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A George III padouk chest of drawers, circa 1770, the rectangular top with moulded edge, above two short and three long graduated drawers, flanked by blind fretwork canted corners, on ogee shaped bracket feet, 87cm high, 97cm wide, 50cm deep

A George III mahogany press cupboard, circa 1770, the swan neck pediment incorporating carved acanthus scrolls and blind fretwork and centred by an elaborate acanthus carved and pierced terminal above a pair of panelled doors and side panels, the doors opening to a hanging space and pair of drawers, on a shallow plinth and bracket feet, 292cm high, 158cm wide, 68cm deep.For examples of case furniture with related examples of pediment, see The Knight of Glin and James Peill, Irish Furniture, Yale University Press, 2007, page 121, plate 164.

A George III mahogany tallboy chest, the moulded cornice above blind fret, two short and three long drawers between fluted quarter round pilasters, the projecting base with three long drawers, on ogee bracket feet, 105cm wide x 55cm deep x 179cm high.Illustrated

Mahogany and Brass Cameras, an E & T Underwood half plate camera, f/8 unmarked lens, roller blind shutter, an unmarked half plate camera, f/8 unmarked lens, red bellows, four DDS (3 Thornton Pickard 1 unmarked), two wooden tripods and one leather caseBellows on Underwood are clean - no cracks, fold as should, signs of slight repair to one side.Red bellows, clean and in very good condition, fold as should

Early 20th Century mahogany two door blind panelled narrow cupboard. (B.P. 24% incl. VAT) CONDITION REPORT: 85 x 36 x 166 cm approximately.

NO RESERVE Incunaboli. Lacepiera Petrus. Libro de l'Occhio morale et spirituale vulgare. (Al colophon:) Venezia: [Johannes Rubeus Vercellensis], 21 maggio 1496 (Legato con:) Climacus Johannes. Scala Paradisi. (Al colophon:) Venezia: Christophorus de Pensis, de Mandello, 12 ottobre 1492. Due opere in un volume in-4° (mm 202x139). I: Segnatura: a-h8. Carte [64]. Carattere romano e gotico. Al frontespizio grande legno (mm 76x75), apparso già nell'edizione latina dello stesso anno, raffigurante un monaco (probabilmente l'autore) in cattedra in atto di parlare, indicandosi un occhio, ad un uditorio, in cui curiosamente appaiono tre figure femminili. Numerosi capilettera xilografici ornati. II: Segnatura: a-l8, m10. Carte [98]. Al frontespizio grande legno (mm 55x75) raffigurante un abate tra due gruppi di monaci nel chiostro di un monastero. Alla carta a2v incisione xilografica (mm 40x50) raffigurante la Pietas: Cristo deposto dalla Croce sul grembo di Maria circondato da sette personaggi. Numerosi capilettera xilografici ornati. Esemplare accuratamente rinfrescato, aloni alle ultime carte. Legatura moderna ad imitazione antica in pelle, fregi a secco e in oro ai piatti e al dorso. Timbro 'bibliothek schloss schonborn' al verso dell'ultima carta.I: Prima edizione in italiano di quello che è considerato il secondo libro sull'occhio: "the second earliest printed work on the eye, Grassus's De oculis (1474) being the first" (Becker). L'opera apparve per la prima volta in latino nel 1476; controversa è la paternità del testo essendo variamente attribuito a Petrus de Lacepiera, il cui nome appare nel colophon, a Johannes de Peckham o, molto probabilmente, a Petrus Lemovicensis (Pierre de Limoges). La traduzione in italiano venne curata da Fra Teophilo Romano. Si tratta principalmente di un trattato morale ma con interessanti osservazioni scientifiche: nei primi quattro capitoli è infatti contenuta una descrizione dell'occhio. "The purpose of the De oculo morali is purely ethical but it contains a description of the eye, together with a brief account of eye diseases and their treatment" (Sarton II, 1029). L'analisi della fisiologia della visione e delle proprietà della luce sono quindi funzionali all'autore per descrivere i gradi della morale.II: Terza edizione della traduzione in italiano - curiosamente data alla luce lo stesso giorno della scoperta dell'America - di questa famosa guida spirituale, Klimax tou Paradeisou o Scala del Paradiso, composta in greco nel VII secolo da San Giovanni soprannominato Climaco, ovvero «quello della scala», dal nome appunto del suo componimento. La presente edizione segue la prima edizione del 1478 (Torrebelvicino, Giovanni Leonardo Longo) e la stampa del 1491 (Venezia, Matteo Capcasa).Vera e propria sintesi della tradizione monastica antica, illustra, attraverso trenta gradini, altrettante tappe della vita monastica. La Scala del paradiso venne tradotta in molte lingue, tra cui latino, siriaco, armeno, arabo e slavo. Sulla base della traduzione latina di Angelo Clareno da Cingoli, nel XIV secolo l'agostiniano Gentile da Foligno la traspose in italiano. I BMC V 419. IGI 7384. Essling 892. Sander 3757. Klebs 243. Becker catalogue 222. Wellcome I, 5029. Source book of ophthalmology, p. 187. Dyson Perrins It. 108. II: Essling 566. Sander 2019. Proctor 5228. BMC V 468. IGI 5216. Incunables. Lacepiera Petrus. Libro de l'Occhio morale et spirituale vulgare. (Colophon:) Venezia: [Johannes Rubeus Vercellensis], 21 maggio 1496 (Bound with:) Climacus Johannes. Scala Paradisi. (Colophon:) Venezia: Christophorus de Pensis, de Mandello, 12 ottobre 1492.Two works in one volume, 4° (202x139 mm). I: Collation: a-h8. [64] leaves. Gothic and roman type. Large woodcut (76x75 mm) on the title-page, first used in the Latin edition of the work, likewise printed in 1496, and showing a monk, possibly the author himself, giving lecture to an audience curiously including three women. Numerous woodcut decorated initials. II: Collation: a-l8, m10. [98] leaves. Large woodcut on the title-page (55x75 mm), depicting an abbot in a cloister, surrounded by monks. Woodcut on fol. a2v (40x50 mm), showing the Pietas. Numerous woodcut decorated initials. Copy carefully washed, a few spots to the last leaves. Modern binding, blind and gilt tooled in antique style. Stamp 'bibliothek schloss schonborn' on the verso of the last leaf. I: First edition into Italian of "the second earliest printed work on the eye, Grassus's De oculis (1474) being the first" (Becker). The work appeared first in Latin in 1476, and is variously attributed to Petrus de Lacepiera, whose name is mentioned at the colophon, Johannes de Peckham or Petrus Lemovicensis (Pierre de Limoges). The version into Italian was edited by Fra Teophilo Romano. "The purpose of the De oculo morali is purely ethical but it contains a description of the eye, together with a brief account of eye diseases and their treatment" (Sarton II, 1029). II: Third edition of the translation into Italian vernacular, printed on 12 october 1492, day of discovering of America, of this famous spiritual treatise on monastic life entitled Klimax tou Paradeisou or The Ladder of Divine Ascent, composed in the 7th century by St. John Climacus. This edition follows the first edition of 1478 (Torrebelvicino, Giovanni Leonardo Longo) and the second one of 1491 (Venezia, Matteo Capcasa). The translation into Italian was made by the fifteenth-century Augustinian monk Gentile from Foligno, who relied his work on the Latin translation by Angelo Clareno from Cingoli. I: BMC V 419. IGI 7384. Essling 892. Sander 3757. Klebs 243. Becker catalogue 222. Wellcome I, 5029. Source book of ophthalmology, p. 187. Dyson Perrins It. 108. II: Essling 566. Sander 2019. Proctor 5228. BMC V 468. IGI 5216.

