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Perottus (Nicolaus) Cornucopiæ, sive linguæ latinæ commentarii, [edited by Aldus Manutius], first Aldine edition, collation: [aa-ee6] a-z A-H10 I12, 352 ff., the last blank, 59 lines, Roman letter and a little Greek, initial on a1 in red and blue, the others in red, some underlining in red or black, contemporary and later ink marginalia in several hands, occasionally in red, marginal repairs, mostly at beginning and end, H1 neat short split just within text at inner margin, without loss, f4 and k8 piece from lower blank corner, final blank repaired, mostly marginal water-staining, some spotting or staining, lightly browned, leaves from ?14th century hymnal used as pastedowns, fragments of 15th century rubricated manuscript used in binding, ornately blind-stamped pigskin over wooden boards, including various flowers and dragons in triangular borders and large and small rosettes in circular borders, spine in compartments, metal clasps, repaired with some loss to pigskin, mostly on lower cover, stained, rubbed, folio (318 x 214mm.; binding 334 x 230mm.), Venice, Aldus Manutius, July, 1499. *** A great Aldine rarity at auction. The first Aldine and best edition of this monumental work on the language and literature of classical Rome. It is written in the form of a commentary on the epigrams of Martial. The first edition was edited by the author's nephew Pyrrho Perotti and Lodovico Odaxio, from whom there are two letters at the beginning of our edition.  Provenance: Father Labe, S.J., 1698. Literature: Ahmanson-Murphy 32; BMC V, 561; Goff P-296; H 12706*; Bod-inc P-107; BSB-Ink P-221; GW M31090; Renouard 19:2; ISTC ip00296000.     

Bookbinding.- Quaritch (Bernard) A Catalogue of Fifteen Hundred Books remarkable for the beauty or the age of their Bindings, 103 plates, many heightened in gold or silver, handsome red crushed morocco gilt by Zaehnsdorf, arms of Stirling-Maxwell in blind to covers, spine slightly darkened, upper joint rubbed with some splitting to joint ends, corners rubbed, g.e., 4to, Bernard Quaritch, 1889.

English provenance.- Annotated.- Trithemius (Johannes) Catalogus scriptorum ecclesiasticorum sive illustrium virorum, collation: A B4 a-z aa-zz4, woodcut historiated initials, occasional contemporary ink marginalia in an English hand in English or Latin (including rear endpaper), including motto 'Fare-fac' and reference to Erasmus to title, [Cologne], [Peter Quentel], 1531 bound with Basilius Magnus (Saint, Archbishop of Caesarea) Opus argutu(m) ac pium De spiritu sancto, ad Amphilochium, translated by Desiderius Erasmus, collation: A6 a-p4 q6, woodcut printer's device to title, woodcut historiated initials, final errata f., extensive contemporary neat Greek marginalia, Basel, [Hieronymus Froben & Nikolaus Episcopius], 1532, together 2 works in 1 vol., marginal water- or -damp-staining (the former heavier to last few ff. of second work), occasional spotting, lightly browned, contemporary English ornately blind-stamped panelled calf over wooden boards (Oldham, Blind-stamped Bindings, nos. 648 & 896, F.I. binder in London between 1538-1551), rebacked, preserving original backstrip in compartments with later red leather label, lacking 1 metal clasp, the other breaking off, lower cover with very small piece missing from leather at head and a few small nail holes, little staining, rubbed and marked, 4to (204 x 156mm.; binding 214 x 174mm.) *** I: Enlarged edition of this bio-bibliography of Christian writers, which first appeared in Basel in 1494.Trithemius (1462-1516) was a German Benedictine, abbot of Sponheim, lexicographer, chronicler and occultist. He had Cornelius Agrippa and Paracelsus were among his students. Our English annotator has concentrated on English authors, including Bede, William of Ockham and Stephen Langton, Archbishop of Canterbury. II: First Latin edition of this treatise on the Holy Spirit.  Literature: I: Adams T966; VD 16 T1999. II: Adams B356; VD 16 B723.   

