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MUNSTER (SEBASTIAN), COSMOGRAPHIA ODER BEISCHREIBUNG ALLER LANDER, Heinrich Petri, Basel, 1550, folio, contemporary blind-stamped ivory pigskin binding over boards (clasps deficient); missing approx 100 pages and all double page maps - still present, plan of Rome, maps within text and over 650 woodcut illus, some initialled, Heinrich Holzmuller, etc

CHURCHILL, RT. HON. WINSTON S. Arms and Covenant. Speeches on Foreign Affairs and National Defence -------- compiled by Randolph S. Churchill. 1938. D/w Inscribed in ink by Winston S. Churchill and Randolph S. Churchill in June 1938. Spine lettered in gilt, title enclosed in triple gilt frame, upper cover with double fillet. Frame in blind around the edges. Pale blue D/w split down upper joint.

GOOD PAIR OF GEORGE III MAHOGANY AND BEECH `CHINESE CHIPPENDALE` ARMCHAIRS CIRCA 1760 each with an arched and foliate scroll carved top rail over a lattice work straight back and slightly scrolling open lattice work arms, over a plank seat and blind fret carved seat rail, raised on straight square blind fret carved legs joined by an H-form stretcher (2) 60cm wide, 102cm high, 47cm deep Provenance: Property from a Scottish country house Note: The design for these chairs is taken almost exactly from Thomas Chippendale`s Gentleman and Cabinet-Maker`s Director, plate XXVII. It incorporates a number of Chinese influences including the blind fret carving and open trellis found throughout Chippendale`s design book.

18TH CENTURY STYLE LACQUERED BUREAU CABINET, having broken arched pediment with turned finial's above two arched blind panelled doors revealing a fully fitted red lacquered interior, the base with fall front revealing red lacquered stepped fitted interior above two short and two long drawers on bracket feet. 20th century. 59" Wide x 24" Deep x 86" High.

19TH CENTURY WELSH OAK TWO STAGE PRESS CUPBOARD, having moulded cornice over two geometric blind arch panelled doors flanked by turned columns, fitted shelves to the interior on a projecting base, with two short and two long moulded drawers on bracket feet. C1840. 50" Wide x 20" Deep x 80" High.

LATE 19TH CENTURY WELSH OAK DOUBLE CORNER CABINET, having swept cornice over single glazed door, revealing two fitted shelves to the interior, projecting base with two blind panel doors on turned feet. C1895. 38" Wide x 17" Deep x 84" High.

VICTORIAN MAHOGANY DOUBLE CORNER CABINET, having moulded cornice above two arched glazed doors revealing shaped shelves to the interior, the projecting base with two pointed arch blind panel doors standing one bracket feet. C1885. 42" Wide x 18" Deep x 85" High.

LATE 18TH CENTURY WELSH OAK BLIND DOUBLE CORNER CUPBOARD, having moulded cornice over banded freize, two blind panel doors revealing shaped fitted shelf to the interior on a projecting base with similar panel doors standing on bracket feet. C1790. 40" Wide x 18" Deep x 87" High.

EARLY 20TH CENTURY OAK LOW SIDEBOARD, having dentil galleried back with scroll moulded decoration and pierced sides, the base with two freize drawers above three blind panel doors standing on square tapering front legs. C1910. 80" Wide x 28.5" Deep x 51" High.

A pair of cream floral lined curtains with decorative fringing to the top, a similar pair, a roller blind and a collection of poles and a spare roll of material

An 18ct gold hunting cased lever watch, signed Gaskin, Dublin, No 2992, brass balance with blind steel inner rim and spokes, diamond endstone cap, white enamel dial with subsidiary seconds, in a case with hilted band, Chester 1807, 51 mm diam.

A 8 day oak longcase clock with automaton, the 12in brass dial signed Geo Eveleigh, Beaminster, the centre engraved with a lakeside scene with sub seconds and date aperture, the arch containing a painted rocking ship, 4 pillar movement, in a case with flat hood and blind frets, 6ft 9in (206cm) high.

