frühen transluziden Plastiken des russischen Konstruktivisten Naum Gabo. Gabo gründet 1931 zusammen mit Theo van Doesburg, Auguste Herbin, Antoine Pevsner und Georges Vantongerloo in Paris die Künstlerbewegung 'Abstraction-Création', die bis 1937 auch einen gleichnamigen Almanach herausgibt und damit entscheidende theoretische Vorarbeit für die abstrakte Malerei liefert. Winter, der sich selbst bereits um 1930 konsequent der abstrakten Malerei verschrieben hatte, wird das Schaffen dieser avantgardistischen Vorreitergeneration genauestens verfolgt haben. Und so ist das vorliegende frühe 'Licht-Gemälde' Winters ein herausragendes kunsthistorisches Zeugnis seines Austausches mit den avantgardistischen Strömungen der Zeit und sein herausragender künstlerischer Beitrag zu jener internationalen Aufbruchstimmung, die schließlich u. a. mit der informellen Malerei der Nachkriegszeit breite öffentliche Anerkennung erlangen sollte. [JS] Aufrufzeit: 19.06.2021 - ca. 13.27 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFritz Winter -1905 Altenbögge - 1976 Herrsching am Ammersee Ohne Titel. 1936. Mixed media. Oil and wax chalks on paper. Lohberg 664. Monogrammed and dated in lower right. On creme Ingres laid paper (with watermark). 63.5 x 48.5 cm (25 x 19 in), the full sheet. [JS]. • Outstanding early composition, which, owing to its repertoire of forms and its translucid weightlessness, anticipates key elements of Winter's famous cycle 'Triebkräfte der Erde' (Driving Forces of the Earth, 1944) • Early documents of Winter's masterly orchestration of gently superimposing crystalline forms over a dark earthen ground • In this work Winter realized a composition characterized by an inner glow and metaphysic presence that is comparable with the cycle 'Treibkräfte der Erde' from 1944 • Winter showed works in the USA in two exhibitions at the Museum of Modern Art, New York, as early as in the 1950s. PROVENANCE: Private collection Southern Germany (before 1981). Galerie Thomas, Munich. Collection Deutsche Bank, Frankfurt a. M. (acquired from aforementioned). EXHIBITION: Galerie Gunzenhauser, Munich 1981, with illu. (folding leaflet). Bauhaus-Künstler, Kunstsammlungen zu Weimar / Museum Wiesbaden / Bauhaus Dessau, 1993/94, cat. no. 146, with illu. on p. 109. Auf Papier - Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt a. M., March 3 - April 30. 1995 / Berlinische Galerie , Berlin, May 18 - July 2, 1995 / Museum der Bildenden Künste. Leipzig, August 10 - October 8, 1995, cat. no. 214, pp. 344-355, with full-page illu. Man lebt im Wirken der Schöpfung. Fritz Winter zum 100. Geburtstag, Kunst-Museum Ahlen, September 10, 2005 - January 29, 2006. Blind Date Istanbul, Sabanci University Sakip Sabanci Museum, Istanbul, September 8 - November 1, 2007. Called up: June 19, 2021 - ca. 13.27 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Cornelia Schleime - - 1953 Berlin - lebt und arbeitet in Berlin und Brandenburg Reigen. 2005. Acryl, Schellack und Asphaltlack auf Leinwand. Verso auf der Leinwand signiert und datiert. 160 x 200 cm (62,9 x 78,7 in). • Seit dem Entstehungsjahr in österreichischem Privatbesitz. • Großformatige Arbeit aus der Werkserie der 'Love Affairs', in denen sich die Künstlerin sinnlich-intimen und erotischen Motiven widmet. • Durch die besondere Materialität der ungleichmäßigen, pastosen Oberfläche entsteht eine spannungsreiche Haptik. • Ab 2005 hält die Künstlerin eine Professur an der Kunstakademie in Münster/Westf. • 2020/21 sind Cornelia Schleimes Arbeiten u. a. in den Ausstellungen 'Berührend. Annäherung an ein wesentliches Bedürfnis' im Paula Modersohn-Becker Museum, Bremen, und 'We Never Sleep' in der Frankfurter Schirn Kunsthalle zu sehen. PROVENIENZ: Galerie Michael Schultz, Berlin. Privatsammlung Österreich (2005 vom Vorgenannten erworben). AUSSTELLUNG: Cornelia Schleime. Love Affairs, Galerie Michael Schultz, Berlin, 26.4.-27.5.2008; Kunsthalle Tübingen (mit dem abweichenden Titel 'Blind Date'), 7.6.-7.9.2008, S. 54f. (mit ganzseitiger Farbabb.). Aufrufzeit: 19.06.2021 - ca. 16.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCornelia Schleime -1953 Berlin - lebt und arbeitet in Berlin und Brandenburg Reigen. 2005. Acrylic, shellac and asphalt varnish on canvas. Signed and dated on the reverse. 160 x 200 cm (62.9 x 78.7 in). • Privately-owned since it was made. • Large work from the series 'Love Affairs' in which the artist committed to sensual-intimate and erotic motifs. • Through the special materiality of the uneven and pastose surface the artist creates a fascinating haptic appeal. • In 2005 the artist was called to teach at the Münster Art Academy. • In 2020/21 Cornelia Schleime's works were shown in the exhibitions 'Berührend. Annäherung an ein wesentliches Bedürfnis' in the Paula Modersohn-Becker Museum, Bremen, and in 'We Never Sleep' at the Frankfurt Schirn Kunsthalle. PROVENANCE: Galerie Michael Schultz, Berlin. Private collection Austria (acquired from above in 2005). EXHIBITION: Cornelia Schleime. Love Affairs, Galerie Michael Schultz, Berlin, April 26 - May 27, 2008; Kunsthalle Tübingen (with different title 'Blind Date'), June 7 - September 7, 2008, pp. 54f. (with full-page illu.). Called up: June 19, 2021 - ca. 16.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A George II style mahogany silver table with a canted pierced fretwork gallery and blind fretwork frieze over cabriole legs on claw and ball feet. c 1900 Height 76cm Width 81cm Depth 50cm.