Canon Law.- Bonifacius VIII (Pope) Sextus decretalium liber...in Lugdunensi coniclio editus [& others], 4 parts in 1, collation: a-k8, aa-dd8 ee4, A-E8 F4, AA BB8 CC4, double column, printed in red and black, first two parts title within identical woodcut historiated border, full-page woodcut table to final verso of first work, woodcut historiated and decorative initials, early ink underlining, 19th century blue ink seminary stamp to first title, k7 sliver torn from outer margin, some mostly marginal water-staining, occasional spotting or staining (including the odd instance of ink), lightly browned, lacking free endpapers, contemporary blind-ruled and gilt French calf, spine in compartments and with 19th century ink ms. title label, lacking ties, spine ends and corners worn, couple of losses to leather on upper cover, rubbed and scuffed, but solid, 8vo (154 x 102mm.), Paris, Jean Kerbriant & Jean Petit, 1531.  *** Rare edition of four important texts of canon law, including the Decretals of Boniface VIII; one of the greatest jurists of his age. Provenance: Capuchins of Valence (early ink inscription to head of title); 'In valesta vera virtus' and 'Joannes' (later ink motto to title and name to final f.).  Literature: Adams B2440.

Spirituality.- Desiderius [Spill de la Vida Religiosa] Emanuel Leabhar ina bhfuil modh Agus Fhagala Fhoirbhtheachda na Beathadh Riaghaltha, first edition in Irish, woodcut vignette on title, another on verso of following leaf, some soiling and water-staining, 18th century half calf, slight worming to spine, 8vo, Louvain, Press of the Irish Franciscans, 1616.*** First edition in Irish of this important work on Spirituality which went through numerous editions in other languages after the first edition appeared in Catalan (Barcelona, 1515).The translator of this edition, Conry (or Conroy) was an Irish Franciscan and Archbishop of Tuam (1560/1-1629), who was born in Galway and died in Madrid. An ardent Irish patriot, he was involved in Tyrone's rebellion and in other Irish movements, and founded the Irish Franciscan College at Louvain, largely with monies provided by Isabella, the daughter of Philip II of Spain.Provenance: The Earls of Macclesfield (South Library bookplate and small blind-stamp to first few leaves as usual).

Darwin (Charles) On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life, first edition, [one of 1,250 copies], half-title, folding plate with splitting to lower half of second fold, 25pp advertisements (Freeman's variant 3) only (of 32pp.), some light corner creasing, pencil note to half-title and facing page, W.H. Smith & Son blind-stamp to front free endpaper,  lacking rear endpaper, upper hinge cracked with the text block shifted down but holding, original blind-stamped cloth (Freeman's variant b) with Edmonds & Remnants binders label on the rear paste-down, spine decorated and lettered in gilt, slight shelf-lean, spine slightly darkened, spine end and corners a little bumped, small patch of soiling and very small portion of cockling to upper cover, [Freeman 373; GM 220; PMM 344b], 8vo, John Murray, 1859. *** A very good, unrestored copy in the original cloth of "The most important biological book ever written." - Freeman.Darwin's theory of evolution through natural selection, first set out in detail in the present work, is virtually unmatched in its influence on 20th century thought. "A turning point, not only in the history of science, but in the history of ideas in general" - DSB.Provenance: the Stirlings of Keir.

AN EDWARDIAN MAHOGANY 'GRANDMOTHER' CLOCK BY BIRCH & GAYDON OF LONDONthe three-train movement striking on chimes, the silvered dial with roman numerals, the case with a glazed door flanked by blind fretwork, on compressed bun feet, 168cm high x 40cm wide x 26cm deep

A small collection of Intaglios comprising a dark red oval, depicting a Greco-Roman lady at a tree; an orange oval stone depicting blind justice; a small dark green oval indistinctly engraved "NAM+IAOY" depicting a semi-naked nymph being invited to eat by Cupid; two clear glass/crystal intaglios depicting muses; a small pale blue opaque glass depicting a satyr playing the harp and a small orange ring stone - possible Carnelian. (7).

A Georgian Oak Long Case Clock the brass dial marked Henry Watson of Blackburn, chapter dial, moon face, Arabic numerals, the hood with blind fretwork. Case leading in need of attention.