An 8 day oak longcase clock, the 13 inch painted dial signed Watkin Owen, Llanrwst, subsidiary seconds and date aperture, florally painted spandrels, 4 pillar movement in a flat topped case, with blind fret, panelled plinth, the trunk flanked by fluted pilasters, 6ft 8in (203cm) high.

An oak livery cupboard, with blind fret Gothic and linen fold panels, the interior with three shelves, parts 16th century and later, 63in (160cm) high, 43in (109cm) wide, 12½in (32cm) deep.

A George III Scottish mahogany stool, with blind and pierced fret decoration, the needlework drop-in seat decorated dragons, a bird and foliage, 18in (46cm) high, 18½in (47cm) wide, 16½in (42cm) deep.

John Weston, Wolsingham: a George III mahogany and banded longcase clock, the brass dial with silvered roman chapter ring, engraved to the centre with a recumbent lion amongst foliated scrolls, the subsidiary seconds dial engraved with snake and bird design, two train movement with anchor escapement, moon phase to the arch, the case with swan neck pediment and dentil decoration, arched door flanked by turned columns, the central section with blind fret frieze above a shaped and banded waist door flanked by fluted quadrants, panel base with canted corners and bracket feet, 86in. high. See illustration

"Snaffles" (Charles Johnson Payne) (1884-1967) "THE WORST VIEW IN EUROPE" original photolithograph with hand-colouring signed in pencil with double "Snaffles" blind stamps, published c.1922 22.5 x 49cms; 8 3/4 x 19 1/4in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "FOX CATCHERS: FOR THE LOVE OF IT" signed in pencil and with "Snaffles" blind stamp original colour photolithograph, published c.1923 23.3 x 26cms; 9 1/4 x 10 1/4in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "LE POILU" with "Snaffles" blind stamp original photolithograph with hand-colouring, published 1915-1917 28.5 x 20cms; 11 1/4 x 8in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "BON VOYAGE" with "Snaffles" blind stamp original photolithograph with hand-colouring, published 1915-17 29 x 20.5cms; 11 1/2 x 8in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "LE 75" with "Snaffles" blind stamp original photolithograph with traces of hand-colouring, published 1915-17 28.5 x 20.5cms; 11 1/4 x 8in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "SANS PANACHE: FRENCH CAVALRY 1914" with "Snaffles" blind stamp in the margin original photolithograph with hand-colouring, published 1915-17 28.5 x 20.5cms; 11 x 8in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "A HEILAN' LAD" with "Snaffles" blind stamp photolithograph with hand-colouring, published 1915-17 28.5 x 20.6cms; 11 1/4 x 8 1/4in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "Wipers" with "Snaffles" blind stamp original photolithograph with hand-colouring, published 1915 28.5 x 20cms; 11 1/4 x 7 3/4in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "ANZAC" with "Snaffles" blind stamp on the mount original photolithograph with hand-colouring, published c.1916 28 x 20cms; 11 x 8in. (image size).

"Snaffles" (Charles Johnson Payne) (1884-1967) "THE HUNTSMAN: THE 'OSS LOVES THE 'OUND BUT I LOVES BOTH" signed in pencil with "Snaffles" blind stamp colour photolithograph with hand-colouring, published c.1920 21 x 25.3cms; 8 1/4 x 10in. (image size). See illustration

"Snaffles" (Charles Johnson Payne) (1884-1967) "UBIQUE MEANT - BANK, 'OLBORN, BANK - A PENNY ALL THE WAY" signed in pencil with "Snaffles" blind stamp original photolithograph with hand-colouring, published 1920 29 x 35.5cms; 11 1/2 x 21in. (image size). See illustration

CHARLES DARWIN. "The Descent of Man, and Selection in Relation to Sex.", two vols, the first vol being 1st state, 1/2 title, 7 prelim, 423pp, 16pp ads orig blind stamped green cl, gt spine, 8vo, Murray 1871 (some gatherings proud), Vol 2 being 7th thousand, green cl, good firm condition 1871.