A Benares tray top table on fret and blind carved folding base. 23' diam

WILLIAM BURTON: 2 titles: A HISTORY AND DESCRIPTION OF ENGLISH PORCELAIN, London, Cassell, 1902, (1200) numbered (77), frontis and title page detached, original cloth gilt, armorial bookplate of Frederick Walter Carter; PORCELAIN, ITS NATURE, ART AND MANUFACTURE, London, B T Batsford [1906], 1st edition, original blind stamped cloth gilt + R L HOBSON: PORCELAIN, ORIENTAL, CONTINENTAL AND BRITISH, London, Archibald Constable, 1908, 2nd edition, original decorative cloth + W J POUNTNEY: OLD BRISTOL POTTERIES, Bristol, J W Arrowsmith, 1920, 1st edition, original cloth gilt + ARTHUR HAYDEN: SPODE AND HIS SUCCESSORS, London, Cassell, 1925, 1st edition, original cloth gilt + FRANK HURLBUTT: BOW PORCELAIN, London, G Bell, 1926, 1st edition, large 4to, original blind stamped cloth gilt + F SEVERNE MACKENNA: 18TH CENTURY ENGLISH PORCELAIN, Leigh-on-Sea, F Lewis, 1970, (600) numbered (267), 4to, original cloth gilt, d/w (7)

GEORGE WOOLISCROFT RHEAD & FREDERICK ALFRED RHEAD: STAFFORDSHIRE POTS AND POTTERIES, London, Hutchinson, 1906, 1st edition, 68 plates including 4 coloured as list, 4to, original cloth gilt, teg + LLEWELLYNN JEWITT: THE CERAMIC ART OF GREAT BRITAIN, London, J S Virtue [1883], new edition revised, original cloth gilt + W MOORE BINNS: THE FIRST CENTURY OF ENGLISH PORCELAIN, London, Hurst & Blackett, 1906, 1st edition, 72 plates including 45 coloured, 4to, original decorative cloth pink, green and gilt, teg + WILLIAM CHAFFERS: MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN, London, J Davy & Sons, 1863, 1st edition, original blind stamped cloth gilt (4)

PERCY MACQUOID & RALPH EDWARDS: THE DICTIONARY OF ENGLISH FURNITURE, Woodbridge Antique Collectors Club 1983, (1000), 3 vols, numbered (632), large 4to, original cloth gilt + SIR AMBROSE HEAL: THE LONDON FURNITURE MAKERS, London, Portman Books, 1988, large 4to, original cloth, d/w + ARTHUR HAYDEN: CHATS ON COTTAGE AND FARMHOUSE FURNITURE, London, T Fisher Unwin, 1912, 1st edition, signed and inscribed, original blind stamped pictorial cloth gilt + MAX ROBERTSON (ED): GOING FOR A SONG, ENGLISH FURNITURE, ARTHUR NEGUS TALKS TO MAX ROBERTSON, London, BBC, 1969 reprint, original cloth, d/w (6)

DAVID MICHAEL STERN & CLIFFORD WILLIAM FURNEAUX BURNETT: A MODERN PRACTICE OF OBSTETRICS, London, Balliere, Tindall & Cox, 1952, 1st edition, inscription on ffep, 4to, original blind stamped cloth gilt

WILLIAM JEANES: THE MODERN CONFECTIONER..., London, John Camden Hotten, 1861, 1st edition, 15 engraved plates including key plate for frontis, original blind stamped black cloth, spine gilt lettered

ANON: THE ILLUSTRATIONS OF NATURAL HISTORY EMBRACING A SERIES OF ENGRAVINGS AND DESCRIPTIVE ACCOUNTS OF THE MOST INTERESTING AND POPULAR GENERA AND SPECIES OF THE ANIMAL WORLD, ill J le Keux & R Sands, London, Longmans, 1829-30, added engraved title and 113 plates as called for, ffep, frontis added title and title page detached, prize label of Pottergate Street House Academy, Norwich on front paste down, original blind stamped cloth gilt worn, aeg, inner joints weak

