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Rare Heaney Limited Edition of 125 Copies Heaney (Seamus) Ugolino, D. (Andrew Carpenter & Dolmen Press) 1979, Limited Edn. No. 82 (125) Copies Signed  by author (Heaney) artist  (Louis le Brocquey) printer (Liam Miller) and publisher (Andrew Carpenter), uncut, illus., red paper endpapers, black boards, blind text, front cover (lacks slipcase) ptd. label. (1) * V. good Ex.Scarce.

Fishing:  Hofland (T.C.) The British Angler's Manual, or, The Art of Angling in England, Scotland, Wales and Ireland. Sm. 8vo Lond. 1839. First Edn., engd. frontis & 13 full page pls. & 39 wd. cut illus. in text, orig. blind stamped cloth. (1)

[Thackeray (W.H.)] The Irish Sketch-Book, by Mr. M.A. Titmarch, 2 vols. 8vo Lond. (Chapman & Hall) 1845 Second Edn., 2 hf. titles, 2 frontis, text illus. vignettes, orig. blind stamp cloth, v. good set; also [Hole (Dean)] A Little Tour in Ireland, sm. sq. 8vo Lond. 1859. First Edn., lg. fold. hd. cold. frontis, 4 plts. & text illus., advert. leaf at end, gilt decor. cloth. (3)

Yeats (W.B.) Poems, 8vo, L. (T. Fisher Unwin) 1904, First Edn., hf. title, portrait frontis, profusely gilt decor. blue cloth uncut; Poems, 8vo, L. (T. Fisher Unwin) [1912], Third Edn., blind decor. front cover, gilt decor spine; and Wheels and Butterflies, 8vo, L. (MacMillan) 1934, First Edn., hf. title, green cloth. As a lot. (3)

WELSH & OTHER ARTISTS UNFRAMED WORKS – a large assortment to include: GARETH PARRY (British born 1951) limited edition colour lithograph (77/150) - titled 'On the way Up', signed and numbered in pencil with 'Beaumaris Studio' blind stamp, 56 x 63.5cms, IEUAN WILLIAMS (Anglesey artist, b. 1946) pencil sketches (2) - "White Lion Square, Caernarfon" and "Swans", LES HARRIS (British 1924-2008) watercolour - hilltop farm, JAMES AITKEN (British flourished 1880 - 1935) watercolour - fisherman in boat with sails down, ANDREW FINDLAY (British 20th century) watercolour - cottage by a stream, BRITISH SCHOOL late 19th/early 20th century, watercolour - half-timbered country house, BOB CARNEGIE (1992) x 5 prints - Caernarfon Castle 1330, ROBIN BROOKS colour maritime prints (4) - 'We stretched to South Wood’, ‘We directed our course to the Channel’, ‘Much more precious than gold’ and ‘Reluctant admiration', IAN KENT limited edition colour prints (2) - (59/500) - general stores and (55/500) - taxidermists, IRENE TAYLOR limited edition colour print (3/50) - white washed cottage, VERNON WARD limited edition colour print (201/500) - Flanders Poppies, DAVE ELLIOT limited edition colour print (17/100) - street scene 1984, JUSTINE MASON limited edition colour print (125/300) - morning flight, M A ROGERS limited edition colour print (360/500) - Swaledales, IEUAN LEWIS (1974) - HMS Conway moored on the Menai Straits by Plas Newydd, PIERRE PATRY limited edition serigraphs, 4 - (83/200) - Eclaircie, (110/200) - Miroitement, (74/200) - Enneigement and (88/200) - Ruissellement, ELAINE JEFFREYS limited edition colour prints (8) - (20/250) (2/250) - The Winkle Picker, x 2, (29/500) - Magic Circles, (18/500) (19/500) - Lazy Waters x 2, (14/500) - Walking the beach, (20/500) - Down to the sea, (9/500) - Rain Squalls, JOANNE THOMAS (British 20th century) watercolours (5) - Red Wharf Bay, Red Wharf Bay cottages, , Penmon Priory with floral study verso, Dovecote Penmon Priory, Beaumaris Lifeboat Station, JOANNE THOMAS (British 20th century) watercolours (4) - Castle ruins with moat, Sailing boats at high tide, Staithes, Penmon Priory, a colour print - Penmon Priory south doorway, BRIAN ENTWISTLE artist's proof colour print - Liverpool from the Mersey, Holyhead Lifeboat standing by (the stricken) Kyle Prince, artists proof, ship and tug boat off Liverpool, artists proof signed in pencil, limited edition colour prints x 2- (219/550) (220/550) - Atlantic life line the River Mersey 1943, both signed in pencil, approx in region of 40SEE MULTIPLE IMAGES

A Victorian mahogany envelope-top card table, the interior lined with green baize surrounded by a gilt-tooled leather border, each leaf inset with copper cup, with blind fret-carved frieze & single drawer front fitted with crescent-shaped brass handles, on slender cabriole legs joined by a crossed stretcher, with ceramic castors, 21” square top x 29¼” high.

A 17th century continental cedarwood cassone with all-over pokerwork & blind-carved decoration, the hinged lid with iron strap-work, the front & sides with classical figure scenes, on later bracket feet, 50” wide x 26” high x 20” deep, (with later elements & alterations).