A Victorian light oak tall library bookcase, featuring a carved, moulded and dentil cornice above decorative blind fret frieze, the two glazed panelled doors enclosing adjustable shelves, the base section fitted with two elegantly panelled cupboard doors, raised on a plinth base, width approx 122cm (illustrated).

A 19TH CENTURY MAHOGANY CHANNEL ISLANDS WARDROBE the upper section with blind fretwork frieze over twin panelled doors, all over the lower section, over two short and one long faux drawers, all over single long drawer and with brass swan neck handles in the form of Putti and all standing on shaped bracket feet, approximately 54" wide

A nice quality serpentine fronted Mahogany Sideboard having a low blind fret work upstand, egg and dart beading, a pair of central drawers with brass swan neck handles flanked to either side by bow fronted cupboards having quarter veneered doors, one with a baize lined cutlery drawer, the other with a lead lined cellarette and the whole standing on unusual tapering square legs terminating in broadening feet. 72'' wide x 22 1/2'' deep x 41 1/4'' high overall approx.

ACCESSORIES (Qty): Large collection of early hooks by Bartleet, Booker of Redditch, mainly round bend eel hooks, in original packets, some hooks rusted, assorted leads in various boxes, blind eye trebles, traces plus Hardy and Gamage boxes, all as per image.

HOOKS: Collection of 10 Mustad Norway salesman hook sample cards, containing some weird patterns incl. Angled and L eyed long shank hooks, Southern and Tuna hooks, various trebles, blind and eyed plus a card of O rings.

Royal Crown Derby oval Imari dish, two Royal Worcester hinged circular boxes `Blue Glade`, `Millennium` (boxed); Royal Worcester Conoisseur Collection Plum & Pineapple (boxed); Conoisseur Collection miniature hinged pedestal vase and cover `Blind Earl` (boxed); two Chinese Horse of the Year (boxed)

An Edwardian mahogany single wardrobe, having moulded cornice over blind fret freeze and full length mirror panelled door, over single drawer on bracket feet.

An early 19th Century Dutch walnut and marquetry Display Cabinet, the Kentian style broken pediment above single door with nine glazed panels and astragal glazing bars, two oval topped glasses flanking and above a base section with two blind panelled doors, the whole veneered profusely veneered with floral and foliate style marquetry, with base moulding and on replaced square tapering legs, 213cm high x 107cm wide

A George VI silver cigarette box of rectangular form, with a blind fretwork and beaded edge to an engine turned top, Birmingham, 1939, 13cm wide, together with a enamel decorated and glass shallow bowls, and a silver and enamel decorated pill box.

Attractive Edwardian black lacquer and pearl inlaid coach blind, with adjustable green cloth, 25" wide

George III mahogany chest on chest, the dentil cornice over blind fretwork frieze, fitted with two short over six long graduated drawers and a brushing slide, upon bracket feet, 71" high

By John Yardley (born 1933) - `The Red Blind`, signed, The Barns Gallery label verso, watercolour, 9.5" x 13", framed (copy receipt)

After Salvador Dali (1904-1989, Spanish) - `I Solde and Brangane`, signed, blind stamped seal, limited 41/125, colour print, 15.5" x 10.25", framed

Maple & Co. two-piece bedroom suite, comprising mahogany dressing table and washstand, each decorated with blind fretwork panels and cabriole legs, 48" and 42" wide respectively (2)

After Lionel Edwards - Hunting Countries, The Middleton at Stittenham Wood:- coloured print, signed, with blind stamp, published by Eyre & Spottiswoode, 44 x 60cm.

After Lionel Edwards - Hunting Countries, Digging Out:- also a companion, the pair, Full Cry, coloured prints, signed in pencil with blind stamps, published by Eyre & Spottiswoode, one backing board with label, Hunting Countries, The Lauderdale, Threepwood Moss, each 41 x 56cm, unframed (2)

§ After Pablo Picasso - `Repas des enfants`, colour lithograph on paper, limited edition 130/500, year of edition 1980, two blind stamps and stamped verso `John L. Spangberg 1979`, 21½ x 29½in. (53 x 74cm)

A mahogany bowfront chest, of two short over three long drawers, with blind fret decoration, ring handles, on bracket feet, 102cm.