LEWIS WRIGHT: THE PRACTICAL POULTY KEEPER..., London, Cassell [1894] 60th thou, 8 chromolitho plates as list, 16pp adverts at end, original blind stamped cloth + H PIPER: POULTRY, A PRACTICAL GUIDE..., London, Groombridge, 1872, 2nd edition, 8 chromolitho plates as list, original blind stamped cloth, re-cased, new end papers + WILLIAM BERNHARD TEGETMEIER: PHEASANTS, THEIR NATURAL HISTORY AND PRACTICAL MANAGEMENT, London, Horace Cox, 1897, 3rd edition enlarged, 16 plates as list, 2pp adverts at end, original cloth gilt (3)

EDWIN LANCASTER (ED): THE CORRESPONDENCE OF JOHN RAY, London for The Ray Society, 1848, 1st edition, original blind stamped cloth gilt worn + ROBERT W T GUNTHER (ED): FURTHER CORRESPONDENCE OF JOHN RAY, London for The Ray Society, 1928, 1st edition, original blind stamped cloth gilt, teg + CHARLES E RAVEN: ENGLISH NATURALISTS FROM NECKAM TO RAY, Cambridge University Press, 1947, original cloth (3)

JOSEPH NASH: BRITISH SONGBIRDS..., ill Newton Limbird Smith Fielding, London, William Tegg, 8 hand coloured plates as list, frontis loose, original blind stamped pictorial cloth gilt, teg, inner joints weak + HENRY GARDINER ADAMS: FAVOURITE SONG BIRDS, London, Groombridge, 1889, 8 hand coloured plates as called for, original decorative bevelled brown cloth gilt, aeg + HENRY STANNARD: OUTDOOR COMMON BIRDS..., London, Frederick Warne [1873], 1st edition, frontis, 1pp adverts at end, original decorative blue cloth gilt, aeg + HARRY H WITHERBY: FOREST BIRDS, THEIR HAUNTS AND HABITS, London, Kegan Paul Trench Trubner, 1894, 1st edition, 8 plates as called for, original pictorial bevelled green cloth gilt (4)

ROBERT MUDIE: A NATURAL HISTORY OF DOMESTIC AND WILD ANIMALS..., London, Charles Griffin, [1839], added hand coloured vignette title, 7 hand coloured plates as called for, original decorative cloth gilt, aeg (not in Freeman) + MARIA E CATLOW: POPULAR SCRIPTURE ZOOLOGY, London, Reeve & Co, 1852, 1st edition, 16 hand coloured plates as list, 8pp adverts at end, original blind stamped cloth gilt re-cased, new end papers + MRS MARY WARD: THE MICROSCOPE, London, Groombridge 1870, 3rd edition, 8 hand coloured plates as called for, 16pp adverts at end, original decorative cloth gilt, aeg + JOHN GEORGE WOOD: THE COMMON MOTHS OF ENGLAND, London, George Routledge, [1870], 1st edition, 12 hand coloured plates as called for, original decorative bevelled green cloth gilt (4)

JAMES EDMUND HARTING: RAMBLES IN SEARCH OF SHELLS, LAND AND FRESHWATER, London, John van Voorst, 1875, 1st edition, 10 hand coloured plates as called for, 2pp adverts at end, original cloth gilt + JOHN GEORGE FRANCIS: BEACH RAMBLES IN SEARCH OF SEASIDE PEBBLES AND CRYSTALS..., London, Routledge, Warne & Routledge, 1859, 1st edition, added coloured title and 8 coloured plates as called for, errata slip, 2pp adverts at end, 16mo, original blind stamped cloth gilt + CHARLES KINGSLEY: GLAUCUS OR THE WONDERS OF THE SHORE, Cambridge, MacMillan, 1855, 1st edition, engraved frontis, original decorative cloth gilt + ANON: SHELLS AND THEIR INMATES, London, RTS, 1841, 1st edition, coloured frontis (some foxing), 2pp adverts at end, 16mo, original blind stamped cloth gilt (4)

HENRY STEVENSON: THE BIRDS OF NORFOLK..., London, John van Voorst, Norwich, Matchett & Stevenson, 1866-70, 1st edition, 2 vols, 5 plates as called for, some foxing, original blind stamped cloth gilt, a continuation volume by Thomas Southwell was published in 1890 + BERNARD BERYL RIVIERE: A HISTORY OF THE BIRDS OF NORFOLK, London, H & G Witherby, 1930, 1st edition, plates and maps collated complete, original cloth + CLAUD BUCHANAN TICEHURST: A HISTORY OF THE BIRDS OF SUFFOLK, London and Edinburgh, Gurney & Jackson, 1932, 1st edition, plates collated complete, original cloth (4)