A George III mahogany chest on chest,blind fret frieze, column sides and brushing slide, cut brass plate handles, on ogee bracket feet116cm wide58cm deep194cm highProvenance: Crowcombe Court, Crowcombe, SomersetCondition ReportSome losses to the blind fret work on the frieze towards the back of each sideold restoration to some drawer fronts and back feet on one sideThe front of the brushing slide is missing

Gesipa Blind Rivet gun and accesories, cased

Two Rover 75 Mass Air Flow Sensors, part number MHK101130SLP, together with a Rover 75 V6 throttle body, wheel arch liner and Tourer load blind,

Lot to include a framed watercolour landscape scene signed lower left by the artist Peter Wadsworth and a framed aquatint, Whitby Harbour, James Priddey, signed and titled in pencil with Warwick Galleries Artist Proof blind stamp, largest approximately

Football. Top Flight Collection of Twelve 16 x 12 inch Mounts All Signed. Includes Alexsander Kolarov, Joe Hart, Daley Blind, Jonathan Kodjia, Fabian Delph, Glenn Whelan, Jay Rodriguez, Ciaran Clark, Josh Onomah, Willian, Keinan Davis and Birkir Bjarnason. All Colour Photos. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

A 19th century Victorian  mahogany and marble console hall table. The table having a pierced back gallery back with serpentine shaped white marble top. All raised on scrolled leg base with pierced and lattice worked sides. The plain frieze with single blind fronted drawer. Measures approx. 108cm x 108cm x 42cm.

Stanley Donwood (b.1968)"I Might Be Wrong", Radiohead artworkSigned and dated 2013, with the artist's blind stamp, together with another "Will You Come Back to Me", 37cm by 34cm and 29cm by 29cm respectively (2)

James Bond The Spy Who Love Me; & The Man With The Golden Gun Ian Fleming first edition, first impression, Hardback books, two vol., Published by Jonathan Cape, 8vo. The Spy Who Loved Me, within facsimile dust-jacket priced 15s. net, further within clear plastic sleeve, red endpapers, publishers brown cloth with dagger design in blind-stamp and silver, title and author sliver to spine, 1962; The Man With The Golden Gun, publishers cloth, title and author gilt on spine, second state binding without golden gun to front board, typed ownership label to front patterned endpaper, 1965. (2)Condition Report: The Spy Who Loved Me marks to boards, three small green ink marks to front board and lower spine, dust-jacket chipped to spine ends and inner flaps, front inner flap creased, toning and foxing to edges, toning and occasional foxing internally.The Man With The Golden Gun boards marked and slightly cocked, toning to edges, occasional light foxing internally.

James Bond A group of eight Ian Fleming first editions, first impressions, Published by Jonathan Cape 1956-1966 - Diamonds Are Forever, publishers black cloth lettered in silver on spine, 1956; For Your Eyes Only, publishers black cloth with white eye motif to upper board, lettered in gilt on spine, 1960; Thunderball, publishers brown cloth with skeleton hand in blind-stamp to front board, lettered in gilt on spine, 1961; You Only Live Twice, within dustjacket, priced 16s. net, 1964; with a duplicate copy, original black cloth with Japanese calligraphy design gilt to front boards, title and author silver on spines, 1964; The Man With The Golden Gun, second state binding without the golden gun on front board, within later dust-jacket, 1965; with a duplicate copy, second state binding without the golden gun to front board, lettered in gilt on spine, 1965; Octopussy And The Living Daylights, within later dust-jacket, ex- library copy, 1966. (8) Condition Report: Diamonds Are Forever - (lacks dust-jacket) some marks to black boards, bookseller's inscription '1st £4' in pencil to front free endpaper, light foxing preliminaries, heavier foxing to top edge, slight toning internally.Octopussy - neat glue repair to endpapers and edge of rear dust-jacket flap which has been glued down.others with foxing to edges and slight toning internally.

Venetian Binding.- "Fugger Binder".- Dante Alighieri. [Comedia del divino poeta Danthe Alighieri...], collation: 2†¹², 2A-2B⁸, A-Z⁸, &⁸, ²2A-2Z⁸, 2&⁸, 2[cum]⁸, 2[rum]⁸, ²A-E8, numerous woodcut illustrations, of which one full-page, initial spaces with guide-letters, a couple of ff. with early ink marginalia, lacking initial gathering (2†¹²), containing title and tabula, &1 and 2E7 with small marginal tears (affecting text, no loss), several ff. browned, early paper repairs to hinges, handsome contemporary Venetian morocco by the "Fugger Binder", both covers tooled in gilt and blind, strapwork border with floral tools and foliate cornerpieces, floral and vine tools surrounding a central ovate containing the motto "Ch'inte sta iltor mi morte et darmi vita", spine tooled in blind, spine repaired but preserving most of original backstrip (wormed), upper cover with two tears, one of which affecting central ovate (loss of letters) the other, the portion above and some tooling, minor worming to covers, corners rubbed, edges gauffered and gilt, 8vo (210 x 148mm.), Venice, Bernardino Stagnino, 1536.⁂ An elegant edition of Dante in a handsome example of a Renaissance Venetian binding, by the "Fugger Binder", active in Venice c.1540-1560. He is so-called after his principal patron, the bibliophile and collector Johann Jacob Fugger, a member of the Augsburg family of bankers. Also known as the "Apple Binder", after a characteristic tool sometimes employed. The BL holds an extremely similar binding, likewise attributed to the "Fugger Binder", the lower cover of which displays a central ovate containing the same motto as the copy here offered, in that case a copy of Appian's 'Delle guerre civili de Romani' [and] 'Histoira delle guerre esterne de Romani' (Florence c.1526-1531; see The British Library Database of Bookbindings, shelfmark Davis754). The BL also mentions an "identical binding" in the Royal Library, Copenhagen (citing T. de Marinis, La legatura artistica, II, n. 2161 bis, p.117, plate C 44). Literature: Adams D93; Edit 16 CNCE 1162; c.f. A. Hobson, Renaissance Book Collecting (1991) pp. 120-121, "Appendix 8".