A Georgian style mahogany finish 3-height display shelves with 3 short drawers, blind fretwork fronts, 29½"

A mahogany bureau bookcase, the top with a blind fret frieze above two astragal glazed doors, the base with a fall enclosing a fitted interior, above four graduated drawers on ogee bracket feet, George III but adapted, 112cm wide.

An 18th century oak eight day longcase clock, the arch top 13.5 inch dial, signed JOS ALKINSON GATEFHEAD, the trunk with blind fret corners, with two weights and a pendulum, 210cm high.

A set of three 19th century Italian gilt wood mirrors, in the Rococo style, the cartouche frames carved with scallop shell and foliate scrolls on a blind lattice ground, inset oval plates, 66cm high, (3).

B. Paine, Continental Building, and two coloured engravings, signed in pencil George. T. James, with DZP blind stamp

(Europe, Pays-Bas, Costumes) - The Costume of the Netherlands displayed in thirty coloured engravings after drawings from nature by Miss Semple [...].London, Ackermann`s repository of Arts, 1817.In-f° : [2]-30 pp.; 30 plates (heavy dampstaining at the bottom).Contemporary English binding : full red straight grained morocco, boards decorated with gilt borders of a geometric greek pattern and palm leaves, blind tooled volutes, gilt ribbed spine (minor dampstains on cover, slightly rubbed).First edition of this superb illustrated book with a hand-coloured vignette on title-page and 30 hand-coloured engravings in aquatint by William Bartlett from drawings of Miss Semple. The plates are accompanied by the descriptions in English and French and depict personages in typical attire from the Netherlands (Amsterdam, Rotterdam, Friesland), Belgium (Mons, Antwerp) en Northern France (Valenciennes).# Lipperheide 958; # Colas 2710 (mentions a half-tilte); # Landwehr, Dutch books with coloured plates, n° 431; # not in Abbey. Provenance : "C. Mackenzie, from her dear brother sir Harry Neven Lumsden" (handwritten inscription). Édition originale illustrée d`1 vignette et 30 aquatintes rehaussées par William Bartlett d`après les dessins de Miss Semple. Les planches sont accompagnées de descriptions en anglais et français en vis-à-vis. Plein maroquin à grains longs rouge de l`ép. (qqs pet. mouill. aux plats, lég. frotté).

Saint BASILE.- Opera omnia [...].Basileae [Bâle], per Joan. Oporinum et haeredes Joannis Hervagii, 1565.In-f° (text n.c., numerous handwritten notes in Greek and Latin, underlinings, some marginal dampstains, wormholes at the end, some foxing, stamp and handwritten notes on title-page).Contemporary binding : full pigskin, decorated boards with blind fillets, roll-stamps and fleurons, ribbed spine, blue edges (soiled, slightly rubbed, dampstain on the upper board, some stains, wormholes in the back board, library stamp on the spine, edges and 1 corner dulled, 3 corners lacking, handwritten notes on the flyleaves).Second edition (1st ed. : 1540) of these complete works of the Cappadocian Church Father, Basil the Great (330-379) collected by the theologian reformer Wolfang Musculus. Printer`s mark on title-page.# Adams B-341; # not in Machiels nor in Soltész. Ensemble des oeuvres du Père de l`Église Basile, rassemblées par le théologien Wolfgang Musculus. Pleine peau de truie de l`ép. (défraîchi, lég. frotté).