NO RESERVE Marsham John. Canon chronicus Aegyptiacus, Ebraicus, Graecus, & Disquisitiones. Liber... Londini primum A. 1672 editus... Lipsiae: Apud Matthaeum Bircknerum, Literis Johannis Coleri, 1676.In-4° (mm 206x160). Pagine. [8], 675, [61]. Bianca l'ultima carta. Frontespizio inciso da Peter Troschel; segue frontespizio tipografico in rosso e nero. Testatina e iniziale decorata incise su legno alla carta A1r. Marcata ma usuale brunitura delle carte, dovuta alla qualità della carta e inchiostro. Alcune gore e aloni. Strappo restaurato alla carta di guardia anteriore. Legatura coeva in pergamena su piatti cartone, decorata a secco. Piatti inquadrati in cornice di filetti, fleuron centrale. Dorso a cinque nervi, titolo vergato da mano coeva; numeri in inchiostro antico al piede. Qualche leggera macchia ai piatti, minima abrasione all'angolo inferiore esterno del piatto anteriore; cerniera anteriore abrasa. Seconda edizione - la prima a essere stampata in Germania - di questo apprezzato e ampio manuale di cronologia redatto da Sir John Marsham (1602-1685), e apparso originariamente a Londra nel 1672. L'opera comprende le osservazione già incluse da Marsham nella Diatriba Chronologica del 1649, a proposito di alcune difficoltà sorte a proposito della cronologia dell'Antico Testamento. Di notevole interesse la sezione dedicata all'Egitto, e alle relazioni con Israele, che rivelano in particolare l'attenta lettura delle opere di Maimonide.Il lotto è provvisto di attestato di libera circolazione.4° (206x160 mm). [8], 675, [61] pages. The last leaf is a blank. Engraved title-page, signed by Peter Troschel; typographic title-page in red and black. Wodcut headpiece and decorated initial on fol. A1r. A browned copy, as expected. A few waterstains and spots. A tear to the front flyleaf repaired. Contemporary blind-tooled vellum over pasteboards. Covers within frame of fillets, fleuron at the centre. Spine with five raised bands, with inked title; at the foot an early shelfmark. Covers slightly stained in places, minor loss to the lower outer corner of the upper one. Upper joint lightly cracked. Second edition - the first to be printed in Germany - of this estimeed textbook on chronology, written by Sir John Marsham (1602-1685), first apperead in London in 1672. The section dedicated to Aegypt and Israel is especially noteworthy, revealing Marsham's careful reading of Maimonides.The lot is sold with valid export licence.