Hieronymus (Saint) [Vita et transitus, &c.], Incipit Epistola sci Jheronimi ad Elyodor, 6 consecutive ff. only (?h3-8), 25-27 lines and headline to first f., Gothic type, initial space with guide-letter, worming to lower margins, that on first f. repaired, second f. with small marginal repair, some staining or light soiling, library blind-stamp to lower margin of first and last f., marbled endpapers, dark green crushed morocco, by Charles Winstanley of Manchester (ink stamp to verso of front endpaper), titled in gilt on upper cover, corners little worn, rubbed, especially at spine ends, small 4to (215 x 145mm.), [Cologne], [Ulrich Zel], [c.1470].⁂ A fragment of an early work from the press of Cologne's first printer. Literature: BMC I, 188 & 189; Goff H-238; H 6719* & 8568*; GW 2949 & 9446; Bod-inc E-053; BSB-Ink A-912 (II) & E-120 (I); ISTC ih00238000.

Fleming (Ian) Goldfinger, first edition, original boards with skull design blocked in gilt and blind, spine lettered in gilt, very slight bumping to spine tips, spine a little dulled, dust-jacket, light toning to spine and lower panel, neat tape repair to spine head verso, light fraying to spine ends but overall an excellent copy, 8vo, 1959.

Africa.- Baker (Sir Samuel White) The Albert N'Yanza, Great Basin of the Nile, and Explorations of the Nile Sources, 2 vol., first edition, engraved portrait and tinted lithograph frontispiece, 12 wood-engraved plates, illustrations, 2 colour maps, 1 folding, vol. 2 with previous owner's ink signature to front free endpaper, scattered very faint spotting, 1866; Ismailïa: A Narrative of the Expedition to Central Africa for the Suppression of the Slave Trade, 2 vol., first edition, engraved portrait frontispieces, 51 wood engraved plates, 2 colour maps,1 folding with large tear, neat old repair to verso, publisher's advertisements at end vol. 1, previous owner's discreet blind-stamps, scattered faint spotting, rebacked retaining original backstrip, 1874, first edition, original pictorial cloth, gilt, slight bumping to corners and extremities, [Czech pp.10-11], 8vo (4).

America.- Laet (Johannes de) Novus Orbis, seu descriptionis Indiae Occidentalis, first edition in Latin, half-title, engraved architectural title, woodcuts, lacking all maps, supplied in good facsimile, light damp-staining, ex-library stamp to title and one or two others in text, bookplate, 18th century panelled calf, coat-of-arms blind-stamped in gilt to covers, leather and metal closing clasps (top re-glued, bottom with newer metal fixing), one or two worming holes to lower cover, rebacked, folio, [Burden 229-232; Sabin 38557; Willems 382], Leiden, [Bonaventure & Abraham Elzevier], 1633.⁂ First Edition in Latin, first published as "Nieuwe Wereldt ofte Beschrijvinghe van West-Indien" in Leiden in 1625, dubbed "the finest description of the Americas published in the seventeenth century" by Burden.

Field (Richard) Of the Church, five bookes, 'The second edition very much augmented', woodcut device to title, woodcut head- and tail-pieces and decorative initials, final f. blank, 3D4 part of lower corner torn away, affecting printed side-note recto and verso, some staining (see in particular end of sig. N and start of sig. O), some worming to lower margins at end, occasional spotting, lightly browned, contemporary blind-ruled calf, spine in compartments and with modern (but to style) red morocco label, joints splitting, but holding firm, rubbed and marked, stained, [STC 10858; Madan I, p.139], folio, Oxford, Imprinted by VVilliam Turner, printer to the famous Vniuersity, 1628.⁂ Rare at auction. A defence of the Protestant Church of England. Field (1561-1616) was a theologian, who was appointed Dean of Gloucester, but never resided there. He was a friend of Sir Henry Savile and Sir Henry Neville.