REISCH, Gregor; FINE, Oronce.- Margarita philosophica, hoc est Habituum seu Disciplinum omnium [...] .Basileae, per Sebastianum Henricpetri, (1583).In-8° : [40]-1403-[3]-[2 bl.] pp. (folding worldmap and musical plate lacking, light foxing, marginal tear p. 973, some lack of paper in the margin of p. 1065).Contemporary binding : full calf, blind tooled decoration on the boards : 2 roll-stamps, the outter one with portraits of saints, the inner one with geometrical patterns, surrounding a central panel with the monogram IHS, ribbed spine, gilt edges (lower board, part of the upper board and spine restored, brass clasps renewed).Enlarged edition by Oronce Fine of the "Philosophical pearl" (first edited at the beginning of the 16th Century), a compendium of the trivium, the quadrivium and the natural and moral sciences, composed as a series of dialogues on grammar, logic, arithmetics, music, ethics... with elaborate chapters on astronomy and geometry. Reisch (Wurtemberg (?)-1523 Freiburg) was prior of Saint John the Baptist at Freiburg in Breisgau and confessor to Maximilian I. Fine (1494-1555), a French cartographer and astronomer, taught mathematics at the Collège de France. His preface to this edition is dated 1523. Illustrated with about 20 full-page woodcuts (the creation of Eve, the wheel of fortune, anatomy of the eye, studies in perspective, allegorical representations of the septem artes liberales...) and various in texto engravings concerning anatomy, astronomy, music... Large printer`s mark on the last page.# Adams R-338; # Sabin 69131; # Brunet IV-1201; # not in Machiels nor in Soltész. Provenance : Petrus de Zenis, 1697 (handwritten mention); unidentified stamp featuring a deer and "GBBNPDF".

(Religion, Bible) - Biblia cum concordantiis Veteris et Novi Testamenti [...].(Lugduni [Lyon], Jacobum Sacon. Expensis notabilis viri Antonii Koberger Nuremburgensis, 24 julii 1521).In-f° : [14]-cccxvii-[25] lvs (some lvs slightly browned, 2 small wormholes at 3 lvs in the beginning, small tear with loss at cvii, some lvs slightly renewed at the upper margin with small loss replaced by hand, some marginal handwritten notes at the end, otherwise fresh copy).19th Century binding by Belz-Niédrée : full brown morocco, boards decorated with blind fillets, roll-stamp and fleurons, ribbed spine with blind central fleuron, gilt edges, gilt roll-stamp on the turn ins (slighty hatched at the lower parts of the boards, back board scratched, dampstain at the back board and the front flyleaves, handwritten notes in Latin by a contemporary at the back flyleaf).One of the serie of Sacon-Koberger Bibles printed between 1512 and 1522 by Sacon from Lyon for Anton Koberger who published the famous Nuremberg Chronicle. The text of this Early Lyon edition, with some parts in red, is printed in two typographical columns with architectural decorations. Illustrated with 4 threequarter page woodcuts : the Genesis, the Heaven, the Nativity by Hans Springinklee (c. 1490/95-1540), a student of Albrecht Dürer, and the Solomon asleep. Decorated also with c. 130 large woodcuts in the text and numerous ornamental initials. Beautiful title in red typography within a Renaissance ornemental woodcut border, a central vignette figuring 2 young girls holding the coat of arms of Lyon and a large fleur-de-lis printed in red at the bottom. Tables of concordance of the Gospels printed in red typographical columns. The text is followed by the "Interpretationes nominum Hebraicorum", a dictionary of Hebrew names often supplied with early printed Bibles. # Baudrier XII-357-358; # Darlow & Moule 6101; # Adams B-1001; # Soltész B-416; # STC French 53; # not in Machiels nor in Renier. Provenance : In librorum templo Ne*lis (ex-libris). Édition lyonnaise mise en page dans 2 colonnes typographiques, illustrée de 4 grands bois et de c. 130 grandes vignettes sur bois in texto. Qqs passages imprimés en rouge comme le décors des tables de concordance des Évangiles. Plein maroquin brun moderne de Belz-Niédrée (qqs ff. lég. brunis sinon int. frais, qqs griffes au plat inf.).