Laurence Stephen Lowry (1887-1976), ''DEAL BEACH SKETCH'' lithograph, Fine Art Trade Guild blind stamp, published by Venture Prints Ltd. signed in biro, with blind stamp, 18cm x 25cm, Note: This is a print of the preparatory sketch for The Beach at Deal

Two Worcester 'Blind Earl' plates,c.1770, each with moulded rose leaves and buds, heightened in green and yellow enamels, the scalloped rim edged with gilt 'C' scrolls, with a label to the underside inscribed 'Myrtle M. Schlie',19cm diameter (2)Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportSome light rubbing and wear to enamels and gilding. Small glaze crack to one. Some light scratches commensurate with age.

A George II silver and cut-glass cruet set,by Samuel Wood, London 1739,the stand with carry handle, blind cartouche and five divisions, fitted with a caster, two smaller pepperettes and a pair of cut-glass bottles, missing stoppers,22cm high, 32ozt (6)Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportMissing one piece of the set.Minor nibbles to one of the cut-glass bottles.Light oxidisation throughout.18cm diameter

After Samuel and Nathaniel Buck (18th Century), The West View of Tavistock Abby, in the County of Devon; The East View of Hales Abby, in the County of Gloucester; The South-East View of Brecknock Priory; The East View of Dartington Temple, in the County of Devon; The North-West View of Lullingstone Castle, in the County of Kent; The East View of Hertlebury Castle, in the County of Worcester, a set of six later hand coloured engravings, plates 20 x 37.5 cm, each recently framed and glazed 50.5 x 67 cmEach with blind stamp for Liverpool Free Public library in and under the coat of arms. Clear plate marks with vertical numbering on the right side. Good definition with well-executed later hand colouring. Paper discoloured with age with some signs of foxing developing in places. Four re-framed by John Jones of London in 2018, using UV filtering acrylic glazing. Prints have not been inspected out of the frames.From a Private Collection

Laurence Stephen Lowry (1887 - 1976), The Notice Board, limited edition print, signed in pencil, Fine Art Trade Guild blind stamp, 40 x 50 cm, framed and glazed 62 x 71 cmSlight discolouration throughoutHasn't been inspected out of the frame

A Chippendale period, George III 'Plum-Pudding' mahogany chest on chest, the upper section with Greek key moulding to the cornicing, above a blind fret "Chinoiserie" frieze and canted corners fitted two short over three long drawers and a further three long to the base with brushing slide above, seated on shaped ogee bracket feet. 118 cm overall width x 52 cm deep x 186 cm overall height, 85 cm to the slide.A private estateThe carcasses have side splits, where boards have been joined in "wide board construction", the upper carcass has old patches at the bottom of each side, the veneers all match in cut and graining, the swan neck handles are old and could be original to the piece.generally the lot is structurally good but will need some cosmetic work such as cockbeading repairs , drawer stops, and other similar jobs to make good.some of the drawer linings have a slight peppering of historic woodworm flight holes.The linings are brown Oakland the backboards are painted deal, the backboards are constant top and bottom. With central mounting bars.

After Francisco De Goya (1746 - 1828) Spanish, La Tauromaquia, published by Circulo de Bellas Artes, Madrid 1929, an incomplete set of 15 aquatints and etchings on wove paper depicting bullfighting, including title page with the artist's portrait, each with blind stamp and unframed, includes title plate, plates 2, 6, 7, 8, 13, 15, 19, 22, 25, 29, 32, A, C and E, plates 12 x 15.5 cm, sheets 17.5 x 22.5 cmQty: 15

Rebecca Lardner (b. 1971), Oystercatcher Bay, Cold Cast Porcelain figure group of birds, limited edition numbered 71/295, 38 cm high, 44 cm wide, with certificate of authenticity and original box; and a limited edition giclee print by the same artist, 'Avocet Cove, signed in pencil and numbered 5/20 AP, DeMontfort Fine Art blind stamp, 38 x 28 cm, framed and glazed 71.5 x 59 cmQty: 2

GLASGOW TRAM DESINATION BLIND, destinations including Hyndland and Botanic Gardens460cm long, 60cm wide