Dickens (Charles) A Tale of Two Cities, first edition in book form, later issue etched frontispiece, additional title and 14 plates by Hablot K. Brown, p.134 line 12 with "affetcionately" and p.238 line 14 with triple end quotes, p.213 is numbered correctly in this copy, scattered spotting, mostly marginal, booksellers blind-stamp to front free endpaper, original secondary binding of olive green blind-stamped cloth, sunned and faded, slight bumping to corners and extremities, housed in modern slipcase, [Smith I 13], 8vo, 1859.

Qur'an, manuscript in Arabic.- Ethiopian Qur'an, copied by 'Abd Allah Lalmas, manuscript on lightly burnished laid Italian paper, with tre lune marks, 278ff., 15 lines of Ifriqi script per page, within double-ruled red frames, rubrication and sura headings in red, 1v-2r with elaborate penwork frames in black, red, and yellow, different recitations intermittently noted in margins, text block slightly trimmed, light soiling, occasional damp-staining to lower margin, some marginal chipping or short tears to ff. at end, often repaired, a few times running into text but without loss, a few ff. loose at end, contemporary blind-stamped goat with flap, numerous repairs and renewals but original sewing and headbands intact, folio (306 x 200mm.), [Ethiopia, most likely Harar], 15 Jumada II 1270 AH [15 March 1854 CE].⁂ A signed and dated Qur'an manuscript from the Muslim city of Harar in Ethiopia, notable especially for its unusual penwork decoration, incorporating floral and geometric motifs with originality. The hand, mise-en-page, use of Italian export paper, and colour palette are all characteristic of the city's scribal tradition - for comparison, see the collection of Qur'an manuscripts now held by the Sherif Harar City Museum. The penwork decoration on the opening pages is remarkably inventive. The colophon suggests that the scribe may have been a rather young man - he implores God's mercy both for himself and, unusually, for his parents. Loosely inserted at the front is a clipped description of this manuscript from a Dawson's Book Shop catalogue of 1940.

Crucifixion.- Lipsius (Justus) De cruce libri tres, collation: A-I8, engraved printer's device to title, engraved illustrations in text, woodcut decorative initials and tail-pieces, 2 final privilege ff., some ink underlining, Antwerp, Widow of Plantin and Johannes Moretus, 1595 bound with Lipsius (Justus) Adversus dialogistam liber de una religione. In quo tria capita libri quarti politicorum explicantur, collation: A-E8, title with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, final 'Ad lectorem' f., occasional ink underlining, Frankfurt, Johann Wechel & Peter Fischer, 1591 and Coornhert (Dirk Volkertszoon) Defensio processus de non occidendis haereticis, contra tria capita libri IIII politicorum I. Lipsi. Eiusque libri adversus dialogistam confutatio, collation: A-F8 G2, woodcut decorative initial, small mostly marginal wormholes, last 4 ff. with worm trace at head, affecting small part of headlines, and the odd letter of text, but without loss of sense, Hanau, Wilhelm Antonius, 1593, together 3 works in 1 vol., endpapers wormed, some spotting or staining, lightly browned, contemporary blind-ruled limp vellum, lightly stained, 8vo (175 x 105mm.) ⁂ I: A study of crucifixion in antiquity. II: Lipsius' rebuttal to criticism of his 'Liber de una religione'. III: Coornhert's criticism of Lipsius' 'Politicorum'. Literature: I: Adams L778. II: VD 16 L 1985 III: Adams C2597; VD 16 C 4993.

Smith (Sally Lou, binder).- Cleverdon (Douglas) The Engravings of David Jones: A Survey, number 206 of 260 copies on Arches, from an edition limited to 371, mounted portrait frontispiece, numerous plates, the majority printed from the original blocks, bound in black goatskin, by Sally Lou Smith, with design of a tree with bare branches of tooled lines in gilt & blind and onlaid scrunched black goatskin trunk (smaller on lower cover), the trees partly obscured by a vertical "window" of grey goatskin inlaid with thick lines made up of thin parallel strips of various green, blue & grey goatskin overlaid with tracery of thicker dark grey goatskin branches, titled in gilt across spine, black goatskin doublures with vertical strip of grey goatskin inlaid with dark grey branches reflecting those on the covers, lime green and grey Japanese paper endleaves, t.e.g., others uncut but gilded, signed ''SLS.'' at foot of rear turn-in, c.325 x 245mm., preserved in black goatskin-backed black cloth felt-lined drop-back box, spine titled in gilt, cloth very slightly mottled by damp, with small ownership sticker of Gillian Chipperfield to bottom of box, 4to, printed by the Rampant Lions Press of Cambridge for Clover Hill Editions, 1981.⁂ A striking designer binding by this renowned binder.Sally Lou Smith (1925-2007) was a Fellow and President of Designer Bookbinders and a highly regarded teacher of bookbinding. Although born and raised in America she spent most of her career in Britain. A comprehensive survey of her work appeared in The New Bookbinder 21 (2001).The binding was commissioned by Lady Gillian Chipperfield who was a student of Sally Lou Smith, and has been donated by her to raise funds for Age Exchange, a charity for those with dementia and older, isolated people in Blackheath, London. The charity provides art and music therapy and was a pioneer in using reminiscence as a major help for those with memory loss.