(Religion) - Saint BRUNO.- Opera & vita post indicem serie literaria indicanda.[Paris], venunda[n]tur Jodoco Badio Ascensio, (sub pascha 1524 in typographia Ascensiana).In-f° : [8 title-page incl.]-dxx lvs (clear dampstain in the upper margin of the 1st two quires, library stamp and handwritten notes in the lower margin of title-page).17th Century binding : full calf, boards with blind tooled fillets, roll-stamp and acorns in the angles, gilt decorated ribbed spine with an acorn in the center of each rectangular design, red edges, blind roll-stamp on the turn ins (boards scratched, joints and turn ins partly repaired, edges dulled).First edition of the works attributed to Saint Bruno of Cologne (c. 1030-1101), founder of the Carthusian Order, followed by his hagiography by François Du Puy (1450-1521) and a poem by Benedetto Z. Ferreri. Illustrated with a red and black title and Badius Ascensius` large mark figuring a printing office within a woodcut ornamental border. Nice historiated initials and 6 neat woodcuts in the text depicting decisive moments of Bruno`s life like his journey to the Chartreuse Mountains. Those xylographies are partly based on the cycle of Urs Graf in the Basle edition of Bruno`s life. The fact that Badius rarely illustrated his works, contributes largely to the importance of this very fine postincunable edition. Complete and neat copy.# Renouard, Josse Badius, II-227; # Adams B-2936; # Soltész B-1001; # Machiels B-1003 (mentions erroneously 88 preliminary leaves); # STC French 84; # Oberrheinische Buchillustration II-53 n° 62; # not in Mortimer nor in Harvard French. Provenance : Norbertine abbey of Grimberghe (gilt arms on the spine; # de Jonghe d`Ardoye 413). Édition originale illustrée des oeuvres attribuées à Bruno le Chartreux, suivie de son hagiographie par Du Puy et d`un poème par Ferreri. Plein veau du 17e s. (bel exemplaire, qqs pet. défauts à la rel. mais int. frais).

(Religion) - Hortulus animae. Der Seelen Garten mit sonderlichem fleiss zugericht und ernewert zu Geistlichem lust und trost allen liebhabern Christlicher andacht.Getruckt zu Dillingen, durch Sebaldum Mayer, [c. 1560 or 1575].In-8° : [17]-336-[6 (on 7)] ff. (last lf. missing, dampstains in the upper margin, corners damaged to ff. 152-155, 202-204, 230-236, 239-241, 253-255, 286, 292-295).18th Century binding : full brown calf, frames and stamps ``S.M.H.H" and "1751" blind tooled on the upper board, ribbed spine with blind tooled floral ornaments, marbled edges, clasps in leather and brass (slightly rubbed, wormholes in the lower joint).Rare edition printed around 1560 (cfr Bohatta) or 1575 (cfr VD16), illustrated with c. 94 woodcuts in texto (Annunciation, Martyrdom of Saint Veit, Virgin standing on the crescent moon, Saint Christopher carrying the infant Jesus...). Thieme-Becker assigns most of the illustrations to the German painter and engraver Matthias Gerung (c. 1500-1570). Nice copy with the title-page and the text in red and black typography surrounded by different decorative and architectural woodcut borders.# Bohatta III-114; # Nagler, Monogrammisten, I-1992; Thieme-Becker XIII-488; # not in Adams, Machiels, Soltész.Joint (2 ouvr. en 5 vol.) : Bréviaire monastique en latin et en françois, à l`usage des religieuses bénédictines. Paris, Barrois, 1725, 4 vol. in-8° plein maroquin vert (3 vol.) ou bordeaux (1 vol.) de l`ép. (mors et coiffes lég. frottées, coins lég. émoussés, rouss.); mention d`app. des bénédictines de St. Mary`s Priory et étiq. du libraire Heu.