NO RESERVE Negri Stefano. Translationes... (Al colophon:) Milano: Giovanni da Castiglione, agosto 1521.Cinque parti in un volume in-4° (mm 192x138). Carte [4], lx, xciii. Caratteri greci e romani. Frontespizio racchiuso entro cornice xilografica ornata, ripetuta tre volte. Capilettera xilografici. Bell'esemplare, piccola mancanza al margine esterno della carta AA4, fioriture e tracce di polvere al frontespizio. Legatura settecentesca in vitello, piatti inquadrati da triplice filetto dorato, agli angoli interni quattro ferri floreali, anch'essi impressi in oro. Dorso a cinque nervi, titolo impresso in oro su tassello in marocchino rosso al secondo scomparto, i rimanenti decorati da ferri dorati. Tagli spruzzati in rosso. Esemplare proveniente dalla collezione del conte di Macclesfield, come testimoniato dall'ex libris al contropiatto anteriore e dal suo timbro a secco al recto della carta AA2. Al frontespizio nota manoscritta '12 febr. 1696'. Sporadici marginalia e sottolineature.Prima edizione di questa collezione di testi dell'erudito Stefano Negri, profondo conoscitore di greco e latino, dedicata (c. A2r) dall'autore ad alcuni tra i più eminenti personaggi dell'epoca, come ad esempio Jean Grolier. Il volume contiene un insieme di traduzioni e alcune operette di carattere erudito, mitologico, filosofico e poetico tra le quali figurano i Commentarioli in aurea carmina Pythagorae, un'epistola indirizzata al medico milanese Giovanni Marliani e cinque Prefationes, tre ad Omero, una a Pindaro e una a Tito Livio. Oltre a questi testi sono presenti anche il De unguentis, il De meretricibus insignis, il De victo Pythagorico, De vino e il De nimia obsoniorum appetentia, queste ultime tre qui in prima edizione e di notevole importanza per la letteratura gastronomica. Stefano Negri, originario di Corte Maggiore nei pressi di Cremona, era noto anche col nome di Stephanos Melas, e occupò dal 1520 la cattedra di greco dello studio di Milano che era stata di Demetrio Calcondila. Durante l'occupazione francese della città si riunì intorno a questo erudito una cerchia di uomini dotti e illustri, della quale facevano parte anche Jean Grolier e il segretario di Francesco I, che compaiono spesso come dedicatari delle sue opere. Il Negri cadde in disgrazia dopo la cacciata dei francesi dalla città lombarda e venne allontanato dall'insegnamento. I suoi lavori consistono principalmente nella traduzione di testi classici o di opere ispirate all'antichità tra le quali si ricorda il Dialogo tra un venditore di libri e uno studente preposto, insieme ad altri scritti del suo maestro Demetrio Calcondila, al celebre lessico greco delle Suidas impresso nel 1499.Argelati, Bibl. Mediol., II, ii, 2137-38; Tiraboschi, Stor. Lett. Ital., VI, ii, 813; VII, iii, 1103-1104; manca in Adams; Sander 4984; B.IN.G. 1363; K. Sp. Staikos, Charta of Greek Printing, Cologne 1998, pp. 238 e 252.Five parts in one volume, 4° (192x138 mm). [4], lx, xciii leaves. Greek and roman type. Title-page within woodcut frames. Woodcut decorated initials. Minor loss to the outer margin of fol. AA4, without any loss. Title-page rather dusted, some foxing. 18th-century calf, covers within tree gilt fillets, gilt floral tools at each corner. Spine with five raised bands, gilt-tooled compartments, title in gilt on red morocco lettering-piece. Edges speckled red. From Macclesfield library, as the ex libris on the front pastedown and stamp in blind on the AA2r attest. The manuscript note '12 febr. 1696' on the title-page. A few marginalia and underlinings.First edition of this collection of works by the humanist Stefano Negri, also known as Stephanos Melas, and dedicated to leading figures of the age, such as Jean Grolier. The publication includes translations, and philosophical, mythological or poetic writings, among others the Commentarioli in aurea carmina Pythagorae, an epistle addressed to the Milanese physician Giovanni Marliani, and five Prefationes, three to Homer, and the other two to Pindar and Titus Livius respectively. Especially noteworthy are the writings appeared here for the first time in print, and entitled De victo Pythagorico, De vino, and De nimia obsoniorum appetentia, notable and influential examples of gastronomic literature.