Octavius Gilchrist's & William Nanson Lettsom's copy.- Langbaine (Gerard) An Account of the English dramatick poets. Or, some observations and remarks on the lives and writings, of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces, or opera's [sic], penultimate errata f., final vertical half-title, 19th century ink annotations (?seemingly in the hand of Lettsom), 2I1 chip to lower margin and short tear within text at foot, without loss of text, some spotting and staining, lightly browned throughout, 19th century speckled half calf, gilt and blind-stamped spine in compartments and with brown morocco label, head of spine with neat small loss, rubbed, [Wing L373; Pforzheimer 577; Arnott & Robinson 10], 8vo, Oxford, Printed by L.L. [i.e. Leonard Lichfield] for George West, and Henry Clements, 1691.⁂ An excellent association copy, with both Gilchrist and Lettsom having written on matters theatrical, including Shakespeare, to whom a substantial section is given over by Langbaine. Octavius Graham Gilchrist (1779-1823), English man of letters and antiquary, whose works include An Examination of the Charges maintained by Messrs. Malone, Chalmers, and others of Ben Jonson's enmity towards Shakespeare, 1808. William Nanson Lettsom (1796-1865), English man of letters, who edited from the author's manuscripts William Sidney Walker's Shakespeare's Versification, 1854, and his Critical Examination of the Text of Shakespeare, 1860, and assisted his friend Alexander Dyce in the preparation of his edition of Shakespeare. Provenance: Octavius Gilchrist (ink name to title); 'W. Nanson Lettsom. 5 Oct. 1854.' (ink inscription to head of title); 'Jn. Wigfall' (ink name to head of a2); 'This copy of Langbaine belonged to Peck, and from the additional names inserted by him it might be thought that a Biographia Dramatica was one of the numerous plans which he did not live to execute' (19th century ink note to front free endpaper).

Collins (Wilkie) The Woman in White: A Novel, first American edition, first state, woodcut illustrations, advertisement leaf at beginning dated August 1860, advertisements at end headed 'Miss Muloch's Novels' and 9 titles listed, original blind-stamped cloth with blind-stamped lady to spine foot (silver rubbed off), light chipping to spine ends and minor bumped to corners, otherwise an excellent example, [Sadleir 605], 8vo, New York, 1860.

Augustinus (Aurelius, Saint) Explanatio psalmorum, 3 parts in 1, collation: a b a8 b-t8.6 v6 x8; A-K8.6 L8 M-P8.6 Q R8 S-V6 X8 Y6 Z8 AA-DD6 EE8; 1-188.6 196 208 21-236 248 25-76 288, double column, 549 ff. (of 550, lacking initial blank), 1b8 blank, 54 lines and headline, Gothic type, initials, paragraph-marks and underlining in red or blue, early ink marginalia, a few short marginal tears with occasional loss, water-stained, some spotting or mostly light foxing, a few small ink stains, contemporary ornately blind-stamped panelled pigskin over wooden boards, remains of metal clasps with rosette decoration, covers with central panel of intersecting lines enclosing floral decorations, within an outer rosette border, spine in compartments and with interlinked large leaf decoration, head of spine and upper corners little worn, a few wormholes, rubbed and scuffed and marked, folio (317 x 215mm.), Basel, Johann Amerbach [and Johann Petri de Langendorff], [not after 8 September], 1489.⁂ Second edition of one of St. Augustine's major exegetical works. The edition was presumably ready for sale by 8 September 1489, when the Cologne bookseller Heinrich Muelich ordered 10 copies from Amerbach (cf. A. Hartmann ed., Die Amerbach korrespondenz, I, 21-22).Provenance: Franciscus Sieger (?18th century ink inscription to front pastedown); Franz Fieger von Friedberg und Cronburg (engraved armorial bookplate to front pastedown); Charles Maria Kaufmann (modern pictorial bookplate depicting death riding a donkey led by a fool to rear pastedown). Literature: BMC III 751; Goff A-1272; HC 1971; Pell 1485; Bod-inc A-548; BSB-Ink A-883; GW 2909; ISTC ia01272000.

Dryden (John) The Works ..., 18 vol., engraved portrait frontispiece, yellow endpapers, bookplate, contemporary straight-grain morocco, gilt, g.e., blind tooled boards, lightly sunned spines, fractional spotting to one or two boards, overall a magnificent set, 8vo, 1808.⁂ Provenance: Bookplate of Lt. General Sir John Macdonald, Adjutant-General to the Forces. He was also a friend and supporter of the Duke of Wellington.

Descartes (René) Opera philosophica, 3 parts in 1, third edition, half-title, engraved portrait of the author with printer to reader verso, numerous woodcut illustrations and diagrams, lacking final blank to part 1, part 1 L3 reattached on stub, [Guibert 230; Willems 1196], Amsterdam, Louis & Daniel Elzevier, 1656 bound with Descartes (René) Meditationes de prima Philosophia, 3 parts in 1, general title printed in red and black and with woodcut foliage ornament, woodcut head- and tail-pieces and decorative initials, final f. of part 1 blank, part 2 Q2 small marginal hole at foot, [Guibert 53:7], Amsterdam, Johannes Jansson the Younger, 1658, together 2 works in 1 vol., occasional spotting or mostly light staining, lightly browned, contemporary blind-stamped vellum over boards, lacking backstrip, but holding firm, lacking ties, remains of tape to covers, little marked, small 4to⁂ Rare edition at auction.