KELLY'S DIRECTORY OF NORFOLK, 1896, with map, original blind stamped cloth gilt worn

SUSANNA CLARKE: THE LADIES OF GRACE ADIEU, ill Charles Vess, London, Bloomsbury, 2006, 1st edition, original cloth backed decorative blind stamped boards, slip-case + MARY SHELLEY: THE MORTAL IMMORTAL, intro Michael Bishop, San Francisco, Tachyon, 1996 (100), numbered (76) and signed by Bishop, original cloth, d/w + OLIVIA HOWARD DUNBAR: THE SHELL OF SENSE, COLLECTED GHOST STORIES, ill Wendy Wees, intro Jessica Amanda Salmonson, Uncasville, California, Richard H Fawcett, 1997 (400), original cloth, d/w, all titles vgc (3)

WILKIE COLLINS: MY MISCELLANIES, London, Samson Lowe, 1863, 1st edition, 2 vols, vol 1 16pp adverts at end dated Nov 1863, vol 2 adverts at end including 16pp adverts dated Nov 1863, original blind stamped green cloth, spines a little dulled (2)

LOURENCE GOLDSTEIN: ALTAMIRA, ill David Newbert, Omaha, University of Nebraska, 1978, (300) numbered (263), Abattoir editions, 2 relief prints as called for, signed and inscribed to John Fowles, original cloth, printed paper label + DAVID GRENELL (ED): ANSWERS, Berkeley California, 1996 (50) numbered (36), ownership signature and inscription of John Fowles, 4to, original cloth + PETER ROBERT HENRY MOND, 4TH BARON MELCHETT (INTRO): A COASTLINE BRITAINS THREATENED HERITAGE, London, Kingfisher Books, 1987, contributors including John Fowles, 4to, original cloth, d/w, bookplate of John Fowles, typed letter signed from Melchett to Fowles on Greenpeace headed notepaper + autograph letter signed and a typed letter signed to Fowles from Charlotte Parry-Crooke loosely inserted + TOM WILLIAMSON: LIVING LANDSCAPES, HEDGES AND WALLS, London, The National Trust, 2002, 1st edition, 4to, original cloth, d/w, bookplate of John Fowles + PETER EVERETT: 2 titles: A DAY OF DWARFS, London, Neville Spearman, 1962, 1st edition, original cloth, d/w (part losses), blind stamp of John Fowles; NEGATIVES, London, Jonathan Cape, 1964, uncorrected proof, original wraps, blind stamp of John Fowles (6)

JOHN BROCKMAN: 37, New York, Holt, Rheinhart, Winston, 1970, 1st edition, signed and inscribed to John Fowles, original cloth, d/w + SHEILA KOHLER: MIRACLES IN AMERICA, New York, Alfred A Knoff, 1990, uncorrected proof, original wraps, autograph letter signed to John Fowles loosely inserted + J NEIL, C GARCIA: OUR LADY OF THE CARNIVAL, Diliman, Quezon City, University of the Philippines Press, 1996, 1st edition, signed and inscribed to John Fowles and with John Fowles' ownership signature, original pictorial wraps + LILA BITA: THE SCORPION AND OTHER STORIES, New York, Pella Publishing, 1998, 1st edition, original wraps, ownership signature of John Fowles + TOM SLATTERY: THREE GERMAN STORIES, Osterholz-Scharmbeck 1985, 1st edition, signed and inscribed to John Fowles, original wraps + THANASSIS HATZOPOULOS: AS IF PRESENT, Chalkis, 1997, 1st edition in Greek, English, French and Italian, signed and inscribed to John Fowles, original boards + GILLIAN ALLNUTT: HOB GREEN, Nimes Grand Phoenix Press, 2004 (250) (230) numbered (148), original wraps, John Fowles' blind stamp + one other title signed and inscribed to John Fowles (8)

JOHANN HEINRICH VOS: LOUISA, trans James Cochrane, Edinburgh, Johnstone & Hunter, 1852, original blind stamped cloth, spine dulled

C J BARRETT: THE HISTORY OF BARN ELMS AND THE KIT-KAT CLUB NOW THE RANELAGH CLUB, London, 1889, 2nd edition, 4to, original blind stamped vellum gilt soiled

EDWARD BOND "AN AMATEUR": A CONCISE HISTORY AND ANALYSIS OF ALL THE PRINCIPAL STYLES OF ARCHITECTURE..., London for T Cadell, Edinburgh, W Blackwood, 1829, 8 engraved plates as called for, contemporary blind stamped calf gilt, spine gilt in compartments, morocco gilt spine label

RICHARD JEFFERIES: WOOD MAGIC, A FABLE, London, Cassell Petter Galpin & Co, 1881, 1st edition, 2nd issue, 2 vols, 8pp adverts at end of each vol for July, original blind stamped cloth gilt (2)