NO RESERVE Vergilius Maro Publius. I sei primi libri dell'Eneide... tradotti a piu illustre et honorate donne. Et tra l'altre à la nobilissima et divina madonna Aurelia Tolomei de Borghesi... (Al colophon:) In Vinegia: per Giovanni Padovano ad instantia e spesa del nobile homo, m. Federico Torresano d'Asola, 1544.In-8° (mm 150x98). Carte 24, 23 (manca carta C8 bianca), 20, 19, [1], 27, [1], 25, [7]. Segnatura: A-C8, A-C8, Aa-Bb8 C4, A-B8 C4, Aaa-Ccc8 Ddd4, AA-DD8. Presenti le carte bianche C4 e DD4. Primo frontespizio con cornice xilografica, ritratto xilografico dell'Autore all'inizio di ogni libro, illustrazioni incise su legno nel testo. Arrossature, lievi bruniture e aloni sulle carte. Nota, forse di possesso, sbiadita a c. A2v. LEGATO CON: Id. Il settimo di Vergilio fedelmente dal vero senso in versi sciolti tradotto per m. Giuseppe Betussi... In Vinegia: al segno di san Bernardino (Al colophon:) In Vinegia: per Comin da Trino di Monferato, 1546. Carte 26 [i.e. 29], [3]. Segnatura: A-D8. Marca xilografica con stemma al frontespizio e in fine, capilettera incisi su legno. Fori di tarlo alle ultime 3 carte, restaurati in quella finale, lievi arrossature. Nota manoscritta a c. A3v. Legatura moderna in pelle, cornici a secco e in oro ai piatti, nome dell'Autore in oro al piatto anteriore, dorso a 3 nervi decorato a secco.I opera: Traduzione di Alessandro Sansedoni, Ippolito de' Medici, Bernardino Borghese, Bartolomeo Piccolomini Carli, Aldobrando Cerretani e Alessandro Piccolomini. A cura di Vincenzo di Pers, il cui nome appare nella prefazione. Edizione copiata da quella di Zoppino del 1540 usando le stesse illustrazioni. Renouard, 130.4: "très rare". II opera: Contiene anche, da carta D4r i Versi di Ottaviano Ces. Augusto sopra l'Eneide di Vergilio tradotti dal Betussi. Vergilius Maro Publius. I sei primi libri dell'Eneide... tradotti a piu illustre et honorate donne. Et tra l'altre à la nobilissima et divina madonna Aurelia Tolomei de Borghesi.. (Colophon:) In Vinegia: per Giovanni Padovano ad instantia e spesa del nobile homo, m. Federico Torresano d'Asola, 1544.8° (150x98 mm). 24, 23 (lacking fol. C8 blank), 20, 19, [1], 27, [1], 25, [7] leaves. Collation: A-C8, A-C8, Aa-Bb8 C4, A-B8 C4, Aaa-Ccc8 Ddd4, AA-DD8. Complete with the blank leaves C4 and DD4. First title-page within woodcut frame; woodcut author's portrait at the beginning of each book, woodcuts in the text. Leaves slightly foxed and browned; a few spots. An erased note on fol. A2v, possibly an ownership inscription. (Bound with:) Id. Il settimo di Vergilio fedelmente dal vero senso in versi sciolti tradotto per m. Giuseppe Betussi... In Vinegia: al segno di san Bernardino (Colophon:) In Vinegia: per Comin da Trino di Monferato, 1546. 26 [i.e. 29], [3] leaves. Collation: A-D8. Woodcut printer's device on the title-page and at the end. Woodcut decorated initials. A few foxing. Wormoholes to the last three leaves, repaired the ones affecting the last leaf. A manuscript note on fol. A3v. Modern leather, covers within gilt- and blind-tooled frames, author's name lettered in gilt on the upper cover. Spine with three raised band, tooled in blind.I: A substantial reprint of the illustrated edition printed by Zoppino in 1540. The printer Padovano also re-used the same blocks designed and cut for the previous Venetian publication. Alessandro Sansedoni, Ippolito de' Medici, Bernardino Borghese, Bartolomeo Piccolomini Carli, Aldobrando Cerretani and Alessandro Piccolomini were responsible for translation. Renouard, 130.4: "très rare". II: The edition also includes, from fol. D4r onwards, the Versi di Ottaviano Ces. Augusto sopra l'Eneida di Vergilio, translated into Italian by Betussi.