Dahl (Roald) Charlie and the Chocolate Factory [and] Charlie and the Great Glass Elevator, 2 vol., first American editions, illustrations, original blind-stamped cloth, dust-jackets, Chocolate Factory jacket lightly stained with 1cm portion of loss to upper joint corner, light staining to upper edge and corners, Glass Elevator very lightly creased at edges, otherwise fine, 8vo, 1964.

Shelley (Mary Wollstonecraft) Frankenstein or The Modern Prometheus, frontispiece, toned margins, light foxing to endpapers, original blind-stamped cloth, gilt, spine lightly faded, tips a little frayed, otherwise a good sharp copy of this scarce imprint, 8vo, [c.1890].

Dickens (Charles) Great Expectations, 3 vol., first edition, fourth issue, without half-titles or advertisements, edition statements neatly erased from titles, small contemporary ink ownership name to vol.1 pastedown, light foxing to titles, original purple blind-stamped cloth, spines lettered in gilt, slight shelf-lean, [Great Expectations (Oxford: Clarendon Press, 1993, Appendix D); Smith 1:14; Sadleir 688; Wolff 1799], 8vo, Chapman and Hall, 1861.⁂ With the text agreeing in all particulars with those identified by Cardwell in her appendix to Great Expectations.

Fleming (Ian) The Spy Who Loved Me, original cloth with dagger design to upper cover blocked in silver and blind, spine lettered in silver, spine ends bumped, dust-jacket, light rubbing and fraying to spine ends, light surface soiling, 1962; On Her Majesty's Secret Service, original boards with ski trail design to upper cover, spine lettered in silver, dust-jacket, light toning to spine, ends a little creased, lower panel spotted with surface soiling, 1963, first editions, excellent copies overall, 8vo (2)

Bible, Hebrew.- Biblia Hebraica, eleganti charactere impressa. Editio nova, edited by Menasseh ben Israel, 4 parts in 1, second edition, double column, architectural metal-engraved general title and 3 wood-engraved part titles (these with printed date of 1631 altered by hand to 1636), letterpress title in Latin with woodcut printer's device, woodcut cartouches, verse numbers supplied by hand in various coloured inks in the 20th century, short marginal repaired tear to Latin title, final part ink stain to upper inner gutter of last 30 ff. or so, just touching text on last few ff., but still perfectly legible, some spotting or staining, lightly browned, later blind-stamped calf over wooden boards, sympathetically rebacked in modern ornately blind-stamped calf in compartments, upper corner of lower cover restored, leather of others worn, stained, rubbed and marked, [Fuks, Amsterdam 153; Vinograd, Amsterdam 34; cf. D&M 5124], a solid copy, 4to, Amsterdam, Hendrick Laurensz, 1635-1631.⁂ 'The second, and most important, of the editions prepared by Menasseh b. Israel.' (Darlow & Moule). According to Fuks three variants of this edition exist; ours being variant B, with the Five Scrolls after Kethuvim and dates altered from 1631 to 1636.

[Heywood (John)] The Spider and the Flie. A parable of the spider and the flie, first edition, woodcut initials and tailpieces, woodcut illustrations (44 full-page, including repeats), lacking initial blanks, title, portrait frontispiece, A² (A2 recto supplied in contemporary manuscript facsimile), the Preface, the Table, Introduction, B2, B4, C1, C3&C4, D2, I4, K-L⁴, Aa1, Aavii2, Aavii3, Aavii4, Bbiiii"², 2C1, [left-pointing hand]Ccii"², [par.][double dagger]Eeiii"², ²"[par.][double dagger]"1-3, 2F4, 2K1, 2Q2 & 2Q3, 2S⁴, final blanks, damp-staining spot to 2D3-2Ff, printer's error to Kk4, corner repaired to [par.][double dagger]2, light damp-staining to margins, modern blind-stamped morocco, [Pforzheimer 469; STC 13308], 4to, by Tho[mas] Powell, 1556. sold not subject to return.⁂ Rare first edition of this early English woodcut work. Standing nearly as long as Milton's Paradise Lost, The Spider and the Fly is an allegorical mock-heroic bestiary in rhyme. It was first printed in 1556 but, according to Heywood's epilogue, was begun nineteen years earlier. The time span between composition and publication may account in part for the generally acknowledge obscurities and inconsistencies of Heywood's political and religious allegory. The poem is allegorical, with spiders standing in for Catholics and flies representing Protestants, yet this strange conceit met with only limited success and so the work was never reprinted, though it was attractively designed and illustrated as noted in Pforzheimer, "...outstanding among English works of the time."