SIR WALTER SCOTT: 3 titles: THE LAY OF THE LAST MINSTREL, London, Longman, Hurst, Rees and Orme, Edinburgh, A Constable, 1808; MARMION, A TALE OF FLODDEN FIELD, Edinburgh, Archibald Constable, London, William Miller & John Murray, 1808, 1st edition; THE LORD OF THE ISLES, Edinburgh, Archibald Constable, London, Longman, Hurst, Rees, Orme and Brown, 1815, 1st edition, all works uniform large 4to, blind stamped calf gilt, all edges marbled, marbled end papers, armorial bookplates of Sir William Browne Ffolkes (3)

WILFRED JOSEPH CRIPPS: 2 titles: OLD FRENCH PLATE WITH TABLES OF THE PARIS DATE-LETTERS AND FACSIMILES OF OTHER MARKS, London, John Murray, 1880, 1st edition, 20pp adverts at end dated July 1883, original cloth gilt worn; OLD ENGLISH PLATE, ECCLESIASTICAL DECORATIVE AND DOMESTIC, ITS MAKERS AND MARKS, London, John Murray, 1894, 5th edition revised and enlarged, original cloth gilt + WILLIAM CHAFFERS: HALLMARKS ON GOLD AND SILVER PLATE..., London, J Davy, 1863, 1st edition, 4to, original blind stamped cloth worn and soiled (3)

Miniature Bible [English]. The Bible in Miniature, or a concise history of the Old & New Testaments, London: E. Newbery, 1780, [2], 256pp., tipped-in engraved general title and engraved New Testament title present, 13 (of 14) engraved plates, all edges gilt, marbled endpapers, contemporary red morocco with elaborate gilt decoration, green leather oval onlays to centre of each board lettered in gilt 'JHS', 64mo? in 8s (41 x 29 mm), together with: Miniature Bible [English], The Holy Bible, containing the Old and New Testaments..., Glasgow: David Bryce & Son; London: Henry Frowde; Oxford: University Press, [1911], monochrome frontispiece & few illustrations, magnifier in rear pocket, original blind decorated brown morocco, 32mo (42 x 30 mm), New Testament [English], The New Testament of our Lord and Saviour Jesus Christ, Glasgow: David Bryce & Son; London: Henry Frowde; Oxford: University Press, [1895], original roan, 17 x 15 mm, contained in original tin container, hinged lid with integral magnifier (formerly with necklace hanging loop)Qty: (3)NOTESBible [English], 1780 - Roscoe J28.

Fuller (John E.). Fuller’s Computing Telegraph [cover title], Telegraphic computer, a most wonderful and extraordinary instrument, by which business questions, of every possible variety, are instantly performed ..., New York: 1860s, 24pp. booklet describing the use of and instructions for the ‘computer’, toned, some spotting and dust-soiling, edges a trifle frayed and chipped, first leaf with small loss to upper edge, 3rd leaf with long closed tear (repaired), printed front pastedown, inside rear cover with adhered folding lithographed table, entitled ‘Analytical table of mechanical movements ...’ (repaired), rear hinge strengthened, original blind-stamped cloth, rubbed and marked, some wear to extremities, rear cover dampstained, with accompanying double-sided engraved volvelle set into thick board, comprising ‘Palmer’s Computing Scale, improved by Fuller’ on one side (with the 'Pounds, Shillings & Pence' addition for the English market) and ‘Fuller’s Time Telegraph’ on the other, tartan borders to boards (some loss on edges), dust-soiled and lightly rubbed, some minor marks, square 4toNOTESDate estimated from the statement in the booklet that Hannibal Hamlin is vice-president of the United States (served 1861-1865). The title of this circular slide rule is believed to be one of the earliest examples of the word 'computer' being used to describe a device rather than a person.

Arts and Crafts Binding. The Nature of Gothic, A Chapter from the Stones of Venice, with a Preface by William Morris, by John Ruskin, Orpington: George Allen, 1899, letterpress illustrations, some spotting to first and final leaves and edges, top edges gilt, remainder untrimmed, contemporary bookplate of May Lawrence on front pastedown, crushed tan morocco, signed 'F.S' in gilt on rear turn-in, spine gilt panelled, blind-tooled hinge with trefoil dot decoration emanating from raised bands onto returns, upper cover with green morocco onlaid panel gilt-tooled with stylised Tudor rose surrounded by foliate tendrils, trefoil dot decoration at each corner, lettered in gilt above and below, gilt double fillet border and fillets on edges and turn-ins, 8voQty: (1)

Essex House Press. American Sheaves & English Seed Corn: Being a Series of Addresses Mainly Delivered in the United States, 1900-1901, by C.R Ashbee, 1901, decorative woodcut initials, one printed in red, all edges gilt, crushed tan morocco, signed 'G H' with flower tool between the letters on rear turn-in, raised bands, gilt lettered in second and third compartments and at foot, blind-tooled hinge with trefoil leaf decoration emanating from raised bands onto returns, lightly rubbed in places, some spotting and discolouration, 8voQty: (1)NOTESLimited edition, 7/300 copies. Tomkinson 21. G.H. could be initials for Georgina Hampshire who was trained by Katharine Adams and helped her with forwarding. Based at her Broadway studio 'Eadburgha' Adams worked on several commissions for William Morris. (Tidcombe, Women Bookbinders 1880-1920, p.134).