OXFORD TRAM DESTINATION BLIND, destinations including Oxford, Bicester and Buckingham84cm wide

Stan RosenthalLugger at Porth ClaisA limited edition print No. 26/450Signed in pencil to the margin and blind stamp22.5 x 30.5cm***Artists resale rights may apply to this lot***

A retail box containing 24 sealed blind packs of Dick Tracy movie cards and stickers, by Topps

A retail box containing 37 sealed X-Files series one trading card blind packs by Topps

Vinyl Records - LP’s and 12” Singles including Tangerine Dream – Atem – ESMLP348; Hyperborea – V2292; The Best of Tangerine Dream – HIP75; Logos Live – V2257; Underwater Sunlight – HIP40; Ricochet – V2044; Cyclone – V2097; Prefab Sprouts – Protest Songs – CBS 465118 1; Looking For- SKX47; 10.000 Maniacs – Blind Man’s Zoo – EKT57 (10)

A 19th Century mahogany free standing corner cupboard, the moulded dentil cornice above a blind fretwork frieze and two panelled cupboard doors enclosing three shaped shelves over two further cupboard doors enclosing a single shaped shelf on a plinth base 109 cm wide x 75 cm deep x 219 cm high CONDITION REPORTS width of the opening when doors are open for the upper cabinet is 188.5cm

A late 17th Century oak coffer, the later top with moulded edge over a fan carved frieze and three blind fretwork carved panels flanked by guilloche decorated stiles, 108 cm wide x 50.5 cm deep x 71 cm high

A mahogany silver table in the Chippendale taste, the plain top with beaded edge over blind fretwork frieze and square chamfered legs to block feet 92 cm wide x 58.5 cm deep x 71 cm high

[BIBLE] The Christian's Complete Family Bible, folio, 2 vols in 1, illus., 47 of 55 plates (that number stated in the title), reversed calf, Ormskirk, 1809; together with: The Universal Family Bible: Or Christian's Divine Library. . . with Notes... By the Reverend Henry Southwell, 2 vols, large fo., 102 plates (including maps & frontispieces, i.e. lacks one plate according to the given plate list, 'Paul before Felix,'), contemporary reversed calf panelled in blind, (rubbed and worn ), L.,1777 (3).

[BOER WAR, etc.] [PERIODICAL] Black & White Budget vols 1-6 bound in 5, 4to, illus., publisher's cloth gilt & blind, L., 1899-1902 (5).

JONES (Owen) The Sermon on the Mount. Longman & Co., 1845, illuminated in colours and gold throughout by Owen Jones, org., blind stamped cloth, a.e.g.

L.S. Lowry, after, by Henry Dom galleries, Family discussions, limited edition number 145 of 850, blind stamp to lower margin, lithograph, 37cm x 25cm.

Mackenzie Thorpe (bn. 1956), after, by Washington Green Fine Art, ‘Vale Over Yorkshire’, signed in pencil lower right margin, titled, limited edition number 735/850, Washington Green blind stamp lower left margin, 42cm x 49cm. (With certificate of authenticity).

A ‘George III’ mahogany Pembroke table, oval top with fall leaves above a single frieze drawer, blind to verso, tapered square legs, brass casters, 71.5cm high, 48.5cm opening to 96cm wide, 85.5cm deep, elements c.1810

A Chippendale Revival mahogany fretwork and blind fretwork silver table, galleried rectangular top, cluster-column supports, X-stretcher, block feet, 67cm high, 59cm wide, 41cm deep, early 20th century

A George III mahogany work table, rounded rectangular top with fall leaves above a single frieze drawer, blind to verso, basket undertier, turned legs, brass casters, 72cm high, 38.5cm opening to 81cm wide, 48.5cm deep, c.1810

A Regency mahogany sofa table, possibly Irish, rounded rectangular top with fall leaves above a pair of frieze drawers, blind to verso, turned supports, rope twist stretcher, hipped sabre legs applied with draught-turned roundels, brass casters, 71.5cm high, 94.5cm opening to 144cm wide, 70cm deep, c.1820