Good oak eight day longcase clock, the 12" silvered dial signed Laurence & Wood, Bath, with subsidiary seconds dial and calendar aperture and later hands, engraved with figures to the spandrels depicting the four seasons and surmounted by a high water at Bristol Quay and moon phase to the arch, the case with long rounded arched door inlaid to the centre with a conch shell, the hood surmounted by a rounded wavy cornice over a blind foliate fret carved frieze, 88" high (pendulum, two weights and winding key)

Good and rare mahogany automata eight day longcase clock, the 12" silvered arched dial signed Isaac Court, Henley to the centre with subsidiary seconds dial and calendar aperture, with a painted automata scene to the arch depicting a man and woman playing with a bat and ball before a rural Lakeland landscape, also bearing the maker's monogram engraved to the movement back plate, the case with blind fret carvings above the long door and to the canted corners, surmounted by an ornate hood with swan neck cornice foliate mounts and three brass ball and eagle finials over pierced fretwork panels, 94" high (pendulum and two brass cased weights)

Fine and rare English walnut marquetry eight day longcase clock with five pillar movement, the 9.75" square brass dial signed Jonathan Tribe, Thackham on the brass chapter ring enclosing a matted centre with subsidiary seconds dial, ringed winding holes and calendar aperture, the case with long floral marquetry beaded edged door and a circular lenticle, the hood with a flat stepped moulded cornice over a blind foliate fret carved frieze and slender barley twist columns, 80.5" high (pendulum, two weights and keys) *This clock was sold in Matthews Auctioneers House Contents Auction of Rockfield House, Navan on Tuesday 10th May 2022 (lot 218). The Auctioneers were instructed to sell the contents by the executors of the late Trevor Fitzherbert who interestingly had ancestor Maria Anne Fitzherbert (1756-1837) that was a long-time companion of George Prince of Wales (later king George) The official Auction catalogue of this sale is also included with the lot with some images of the clock in situ at Rockfield House

A Worcester Blind Earl pattern plate, circa 1758, with scalloped rim, diameter 19.3cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

* SANDY MURPHY RSW RGI PAI (SCOTTISH b. 1958), THE STRIPED BLIND mixed media on paper, signed, titled and dated 1995 label verso framed and under glass image size 80cm x 101cm, overall size 100cm x 120cmProvenance: Purchased at the Gatehouse Gallery.Note: Sandy Murphy was born in Ayrshire, Scotland, in 1956. He studied at Glasgow School of Art from 1976 until 1980, where he was a pupil of Robertson, Shanks and Rae. He then completed a teacher training course and worked as a teacher until 1985 when he became a full time artist. Painting from his studio on the west coast of Scotland, Murphy is able to respond to the landscape around him. Although his paintings are easily defined, his work leans towards abstraction; the texture of the rich oil paint often becoming as important as the image represented. The main interest here is the relationship between one colour and another. He builds up the surface of the canvas by reworking the paint, sometimes scraping and layering it to achieve the finished result. Murphy's carefully composed still-life paintings and landscapes are executed with integrity and feeling. He was elected to the Royal Scottish Society of Painters in Watercolours (RSW) in 1996 and the Royal Glasgow Institute of the Fine Arts (RGI) in 2000.

* PETER PRETSELL (SCOTTISH 1942 - 2004), BLIND DATE limited edition screen-print on paper, signed, titled, dated '92 and numbered 1/5mounted, framed and under glassimage size 105cm x 75cm, overall size 115cm x 85cm

A Regency oval inlaid mahogany and marquetry wine cooler, the oval crossbanded top with central fan patera and husk inlay to the outer edge, above a four panel body with husk and ribbon and bow inlay and a strung base, raised on square tapering legs with blind fret husk carvings terminating with spade feet, the interior has been adapted to hold a bottle/glass stand, 24 x 18in. (60.9 x 45.7cm.), 26¼in. (66.6cm.) high. * Condition: Small losses of veneer and some splits around the base, mostly near the legs, the interior has been altered to accept a glass/bottle tray which has pierced the interior liner.

F. Robiou de la Trehonnais, (preface by Luchet (Auguste), Jersey as it is: pub. Penzance / London J. Pope Vibert / Longman et al. / P. Payn, 1884, engr. vignettes, orig. blind-stamped cl.-covered bdsm, upper sl. spotted white, gilt title to backstr. * Condition: Previous owner's name to head of tp, Internally vg.

Charming Baker (British, b.1964), “What a Strange and Beautiful Thing Life Turned Out to Be”, c.2010, giclee and screenprint in colours on Somerset Enhanced paper, signed and numbered in pencil 34 from an edition of 95 to lower margin, artist’s blind stamp lower right, pub. Jealous Gallery, London, sheet size 23¼ x 33¾in. (59.1 x 85.7cm.), in plain gunmetal frame. * Condition: Print in good condition with no faults (not examined out of frame). Chipping to corners of frame and some noticeable scratches and scuffs.

After Cecil Charles Windsor Aldin RBA (British, 1870-1935), The Thames, chromolithograph, signed in the print, Fine Art Trade Guild blind stamp, framed 13 x 18in. (33 x 45.7cm.). * Condition: Good condition.

Winifred Austen RE, RI (British, 1876-1964), "Budgerigars", etching in colours on wove paper, signed in pencil lower left, titled in pencil lower right, blind stamp lower right "Warwick Galleries artist's proof", framed, 8 x 10¼in. (20.3 x 26cm.). * Condition: Time stained. Acidic mount.