NO RESERVE Alighieri Dante - Zuccari Federico. Dante historiato da Federigo Zuccaro posseduto dal Gabinetto dei disegni e delle stampe degli Uffizi di Firenze. Edizione integrale in facsimile nel formato originale del volume manoscritto. Roma: Salerno editrice, 2004.In-folio oblungo (mm 496x650). Carte [90] che riproducono in facsimile le 88 tavole del Dante historiato eseguite nel 1586 dal pittore Federico Zuccari (1539-1609), alcune ripiegate. Esemplare intonso. Legatura editoriale in pelle decorata a secco e in oro. Esemplare n. 493 della tiratura di 699 copie stampate. Perfettamente conservato in scatola editoriale in tela figurata, e accompagnato dal piano dell'opera e dal Commentario.Superba edizione che propone per la prima volta nella sua interezza gli 88 disegni dedicati alla Commedia dantesca e realizzati a matita nera e rossa, penna e acquarello dal pittore Federico Zuccari (1539-1609), uno dei maggiori esponenti del manierismo italiano. Folio, oblong (496x650 mm). [90] leaves reproducing in facsimile the 88 plates executed for the Dante historiato, some of which are folded. Unopened copy. Publisher's binding, gilt-and blind-tooled leather. In excellent condition, in the original cloth case including the publishing plan, and the Commentary.Splendid edition which collects the 88 drawings dedicated to the Commedia by the painter Federico Zuccari (1539-1609), one of the leading figures of Italian Manierism, and executed in 1586. This is no. 493 of a limited edition of 699 copies.

NO RESERVE Cardarelli Vincenzo. Lettere d'amore a Sibilla Aleramo. A cura di G.A. Cibotto e Bruno Blasi. Roma: Newton Compton Italiana, 1974 ('I sauri', 4). Esemplare 4 dei 100 non venali tirati su carta azzurra.In-8° (mm 219x146). Pagine 302, [2]. IMPRESSO SU CARTA AZZURRA. Esemplare in barbe in perfetto stato di conservazione. Legatura editoriale in pelle decorata a secco, dorso a cinque nervi con titolo impresso in oro. Ex-libris 'Mario Battaglini' al contropiatto anteriore. Esemplare fuori commercio della prima edizione dell'epistolario che tratteggia la stagione d'amore tra Cardarelli e l'Aleramo, appassionata e tumultuosa relazione che fece parlare le cronache, non solo letterarie, dell'epoca.8° (219x146 mm). 302, [2] pages. PRINTED ON BLUE PAPER. Uncut copy, in excellent condition. Publisher's binding, blind-tooled leather. Spine with five raised bands, title lettered in gilt. Ex-libris 'Mario Battaglini' on the front pastedown. This is no. 4 of an edition limited to 100 copies printed on blue paper, not for sale. The volume presents the first edition of the passionate love letters exchanged between Vincenzo Cardarelli and Sibilla Aleramo.

WINSTON CHURCHILL (BRITISH 1874-1965) 'A STUDY OF BOATS', two limited edition prints numbered 177 and 179 of 750, facsimile signature, with blind stamp, titled and numbered in pencil, printed in 1995, unmounted, unframed, approximate size 51cm x 41cm (condition: dirty marks to the white borders) (2)

DAVID SHEPHERD (BRITISH 1931-2017) 'DOWN ON THE FARM, MRS P AND THE KIDS' a limited edition print 261/500 of a sow and her piglets, signed and numbered in pencil with blind stamp, unmounted, unframed, approximate size 25cm x 32cm (condition: as new) Artist Resale Rights may apply

DAVID SHEPHERD (BRITISH 1931 - 2017) 'THE BEST SPOT ON THE HILL', a limited edition print 69/950 of a family of cheetahs, signed and numbered in pencil, with certificate and blind stamp, unmounted, unframed, approximate size 38cm x 76cm (Condition:- Light water damage to the bottom edge of the white border)

DAVID SHEPHERD (BRITISH 1931 - 2017) 'COTTAGE COMPANIONS', a limited edition print 3/850 of a woman spinning wool with her dog at her side, signed and numbered in pencil with Fine Art Trade Guild blind stamp, unmounted, unframed, approximate size 38cm x 42cm, (Condition:- As new) (artist resale rights may apply)

ANTHONY GIBBS (BRITISH 1951) 'MARA LOOKOUT', a limited edition print 118/1000 of a Leopard in a tree, signed and numbered in pencil, with blind stamp, unmounted, unframed, approximate size 42cm x 57cm (Condition:- As new)

DAVID SHEPHERD (BRITISH 1931 - 2017), 'THE MOUNTAIN GORILLAS OF RWANDA', a limited edition print 284/1500 depicting as troop of Gorillas in the Bush, signed and numbered in pencil, with blind stamp, approximate size 54cm x 72cm (Condition:- As new) (Artist resale rights may apply)

NIGEL HEMMING (BRITISH 1957) 'HOME GUARD', a remarque limited edition print R17/50 with the addition of a pencil sketch within the mount, signed and numbered in pencil with blind stamp and certificate, approximate size 36cm x 45cm (Condition:- As new)

SIR WILLIAM RUSSELL FLINT (BRITISH 1880 - 1969) 'THE UNSUCCESSFUL SHRIMPER', a limited edition print of a scantily clad woman on a beach, 269/650 with WRF blind stamp lower right, approximate size 40cm x 52cm, mounted, framed and glazed, together with two open edition litho prints, both framed and glazed (3) (condition:- All in good condition)