Essex House Press. Comus, a Mask by John Milton, London: Essex House Press, 1901, hand-coloured wood-engraved frontispiece by Reginal Savage, hand-coloured tailpiece, initials in gold and red, bookplate, original vellum with the 'Soul is Form' device in blind to upper cover, 8voQty: (1)NOTESTomkinson 31. Limited edition 87/150 on vellum. The eighth of the great poems series.

Essex House Press. The Rime of the Ancient Mariner, by S.T. Coleridge, Essex House Press, 1903, frontispiece by William Strang, initials in gold, blue and red, original vellum, upper cover with the 'Soul is Form' device in blind, a few minor marks, 8voQty: (1)NOTESTomkinson 40. Limited edition of 150 on vellum, this copy unnumbered. The tenth of the great poems series.

Garrett (Frank, binder). Ernest Biéler, Peintre Suisse par J.B. Manson, Lausanne: Éditions La Concorde, 1936, numerous monochrome tipped-in plates, with captioned tissue guards, vellum doublures, gauffered edges with flower and leaf pattern, contemporary dark blue crushed morocco by Frank Garrett of Birmingham, signed on rear pastedown, some very minor rubbing to head of spine and corners, faded spine with raised bands tooled with a single line and vine leaves, gilt lettered direct in second and third compartments, remainder with gilt-tooled and onlaid design of vine leaves and grapes, upper cover similarly decorated with wide lattice border incorporating vine leaves and grapes at corners and centre of each side, enclosing a blind-tooled lattice panel with gilt lozenge tool at intersections, and central circular arabesque of vine leaves, lower cover with wide lattice border repeated, 1 or 2 light marks, single fillet on edges, turn-ins gilt-tooled and onlaid with vine leaves and grapes between double fillets, folioLimited edition, 375/800 copies, on vélin pur fil.Qty: (1)

Vale Press. Poems of Alfred Lord Tennyson, London: Ballantyne Press [for the Vale Press], 1900, wood-engraved willow pattern border decorations designed by Charles Ricketts, engraved by C.E. Keates, woodcut initials, rough-trimmed, bookplate of Robert Peel Sheldon (designed by the owner and dated September 1893, to front pastedown), original white buckram, spine lettered in gilt, a clean copy, 8vo, printed in an edition of 320 copies, together with: Doctor Faustus by Christopher Marlowe, London: Ballantyne Press [for the Vale Press], 1903, decorations by Charles Ricketts, partly untrimmed, signed in blue ink to front endpaper by John Drinkwater 1916, and with his small gilt bookplate to front pastedown, original blind-stamped green cloth, very lightly rubbed to extremities (generally a good copy), 8vo, printed in an edition of 310 copiesQty: (2)NOTESTomkinson 29a & 45.

A late 18th century oak longcase clock, blind fretwork over the 12" dial flanked by brass capped columns, with silvered brass chapter ring and engraved silver centre, marked Edward Clark, Bruton, with seconds and date, eight day movement striking on a bell, the case with long trunk door over a plain base with raised panel, complete with winder, pendulum and weightsProvenance: purchased by the vendor some years ago from P.A. Oxley, Antique Clocks & Barometers

A single panel oak coffer, two panel hinged top, over blind fretwork and central lozenge, 69cm wide, 44cm deep, 56cm high

An early 18th century three panel oak coffer, blind fretwork, with four panelled hinged lid, 127cm wide, 57cm deep, 71cm high

George III oak press cupboard, enclosed by panelled doors, on a base comprising three blind drawers, over four drawers, on bracket feet, 137cm wide, 56cm deep, 196cm high

A George I/II oak bureau, fall front revealing a stepped fitted interior with drawers and pigeonholes and with a sliding well cover, supported on square section lopers, over blind drawer and three further graduating drawers, on bracket feet with shaped apron, 86cm wide, 45cm deep, 99.5cm high

A 19th century mahogany linen press, the two doors with six blind drawers over two drawers, on bracket feet, 122cm wide, 62cm deep, 220cm high

A 19th century mahogany press cupboard, the upper section with blind fret detail above a pair of cupboard doors, enclosing two later shelves, the bottom section with two long drawers, raised on bracket feet, length 95cm, depth 55.5cm, height 143cm.Additional InformationScuffs, knocks, minor losses to the beading and veneer, missing the locks from the drawers, old repair to the top corner of the left door, which is also locked and we do not have the key.

An early 20th century oak framed bedstead, with blind fret and chinoiserie decoration, length of headboard 140cm.