(Religion) - SASBOUT, Adam.- In Esaiam prophetam commentaria [...].Lovanii, ex officina Antonii Maria Bergagne, 1558.In-4° : [7]-[1 bl.]-438-[10] pp. (last (bl. ?) lf. missing, dampstains, library stamp, annotations and ex-libris on title-page).Contemporary binding : full calf, boards decorated with 4 blind tooled roll-stamps containing vegetal ornaments or portraits of David, Mary, Paul, Isaiah..., ribbed spine (upper turn in damaged, joints and edges rubbed, catalogue extracts glued on a flyleaf, ties missing).Commentary on Isaiah (1st ed. : 1556) by the Dutch franciscan Adam Sasbout (1516-1553), professor in Leuven, edited after his early death by his pupil Cornelis Verburch. Decorated with an elaborate printer`s mark on the title-page and initials featuring swans, eagles, lions and other animals. Some citations in Hebrew characters.# Adams S-435; # not in Soltész, Machiels, STC Dutch. Provenance : J.H. Hofman, vicar (ex-libris); seminar of Culemborg (stamp).

(Sciences, Botanique & Distillation) - LONICER, Adam.- Kreuterbüch, New zügericht von allerhand Bäumen, Stauden, Hecken, Kreutern, Früchten unnd Gewürtzen [...]. Auch Distillierens Bereytschafft und Bericht [...].Franckfort am Mayn, Christian Egenolffs Erben, 1557.3 parts in 1 vol. in-f° : [14]-cccxlii lvs (small wormholes, some small and clear marginal dampstains, handwritten note in Latin at cxi, small perforation in the text at cxiii, some crossed off lines, marginal tear at ccxlviii, upper corner of ccii repaired).Contemporary binding partly repaired by Myriam Van Herck in Leuven : full calf on wooden boards, sides with blind-stamped fleurons and roll-stamps figuring characters, ribbed spine (used, small wormholes on the boards and the flyleaves, clasps lacking).First edition of the translation of the "Naturalis historiae opus novum" (1st ed. : 1551-1555, 2 vol.), the main work of Lonicer on botany and herbs, a large part dealing with distilling. This a compilation of previous works among which Eucharius Rösslin`s Kreutterbuch of 1533. Illustrated with c. 800 woodcuts in texto of plants, trees, animals, fishes, precious stones, distilling systems and vignettes figuring rural scenes (1 on title-page). Lonicer (1528-1586) was a German botanist, professor of mathematics at the University of Marburg and doctor in medicine. This German translation was reprinted many times.# Nissen 1227; # Pritzel 5599; # Soltész L-373 and 374 (ed. of 1560 and 1577); # Biogr. univ. XXV-89; # not in Adams nor in Machiels. Provenance : Liber bibliothece Patris in Nytzinck (handwritten mention); Leineman 1834 (id.). Édition originale de la traduction de l`ouvrage principal du botaniste, mathématicien et médecin allemand Lonicer. Illustré de c. 800 bois in texto. Plein veau de l`ép. (nombreuses gal. ou trous de vers, rel. us. part. restaurée).

(Emblemeta) - WELLENS, Jacob Thomas Jozef.- Generalis collectionis, Omnium Operum [...]. Der algemeyne verzaemelinge, van de Werken [...].Antwerpen, C.M. Spanoghe, [1784].2 delen in 1 vol. in-4° : front.-viii-140, 180 pp. (eerste en laatste bln licht gebruind, watervlek onderaan 1ste deel).Moderne band : volleder, platten met blind ruitenmotief, rug met nerven, titel in goudopdruk.Eerste uitgave van het verzameld werk van Jacob Wellens (1726-1784), rector van de Leuvense Universiteit en bisschop van Antwerpen (1776), die de belangen van de Kerk verdedigde tegen de inmenging van het Oostenrijks Bewind. Geïllustreerd met het portret van de auteur in frontispies en 15 grote gegraveerde zinnebeelden die leven en werk van de prelaat evoceren.# Biogr. nat. belge XXVII-163/165; # Landwehr, LC, n° 896. Édition originale des oeuvres complètes de Jacques Wellens (1726-1784), évêque d`Anvers, ornée de son portrait en frontispice et de 15 grands sujets emblématiques évoquant sa vie et son oeuvre. Plein veau moderne.