DAVID SHEPHERD (BRITISH 1931 - 2017) 'LUANGWA EVENING', a limited edition print 1320/1500 of a herd of elephants at a watering hole, signed and numbered in pencil, with blind stamp, mounted, unframed, approximate size 37cm x 69cm (Condition:- As new) (Artist resale rights may apply)

ARTHUR DELANEY ARTIST SIGNED COLOUR PRINT 'Ardwick Empire' Signed in pencil and with blind stamp 14" x 18" (35.6cm x 45.7cm)

TOM DODSON TWO ARTIST SIGNED LIMITED EDITION COLOUR PRINTS 'A Carriage for Two' (238/850) 14" x 18" (35.6cm x 45.8cm) A bygone interior scene with young man ironing a pair of trousers, (606/850) 14" x 10" (35.6cm x 25.4cm) Both with blind stamps, (2)

Sir William Russell Flint, limited edition coloured print, bearing AGP blind stamp and no. 526/650, framed and glazed

Pair of early 20th century silver napkin rings, circular, with engine-turned decoration and blind cartouches, Birmingham 1923, cased, a set of six silver teaspoons, Sheffield 1948, cased and a set of six butter knives, cased

Sir William Russell FlintA QUESTION OF ATTRIBUTIONa signed print, published by Frost & Reed, with blind stamps57cm x 45cm

A set of seven Victorian oak dining chairs, each with blind fret work decorated backs over needlework seats and on bobbin turned supports, each 46cm wide

A George III mahogany serving table, with blind fret carved decoration and fluted chamfered legs, W.5ft 6in. D.2ft 7in. H.2ft 11in.

§ Lawrence Stephen Lowry (1887-1976)lithographIndustrial Scene, 1953, published Venture Prints Ltd, 1974, signed in pencil and with Fine Art Trade Guild Ltd and letter to number blind stamps to margin, No. 329/85015 x 10.5in.

HANCARVILLE, Pierre d'. Recherches sur l'origine, l'esprit et les progrès des arts de la Grèce; sur leur connexion avec les arts et la religion de plus anciens peuples connus; sur les monumens antiques de l'Inde, de la Perse, du reste de l'Asie, de l'Europe et de l'Égypte ... London, Appleyard, 1785 D'Hancarville's chef-d'oeuvre. 'D'Hancarville, who had close connections with the Dilettanti Society, worked with Winckelmann and acted as Sir William Hamilton's agent, assisting him in amassing his collection. In this controversial work he "attempted to systematise an enormous amount of mythological and ritualistic material - Greek, Persia, Indian - and to draw relationships based on comparative mythology and the vaguest historical evidence. The plates are extremely interesting and illustrate elements from the various mysteries, mithraic, eleusinian, etc." (Blackmer). The work was never finished as the author took offence at the criticisms of his first two volumes. The third volume is a supplement responding to the censures. First edition. 3 vol. 4to. 90 engraved plates (12 folding); slight foxing and browning to vol. 3. Contemporary russia, covers decorated in gilt and blind, sometime rebacked, spines gilt in compartments, all edges gilt; corners worn else a fine set. Blackmer 846; Brunet IV, 1135.

HOWARD, Luke. Papers on Meteorology, relating especially to the Climate of Britain, and to the Variations of the Barometer, Communicated to the Royal Society at Various Periods from 1821 to 1845. Being Part I. of the Appendix to Barometrographia. London, Richard & John E. Taylor, 1850-54. 2 volumes, being Part I & II (complete), folio (28.5 x 22.5 cm): Part I: [4], 76 pp., 6 diagram plates, 1 large folding sheet unbound; Part II: [4], 71 pp., 2 diagram plates, 1 folding table. Publisher's blind-tooled cloth lettered in gilt, second part lacking most of backstrip, first some fraying and minor splits. Inscription to both title pages: "The author to his friend Alfred Waterhouse. Ackworth, 26/ix-1854". Provenance: Alfred Waterhouse.