Mike Disfarmer (American, 1884-1959)Two Pals with Cigarettes printed posthumously, blind stamped 'The Disfarmer Collection - Authorized Edition' (lower right), 'The Disfarmer Collection' hand stamp and numbered in pencil '14/75' (on the reverse) gelatin silver print18.5 x 31.5cm (7 5/16 x 12 3/8in). (sheet 27 x 35cm (10 3/4 x 13 3/4in)).Executed in 1944For further information on this lot please visit Bonhams.com

James D Preston, Bluebell Wood, limited edition print, 314/500, signed in pencil, blind proof, 32cm x 48cm

A rare Tunbridge ware mahogany writing box, the lid with an inset mosaic panel of Tunbridge Castle within twin borders of geometric mosaic and chequer stringing, the interior with original blind tooled velvet writing slope within geometric mosaic borders below stationery compartments, pen tray and two variant brass top ink wells, complete with key, repaired split to mosaic lid panel, 35.5 x 25 x 16cms.                                                                                                From the Hamlin Collection of Tunbridge Ware Part 2

Giovio (Paolo). Dialogo dell' imprese militari et amorose…, Lyon: Guillaume Rouillé, 1574, 280, [14] pp., Rouillé’s woodcut device to title (an eagle perched on a pedestal, wings outspread, flanked by two snakes), oval woodcut portrait of Giovio to title verso, several large initial capitals, 102 oval woodcut emblems, lacks final blank, title dust-soiled and professional paper strip repair beneath imprint, scattered light browning, armorial bookplates of Wrest Park and John L. Nevinson, all edges gilt, 19th-century blind-stamped red morocco, gilt-titled spine with five raised bands, a little rubbed, 8vo (173 x 113mm)Qty: (1)NOTESProvenance: John Lea Nevinson (1904-1986); Donald King (1920-1998) & Monique King (1922-2020). Not in Adams; Landwehr 345. Giovio’s dialogue was the first treatise on devices, originally published without illustrations in Rome in 1555. Rouillé issued the first illustrated edition in 1559.

Pluvinel (Antoine de). L’Instruction du Roy, en l'exercice de monter a cheval, Paris: Macé Ruette, 1629, [8], 253 pp., text in French and German, 3 (of 4) engraved portraits, 55 (of 58) double-page engraved plates by C. de Passe (1-27, 31-56, 2B and one unnumbered), lacks additional double-page engraved title and 2(?) preliminary leaves including portraitof Roger Duc de Bellegarde with plates list to verso, scattered light browning or old damp-staining but generally clean, small brown stain to plate 9, closed tear paper repair to left margin of plate 22 and two closed tears to lower margin of plate 40, bookplates of Earl of Roden (with shelf label) and JohnL. Nevinson, contemporary blind-stamped vellum, slightly rubbed and soiled, folio (35.5 x 24.5cm)Qty: (1)NOTESProvenance: John Lea Nevinson (1904-1986); Donald King (1920-1998) & Monique King (1922-2020). Collation: [A]4 A-3R2 3S1.

Sea Charts. Mount (R.), The City and Harbour of Cadiz by an officer of the Fleet..., [and] A Chart of the Sea Coasts of Algrave (sic) and Andalusia between Cape St. Vincent and the Strait of Gibraltar..., circa 1760. two hand-coloured engraved sea charts, both with a perforated blind-stamp affecting the image, and repaired on verso, the second with a small hole affecting the printed image and marginal closed tears, each approximately 440 x 530 mm, together with Seale (R. W.). A Chart of the Pacific Ocean from the Equinoctial to the Latitude of 39 1/2d No. circa 1730, uncoloured engraved chart, old folds, slight offsetting, some marginal closed handling tear, 275 x 880 mm, with A Correct Chart of the English Channel from the No. Foreland to the Lands End..., circa 1730, an uncoloured chart with 4 inset maps of the Scilly Isles, Falmouth Haven, Plymouth Sound and the Isle of Wight, slight staining, of folds, 380 x 480 mm and two others similar, various sizes and conditionQty: (6)

* Landseer (Sir Edwin). [There's Life in the Old Dog Yet], circa 1872, uncoloured mixed-method engraving on India wove, proof before title and letters, Print Seller's Association blind stamp to lower right, slight staining to the margins, 700 x 860 mm, framed and glazedQty: (1)

* Payne (Charles Johnson 'Snaffles'). Merry England and worth a guinea a minute, [1927], lithograph heightened with body colour, remarque of a fox jumping a dyke, snaffle bit blind stamp, signed by the artist in pencil to the lower left, overall size 390 x 360 mm, framed and glazedQty: (1)