A Regency rosewood library table, rounded rectangular top with inset tooled and gilt leather writing surface above a pair of frieze drawers, blind to verso, brass handles, star backplates, anthemion escutcheons, shaped stretcher, paw feet, brass casters, 75cm high, 106.5cm wide, 70cm deep, c.1820

A George III mahogany Pembroke table, rounded rectangular top with fall leaves above a single frieze drawer, blind to verso, outlined throughout with boxwood stringing, tapered square legs, brass casters, 70.5cm high, 51cm opening to 96cm wide, 75cm deep, c.1790

A George III satinwood crossbanded mahogany Pembroke table, rounded rectangular top with fall leaves above a single frieze drawer, blind to verso, tapered square legs, brass casters, 68cm high, 58cm opening to 112cm wide, 91.5cm deep, c.1810

A George III tulipwood banded satinwood Pembroke table, shaped top with fall leaves, above a single frieze drawer, blind to verso, tapered square legs, brass casters, 73cm high, 46cm opening to 93.5cm wide, 81cm deep, c.1810

A late Victorian walnut Davenport desk, hinged superstructure enclosing a compartmented interior, above a hinged top with inset tooled and gilt writing surface, the side with four drawers, blind to verso, 87cm high, 53.5cm wide, 52.5cm deep, c.1895

A George III mahogany banded oak Lancashire chest, hinged top above four blind, two short and one long drawer, flanked by reeded quarter-columns, skirted base, ogee bracket feet, 100.5cm high, 146cm wide, 57.5cm deep, c.1800

A George II Revival mahogany serpentine serving table, oversailing marble top above a blind fretwork frieze carved and applied with stylised waves, cabriole legs carved to the knees with C-scrolls, acanthus and bell husks, ball and claw feet, 86cm high, 121cm wide, 59cm deep

A Regency mahogany Pembroke table, crossbanded rounded rectangular top with reeded edge and fall leaves above a single frieze drawer, blind to verso, turned column, sabre legs, brass casters, 70.5cm high, 49cm opening to 101.5cm wide, 76cm deep, c.1820

An early 20th century mahogany shortcase hall clock, 22cm arched dial inscribed CURTIS & HORSPOOL LEICESTER, Arabic numerals, CHIME/SILENT to arch, the case with blind fretwork, 187cm high, 40cm wide, 31.5cm deep

A late Victorian Aesthetic Movement satinwood banded walnut and mahogany chamber cabinet, the superstructure with a pair of bevelled glazed doors centred by a niche, above a fall front door on sliding plateau, enclosing a tooled and gilt writing surface, a small drawer and pigeonholes, the lower section with a glazed door enclosing a shelf, the sides with blind fretwork panels and a plateau, tapered feet, 131cm high, 81cm wide, 47cm deep, c.1890

A Louis XVI Revival gilt bronze mounted kingwood, tulipwood and rosewood bureau plat, in the manner of François Linke, shaped rectangular top with inset tooled and gilt leather writing surface, above a long frieze drawer, applied with a rectangular plaque cast with playful putti, the verso blind and conforming, tapered legs applied with female herms, paw sabots, 73cm high, 115cm wide, 66cm deep, early 20th century

Architecture, Country Houses – Morris, (Revd. Francis Orpen, BA, 1810-1893) A series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, London, William Mackenzie, n.d. (c. 1880) 3 Volumes (I-III) of six, 4to decorative cloth binding, bevelled terra cotta boards, lavish gilt decoration to spines and fronts, blind embossing to rear board (3)

Architecture, Country Houses – Morris, (Revd. Francis Orpen, BA, 1810-1893) A series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, London, William Mackenzie, n.d. [c. 1880] 3 Volumes (I-III) out of six, 4to decorative cloth binding, bevelled terra cotta boards, lavish gilt decoration to spines and fronts, blind embossing to rear board (3)

Architecture, Country Houses – Morris, (Revd. Francis Orpen, BA, 1810-1893) A series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, London, William Mackenzie, n.d. [c. 1880] 5 volumes of six, I-V, 4to decorative cloth binding, bevelled terra cotta boards, lavish gilt decoration to spines and fronts, blind embossing to rear board (5)