Willughby, Francis; John Ray (ed.). Ornithologiæ libri tres.London, John Martyn, 1676 "Ornithologiæ libri tres (referred to as the Ornithology) is one of the first truly scientific ornithological texts. It was published four years after the death of Francis Willughby (1635-1672) by his friend and collaborator John Ray (1627-1705). These two natural historians had met at Trinity College Cambridge in the 1650s and spent time travelling around Britain and Europe collecting and observing nature. Previous works concerning birds typically contained information gleaned from earlier sources such as Aristotle and Pliny with extra comments by the author. These works would usually describe the birds, where they might be found, whether they were edible, if they had any medicinal value, and what their human traits and characteristics were (for example Wrens are viewed as brave while Finches are dim-witted). It was also not uncommon to find mythical and fabled birds such as the phoenix and griffin amongst the pages of such works. As the study of natural history progressed the standards of ornithological works improved but they still lacked sensible and coherent organisation. Birds tended to be grouped together by habitat and then by their actions. Walter Charleton's (1619-1707) system, explained in his Onomasticon zoicon (London, 1668), involved looking at the birds' diets, whether they bathed (and in what water/sand) or sang. The way birds were ordered changed with the publication of the Ornithology. Firstly, they are classed here as land or water birds. The land birds are then divided into those with crooked beaks and claws and then those with straight beaks. The water birds are divided into those 'that wade in the waters, or frequent watery places, but swim not; The second, such as are of a middle nature between swimmers and waders, or rather that partake of both kinds, some whereof are cloven-footed, and yet swim; others whole-footed, but yet very long-leg'd like the waders: The third is of whole-footed, or fin-toed Birds, that swim in the water'. This is thought to be the first attempt to rationally classify birds. The 77 illustrations contained in the Ornithology come from various sources. Some are copies made from the collection of pictures and specimens owned by Willughby, others Ray had commissioned. The quality of the illustrations varies greatly; some are very lifelike and easily identified while others are not. Many of the birds have unusual postures for their species while those drawn from specimens (dead or alive) tend to be the more accurate. Ray himself puts the lack of quality down to the fact that he was unable to fully oversee the engravers' work as he was away from London and had to send instructions by letter. The illustrations credited to Thomas Browne (1605-1682) are of the best quality. These are thought to include the illustrations of the Shearwater, Little Auk, Razorbill, and Great Northern Diver" (Dawn Moutrey, University of Cambridge, Whipple Library). First edition. Folio (36.3 x 22.5 cm.), 2 folding letterpress tables, 77 engraved plates, lacking initial imprimatur leaf, browning to text leaves, title-leaf slightly frayed at fore-edge and with very small hole in centre, three plates with tears repaired, later vellum with arms tooled in blind on covers, a good example. Provenance: Sacchetti, armorial bookplate and stamp on title-page. Anker 532 (variant); Nissen IVB 991; Wing W2879 (with title-page variant recorded as ESTC R471002).

JACOBEAN STYLE OAK THREE DOOR WARDROBE WITH CENTRAL MIRROR PANEL DOOR AND WITH BLIND FRET CARVED DECORATION

Famed limited edition Arthur Delaney print depicting Albert Square Manchester, with GFA blind stamp

CONSOLE TABLE, 19th century French Louis Philippe flame mahogany rectangular with blind frieze drawer undertier and variegated grey marble top, 130cm x 49cm x 92cm H.

Three Prattware dessert plates with oak leaf border 'the Truant' and the 'Hop Queen' manufactured for James Muggletons, Birmingham, together with an oval serving dish depicting The Blind Fiddler by sir David Wilkie (4)

Freek van den Berg (Dutch 1918-2000): Continental Harbour Scene, watercolour, initialled verso with artist's studio blind stamp 40cm x 50cm Provenance: through the artist's family. Freek belongs to the group of Fauvists and was one of the last Dutch painters who worked in this expressive and colourful manner. He was a member of the "Onafhankelijken" and also an art critic. Several books appeared about his work. DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

A Roman Constantius ll hammered coin; together with a Tetricus hammered coin; a John the Blind of Luxembourg silver denier, 1304-1341; and a Napoleon lll silver coin. (4)

Early 20th Century chest of four long drawers beneath blind fretwork back rail Condition:

Early 20th Century golden oak twin pedestal desk with blind tooled skiver over frieze drawer and cupboards Condition:

Tom Dodson (1910-1991), a steel-framed and glazed colour lithograph, 'Brighton Pier', blind stamp lower left, signed in pencil by the artist in the margin lower right, 35cm x 45cm

John Hoyland (1934-2011), a limited edition (68/75) unframed Screen Print with Woodblock, 'Friendly Ghost', signed and dated 1997 in pencil lower right, image size 39cm x 30cm, blind stamp lower right CONDITION REPORT: All in generally very good order with no problems noted.

John Hoyland (1934-2011), a limited edition (68/75) unframed Screen Print with Woodblock, 'Story from Nature', signed and dated 1997 in pencil lower right, image size 39cm x 30cm, blind stamp lower right CONDITION REPORT: All in generally very good order with no problems noted.

John Hoyland (1934-2011), a limited edition (68/75) unframed Screen Print with Woodblock, 'Window to Nature', signed and dated 1997 in pencil lower right, image size 39cm x 30cm, blind stamp lower right CONDITION REPORT: All in generally very good order with no problems noted.

John Hoyland (1934-2011), a limited edition (68/75) unframed Screen Print with Woodblock, 'Window Genie', signed and dated 1997 in pencil lower right, image size 39cm x 30cm, blind stamp lower right CONDITION REPORT: All in generally very good order with no problems noted.

John Hoyland (1934-2011), a limited edition (68/75) unframed Screen Print with Woodblock, 'Spirit Side', signed and dated 1997 in pencil lower right, image size 39cm x 30cm, blind stamp lower right CONDITION REPORT: All in generally very good order with no problems noted.