David Shepherd (British, 1931-2017), 'Tembo Mzee', limited edition coloured print, signed and numbered in pencil 431/850, blind stamp, 19½ x 35½in. (49.5 x 90cm.), gilt framed. * Condition: Good condition.

Fleming (Ian), Thunderball, first edition, first impression 1961, London, Jonathan Cape, original black cloth gilt with blind-embossed skeletal hand to front and original dust cover. * Condition: Foxing to wrapper, toning to upper margin and a little chipping and rubbing to corners and head and tail of spine. Not price clipped. Two tiny tears to top of back flap. Some foxing to page edges and a few fox marks to first three chapters. Top edge dirt soiled.

H. Besley's Views in Cornwall twenty three engraved plates with tissue guards, original maroon blind-stamped cloth, gilt lettering, cream endpapers. The engraved plates are generally very clean, first edition 1853. Scarce with no copy found on COPAC.

Rev. H. J. Whitfield. 'Scilly and Its Legends,' first edition, 8vo, original blind stamped cloth, gilt lettering to the spine, colour printed title, (8) 224 PAGES, a very good copy, F. T. Vibert, Penzance, 1852.

Jonathan Couch. 'Illustrations of Instinct. Deduced from the Habits of British Animals,' 1847 First edition, (+) xii 343 pages, hardcover very good, thick 8vo, original blind stamped blue cloth with gilt lettered spine, a very good copy, John van Voorst, London, 1847.

William Pryce. 'Cornish Grammar and Vocabbulary'. Archaelogica Cornu-Britannica; or an essay to preserve the Ancient Cornish Language containing the rudiments of that Dialect in a Cornish Grammar and Cornish-English Vocabularly'. William Pryce, M. D. Redruth, Cornwall (1749-1823). First edition, in half brown, calf over marbled boards, spine raised bands, slight rubbing otherwise a a near fine copy, gilt and blind tooling, gilt title to black label, binding by E.Riley and Son, loosely inserted a post office telegram dated 19th Feb 1936, from Caradar (A.S.D.Smith) Perranporth to Miss Cook, Eaton Crescent, Clifton in Cornish, compiled from a variety of materials which have been inaccessible to all other authors, which includes 14 pages of letters from Edward Lhuyd to Thomas Tonkin, translation of the Lord’s Prayer, a list of Cornish British names, Cornish grammar which is translated into Cornish, English & Welsh, publshed by W.Crutwell, Sherborne and sold by Dilly, Poultry, London, Grigg and Son, Exeter, 1790.

John Ayrton Paris. 'On the Accidents Which Occur in the Mines of Cornwall,' 1817. 'In Consequence of the Premature Explosion of Gunpowder in Blasting Rocks, and on the Methods to be Adopted for Preventing it, by the Introduction of a Safety Bar, and an Instrument Termed The Shifting Cartridge. To which is appended a schedule of Names, Circumstances and Injuries of a large proportion of those Miners who have within a few years suffered from Exploxions, and are in consequence Blind or Totally Disabled,' first edition, 8vo, very good condition, (iii); 4-29;(i) 14 (schedule of accidents) pages, engraved frontispiece, rebound in brown half calf, attractive marbled boards, authors presentation copy, printed and sold by T. Vigurs, Penzance, 1817.The author was a doctor in Penzance and Secretary to The Royal Geological Society of Cornwall before leaving for London, where he was a fellow of The Royal College of Surgeons. An important paper on mine safety and a rare first printing (Boase and Courtney 422pp).

Attributed to Frederick George Cotman (1850 - 1920), 'North African Palace by a River', unsigned watercolour ESK blind stamp lower left, 29cm x 41cmThe Cotman Family Collection

Julian Trevelyan (1910-1988), 'Schooner', 1981, limited edition signed etching and aquatint, numbered 119/150, 47 cm x 34.5 cm with margins, framed and glazed.Framed without surrounding mount showing Christie's blind stamp bottom right. Original CCA certificate taped to the back with description letter. Appears to be in good condition.

Laurence Stephen Lowry RA (1887-1976) British, 'Huddersfield', limited edition print, signed in pencil and with Fine Art Trade Guild blind stamp, from an edition of 850, 45 x 57 cm, framed and glazed, frame 86 x 95 cmRecently framed, mounted and glazed. Colours are a little faded and the paper slightly discoloured with age. Not inspected out of the frame.

Laurence Stephen Lowry RA (1887-1976) British, 'Mrs Swindell's Picture', limited edition print, signed in pencil, Fine Art Trade Guild blind stamp, from an edition of 850, 40 x 30 cm, framed and glazed, frame 81 x 69.5 cmRecently remounted, framed and glazed. Print in very good condition with the paper slightly discoloured. The print has not been inspected out of the frame.

Laurence Stephen Lowry RA (1887-1976) British, 'Fever Van', Limited edition print, signed in pencil, Fine Art Trade Guild blind stamp, from an edition of 700, 41.5 x 51.5 cm, framed and glazed, frame 82.5 x 90 cmRecently reframed, mounted and glazed. Some paper discolouration with age. Good colour. Not inspected out of the frame.