Architecture, Country Houses – Morris, (Revd. Francis Orpen, BA, 1810-1893) A series of Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, London, William Mackenzie, n.d. [c. 1880] 6 Volumes 4to decorative cloth binding, bevelled terra cotta boards, lavish gilt decoration to spines and fronts, blind embossing to rear board (6)

Maritime, navigation – Seller (John, 1632-1697, Hydrographer to the King), Practical Navigation, or, an Introduction to the Whole Art, Dublin, S. Powell, 1715 small 8vo, (v) + 272pp, various diagrams, bound with, A Table of Logarithms, with a Table of Artificial Sines, Tangents and Secants, the Radius 10,0000000 [sic] and to every Degree and Minute of the Quadrant, Dublin, George Grierson 1725, MS inscription over the main title page of John Seller’s book, overwritten ‘Bought by Matt. Scott of Mr. Grierson in Dublin July 26th 1739 5s 5d’, further inscribed on first title page ‘John Guine 22nd July 1809’, calculations on front pastedown, the rear including part of a letter headed from an Irish address, bound blind calf, untitled, rear board slightly spotted, contents remarkably good (1) ***John Seller was the son of a London haberdasher, and was later a Merchant Venturer, becoming one of the most important men in the early history of the atlas trade in England He also traded in scientific instruments, notably compasses, at his shop in Wapping, published his first version of Praxis Nautica: Practical Navigation in 1669. He was made Hydrographer to the King in 1671 and published several other guides, charts and maps, dying in 1697. ‘Matt. Scott’ may perhaps be identifiable with Matthew Scott (1698-1758) of Convoy, Co. Donegal, a kinsman of the Earl of Tarras

A George III mahogany commode chest, four blind drawer, brass turned handles, 70cm high, 67cm wide, c.1800

A 19th century mahogany Pembroke table, drawer to frieze, blind to verso, rounded rectangular top, turned pedestal, splayed legs, paw feet, 72cm high, 105cm wide, c.1830

Jack Vettriano,  (British B.1951-), The Tourist Trap, a limited edition giclee print with silkscreen varnish, No.103/295, numbered and signed in pencil with gallery blind stamp, certificate for DeMontfort Gallery and artists biography attached verso, 53cm x 68cm, mounted and framed

Jack Vettriano,  (British B.1951-), Defenders of Virtue, a limited edition giclee print with silkscreen varnish, No.10/295, numbered and signed in pencil with gallery blind stamp, certificate for DeMontfort Gallery and artists biography attached verso, 68cm x 53cm, mounted and framed

McALPINE MILLER limited edition (8/100) digital print on paper - from the collection 'Revelations Portrait of Magic', titled 'A Complex Nature 2022 Harry Potter and the Order of the Phoenix', signed and numbered in pen with blind stamp, published by Zeno Fine Arts with certificate of authenticity, 81 x 63cms, SUSAN L CRAWFORD (British, b. 1941) limited edition (187/250) colour print - titled 'Piludski', published by Rosenstiel's 1998, signed and numbered in pencil, 68.5 x 81cms and DEBORAH AZZOPARDI (British, b. 1958) Gouttelette limited edition (29/50) colour print - titled 'Save the Date', numbered in pen and with certificate of authenticity signed and numbered in pencil, 102 x 102cmsProvenance: private collection ConwyComments: all unframed

A Chinese Chippendale style hardwood two door cabinet, with blind fretwork to the frieze, pierced ornate hinges and escutcheon, raised on ball and claw feet, 117 x 50 x 116cm high.

A 1920's mahogany glazed bookcase, with blind fretwork to the frieze, two double astragal glazed cabinets enclosing shelves, raised on ogee bracket feet, 183 x 32 x 125cm high.

Signed print 'The Thin Red Line' by Ben Maile, Ltd Ed. No. 342/450 with Fine Arts Trade Guild blind stamp, image 32" x 23", frame 40" x 33"

Mason Storm  (British, b. 1974) "Theft from above" - "UFO NO You F O" Print on paper Published by Stowe Gallery, with blind stamp numbered 80/100  Limited edition 80/100 Signed by artist Measures approx. 54cm x 66cm (21.5" x 26") If postage is required, any print within this sale will be posted rolled unless informed otherwise.