A George III serpentine-fronted mahogany Commode, four full-width graduated drawers with cast swan-neck handles and flanked by blind fret canted corners, raised on ogee bracket feet, 96cm wide x 54.5cm (deepest) CONDITION REPORT: There is quite a large split down the front of the right hand side. There is some scratching to the surface of the wood and some of the polish has come away from the top of the chest. There is also a 1mm piece of veneer from the front of the serpentine on the moulding at the top. There is also a piece which has been replaced on the left hand return moulding. Lifting the chest up, the top has bowed and you can see a slight concave effect where it is coming away from the sides of the chest. The rear back leg left hand side has had strengthening screws and there is generally scuffing and scratches with age to the ogee feet. We think the handles are probably original. In our opinion this does need work.

An early 20th century Irish mahogany Long Shelf on two brackets, high quality Arts and Crafts style blind fret carving depicting flower heads, scrolling tendrils etc., upon two brackets similarly carved, 175cm wide

A mid-19th century mahogany serpentine chest of drawers, in the George III style, the moulded top over blind fret carved canted corners and four long graduated drawers with original swan neck brasses, on shaped bracket feet, 37¾ x 21½in. (96 x 54.5cm.), 35in. (89cm.) high.

An Edwardian stained mahogany table vitrine, in the George III style, of small proportions, with foliate scroll blind fret carving throughout, the glazed hinged top with red velvet base, raised on square tapered legs with pierced corner brackets, united by an x-stretcher with undertier, on spade feet, 19 x 14in. (48.25 x 35.5cm.), 28½in. (72.5cm.) high.

An Edwardian mahogany table vitrine, the hinged, square glazed top with gadrooned border and silk lined interior, over a blind fret carved frieze, on channel moulded square supports with pierced corner brackets and x-stretcher, on trapezoid feet, 18¼in. (46.5cm.) square, 31¼in. (79.5cm.) high.

An Edwardian carved mahogany table vitrine, the glazed top and supports with blind fret floral strapwork carving, enclosing a claret red velvet interior, the square tapered supports united by an incuse undertier, on spade feet, 23½ x 16½in. (58.5 x 42cm.), 29¼in. (74cm.) high.

Charles Johnson Payne called 'Snaffles' (British, 1884-1967), 'Andsome is Wot 'Andsome Does', hand coloured print, laid onto a support sheet with printed title and remarque, signed in pencil lower left with the 'Snaffles bit' blind stamp, 18 3/8 x 16½in. (46.7 x 42cm.), glazed in modern gilt frame.* Condition: Toning and some light foxing to support sheet. Small nick to surface of card below 'Andsome', two others to river in remarque and 2in. scratch to card to left hand margin approx. 3in above signature. Fox mark to centre of sky on print. Print is slightly cockled. Small white spot to top centre of support sheet.

Charles Johnson Payne called 'Snaffles' (British, 1884-1967), 'Peshawar Vale', hand coloured print, laid onto a support sheet with printed title and remarque, signed in pencil lower left with the 'Snaffles bit' blind stamp, 18¾ x 28in. (47.5 x 71cm.), glazed in modern gilt frame.* Condition: Toning and foxing to support sheet and foxing to upper half of print. Toning is heavier in a 1in. wide vertical line approx. 5in. from left hand edge of print. Water marking around top and right hand joint of print and support sheet.   

L S Lowry, 'The Bearded Lady', artist signed print with F A blind stamp, 24" x 19.5", framed and glazed; a print of the original pencil sketch of the same, 8.5" x 5.5", framed and glazed (*Artist Resale Rights apply)

An 18th century stained chestnut bureau with fall front, serpentine stepped interior, 2 long and 3 short drawers below with ornate brass rococo drop handles and escutcheons, canted blind fret side columns, on bracket feet, width 40"

An Ian Smith Reproduction Furniture library bookcase, stepped cornice, blind fretworked frieze, three astragal glazed doors enclosing shelving to top, three burr walnut fronted drawers over conforming cupboards to projecting base, shaped apron, bracket feet

A group of pictures to include a still life watercolour of a pheasant with fruit and flowers, signed indistinctly; a 19th century pen and ink drawing of a recumbent bull, initial to margin; W. A. Cox - a coloured engraving of two children with a rabbit, signed with gallery blind stamp, published 1918; and another print

A George III mahogany bureau bookcase,the broken arched pediment centred with an urn, the plain panelled cupboard opening to reveal shelves and a blind fretwork frieze over a slope front with pigeonholes, and drawers over two short and three long graduated drawers, flanked with blind fretwork chamfered corners, on ogee bracket feet,117cm wide 59cm deep 220cm high

Circle of Gerard Hoet (1648-1733)CHRIST HEALING THE BLINDOil on canvas34 x 42cm

A studio photograph of HRH Edward Prince of Wales, signed in pen by Edward and dated 1925, photograph taken by Hugh Cecil, studio blind stamp with numbered label verso, photo size 24cm x 17cm, modern gilt frame.