Dearn (Thomas Downes Wilmot). Historical, Topographical and Descriptive Account of the Weald of Kent, Cranbrook: S. Reader, 1814, eight uncoloured aquatint plates (including frontispiece), etched map, occasional marks, spotting and light offsetting, edges untrimmed, modern gilt decorated calf, contrasting morocco & calf labels to spine, 8vo, together with: Blomefield (Francis), The History of the City and County of Norwich, Containing it's Original Rise, and Increase..., a Description of the Streets, Walls, River, remarkable Houses, and other things..., Fersfield: Printed at Fersfield, 1741, title in red & black, 5 engraved plates only (of 8, one with repaired closed tear), engraved illustration to text, list of subscribers, short worm trails to few leaves at rear of volume, rear free endpaper detached, contemporary blind panelled calf gilt, joints cracked and some wear to extremities, folio (Upcott p.945-47), Bibliotheca Topographica Britannica, Nos. 27-41, in one volume, London: J. Nichols, 1783-87, numerous etched & engraved plates (some folding), bound with Pegge (Samuel), Annales Eliae de Trickingham..., London: Ex Officina Nicholsiana, 1789, edges untrimmed, contemporary half calf gilt, 4to, and one other defective volumeQty: (4)NOTESESTC T226404 and Upcott, p. 945-7. Three UK institutional locations found (Birmingham University Library, Cambridge University Special collections & Norwich Cathedral). This is a self-contained volume on Norwich, being Volume 2 of the first edition of Blomefield's work on Norfolk 'A Essay towards a Topographical History of the County of Norfolk, 1739'. The number of plates within this work appears to vary from 5, 6 or 8. Upcott calls for eight plates, with this copy lacking the city plan and also the monument of Bishop Hall in Heigham Church.

Finden (E. & W.). The Ports, Harbours, Watering-Places, and Picturesque Scenery of Great Britain, illustrated by views taken on the spot, 2 volumes, London: George Virtue, c.1841, 144 engraved plates, after Bartlett, Harding and Creswick, including frontispiece and additional titles (complete as list), 4pp. publisher's advertisements at rear of 1st volume, some spotting, volume I with intermittent dampstain to upper blank margins (affecting head of additional title), all edges gilt, original blind-stamped cloth, rubbed and lightly marked, some wear to extremities, spines a little cocked, 1st volume front cover stained at head, gilt-decorations to spines and front covers, 4to, together with: Virtue (George, publisher), The Picturesque Beauties of Great Britain - Kent, London, c.1831, engraved frontispiece, additional title, and 128 engraved plates on 64 leaves, folding engraved map (lightly offset), generally spotted and lightly toned, minor dampstaining to gutters of first few leaves, frontspiece and additional title a trifle edge-frayed, frontispiece edge-chipped with closed edge tears, one plate leaf edge-frayed and with long closed tear (repaired on verso), endpapers renewed, original maroon half morocco, with printed title and vignette to front board, rebacked, worn, 4to, plus: Morris (F. O.), A Series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, 4 volumes, c.1880, additional decorative titles, numerous chromolithographed plates, letterpress toned with light spotting (lightly affecting some plate margins), three plates (with accompanying text leaf) detached, all edges gilt, publisher's decorative cloth gilt, rubbed with some wear to extremities, a few minor marks, 4to, and three others similarQty: (10)

Aesop. Select Fables of Esop and other Fabulists..., Birmingham: printed by John Baskerville, for R. and J. Dodsley, 1761, engraved frontispiece (verso with various inscriptions including 'To Miss Cartwright from the author ... 1811'), engraved vignette to title, 14 engraved plates, few head & tailpieces, front free endpaper detached, contemporary calf, gilt decorated spine without title label, rubbed and some wear, upper board detached, lower joint cracked, 8vo, together with: Dodsley (Robert), Miscellanies, 2 volumes, London: J. Dodsley, 1777, engraved portrait frontispiece, engraved vignette to two part titles, occasional light spotting, contemporary gilt & blind decorated calf, spines lightly faded, extremities slightly rubbed, 8vo, Ibid., The Oeconomy of Human Life. Translated from an Indian Manuscript, written by an Ancient Bramin. To which is prefixed, an account of the manner in which the said manuscript was discover'd. In a letter from an English Gentleman now residing in China, to the Earl of **, 1st edition, London: M. Cooper, 1751, engraved frontispiece, contemporary panelled calf, upper board detached, gilt decorated spine with defective title label, upper board detached, lower joint cracked, some wear, 8vo, Ibid., A Muse in Livery: or, the footman's miscellany, London: Printed for the author, 1732, contemporary calf, joints cracked, gilt decorated spine, lacking title label, slim 8vo, [Dodsley, Robert, edit.], A Collection of Poems in six Volumes. By several hands, 6 volumes, London: Printed by J. Hughs for J. Dodsley, 1766, half-titles, engraved vignettes to title, bookplate of Mr Hart Cotton to upper pastedowns, contemporary calf, joints cracked, title labels lacking (except for volume 6), spines and extremities rubbed, 8vo, Dodsley (Robert), The King and the Miller of Mansfield. A Dramatick Tale, London: Printed for the Author, 1787, half-title, bound with Ibid., Sir John Cockle at Court. Being the sequel of the King and the Miller of Mansfield. A Dramatick Tale, London: R. Dodsley, 1738, half-title, contemporary speckled calf, lower board detached, lacking spine, 8vo, and two others relatedQty: (14)