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Rock CDs, approximately sixty albums of mainly Rock including A.O.R, Heavy, Hard with artists including Ramos, Da Vinci, Tim Feehan, Daughtry, Airless and more mainly in excellent condition

Orologio da taschino in oro 18Kt. Marca Leroy

Orologio da taschino in argento primi '900

Servizio da tea per sei in porcellana dipinto a paesaggi orientali con figure completo di doppi piattini, teiera, lattiera, zuccheriera e piatto per dolci. Kutani (provincia Kaga) XIX secolo

Lotto di due binocolo da teatro in madreperla e ottone fine 800

Centrotavola in sheffield Ø cm. 27 con lato traforato, due anse contrapposte e sollevato da quattro piedini anni '50

Cristo, olio su tela, cm. 56x72, da restaurare, fine'700

Madonna con bambino, olio su tela, cm. 76x91, scuola Italiana del 500, da restaurare

Carta da viaggio, Mario Peschetta (1949), pagina 24 del catalogo Oltre Tannoiser), cm. 50x35

Servizio da tea in sheffield tre pezzi, teiera lattiera e zuccheriera finemente cesellati a motivi di uva con finale e separatori di calore in avorio, bolli Vittoriani 1880 circa

Antico cammeo giovane donna mm. 33x42 con catenina da riparare

Orologio in ceramica con figurina orientale primi '900 (da restaurare)

JEAN FLEMING DA RSW Portuguese Seawall, signed, pencil, 41 x 27cm

Airships, and Balloons, 15 cards inc. RP, Graf Zeppelin in Flight, America, Shenandoah Disaster, South America Flight 1930, Tucks (2), Austrian Balloon Ascent, Italian Leonardo Da Vinci, Roger Williams Park R.I. Ascent etc.

One bottle 1987 Warre's Quinta da Cavadinha, one bottle Ferreira Tawny, one bottle Blandy's Madeira, one bottle 2016 Malbec Mendoza (4)

Two bottles 1975, one bottle 1983 Warre's, one bottle 1975, one bottle 1982 Porto Calem Quinta da Foz, one bottle 1984 Cockburn's LBV (6)

One litre Pimms No 1, one litre Gluhwein, two bottles Cointreau, one bottle Monin, one bottle Poncha da Madeira, and two small bottles wine (8)

VINTAGE PORT: Porto Calem, Quinta da Foz, 1982, wax cap, low-mid neck, one bottle

LARGE STAMP COLLECTION a large collection in 5 boxes, including New Age Albums - QEII Collection, Australia, Falkland Islands, France, British Commonwealth mint and used, St Helena, Tristen da Cunha, Channel Islands, FDC, etc.

† The Da Vinci Code (2006) An ornate Masquerade style Face Mask. Such masks can be seen during several memorable flashback sequences depicting the secret gatherings of the Priory of Sion, the guardians of the secret source of God's power on earth. Constructed of a lightweight but strong ornately painted plastic with interior comfort pads and elasticated net head band strap. Still retains supporting cast member's name tag to inside. Please note that VAT is payable on top of the hammer price at 20% in addition to standard buyers premium inc. VAT for this lot.

Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.

MUSIC La Clemenza Di Tito Opera Seria Compaste da W.A. Mozart c.1800, plus HANDEL, G.F. The Messiah c.1825, London, fol. cont. hf. cf. (2)

Books- Leonardo Da Vinci (2 vols); Pablo Picasso, by Boeck and Sabartes etc

A CHINESE GOLD-SPLASHED BRONZE INCENSE BURNER QING DYNASTY The U-shaped body with two lion-head handles, all raised on a short tapered foot, the gold-splashed decoration includes the characters da Ming, the base with a roundel of two dragons and a six character Xuande mark, 20.3cm, 1.8kg. Provenance: a Hong Kong private collection, formerly the collection of Sir William Aykroyd Bt M C, Buckland Newton Place, Dorset, Duke's 11th December 2007, lot 131.

AFTER ZHANG DA QIAN SCHOLAR UNDER A PINE TREE A Chinese scroll painting, ink and colour on paper, inscribed, dated wu zi and signed with two artist's seals, 97cm x 26cm. Provenance: from the collection of Lin Wen Zhi (d.1970) acquired in the 1950s and thence by descent. Lin was the oldest son of a wealthy and influential family, he studied at the University of Shanghai during the 1920s, he was sent from Shanghai to Singapore to help in his uncle's business. After the Second World War, he went on to start his own businesses, then he re-established the family tea business in his late 70s. 張大千（傳） 松下高士圖 設色紙本 立軸款識：戊子十一月張大千爰大風堂下。鈐印：張爰大千父、蜀君。來源：林文治收藏（逝于1994）之後由其女兒收藏至今。林文治是民國時期大戶人家長子，1920年代畢業於上海大學，畢業之後移居新加坡幫助其叔叔的生意，之後重新創立家族茶葉生意。

AFTER BA DA SHAN REN (QING DYNASTY) CAT AND BUTTERFLY A Chinese scroll painting, ink on paper, inscribed and signed Ba Da Shan Ren with three artist's seals, 128cm x 38cm. 八大山人（傳） 貓戲圖 水墨紙本 立軸款識：虎豹不足數，九河可以鑑。當時傳考虜，老南鷗零零。 鈐印：八還、驢書、畫舧。

WU DA CHENG (1835-1902) SQUIRREL ON A PINE TREE A Chinese circular fan leaf painting, ink on silk, inscribed with one artist's seal and one illegible seal, together with a palm-shaped fan painting of butterflies, ink and colour on silk, inscribed and signed by Cai Wei Dao Ren with one illegible seal, 25cm. (2) Provenance: an English private collection acquired in London in the 1970s. 吳大澂（1835-1902）等兩件 水墨及設色絹本 扇面款識：（詳文略，不錄）。鈐印：吳大澂、兩印漫漶不辨。來源：英國私人收藏，購於1970年代。

Ex dealers mixed lot in 14 albums/stockbooks incl small collections of Russia and USA in printed albums, good range of New Zealand, Channel Islands and Germany incl 1945 12th Anniversary of the 3rd Reich imperf pair, a few recent GB pres packs and 'Smiler' sheets, two stockbooks of duplicated India KGVI to QEII, dupl Burma, various 'better' sets or single items incl Northern Rhodesia 1938-52 set mint, Nysaland KGVI 'Keyplates' vals to £1 mint, St Helena 1938-44 set mint and Tristan da Cunha sets incl 1952 set mint, cond mixed but worth inspection (Thousands)

British Atlantic Islands: King George VI period mint collection on pages including Ascension 1938-53 to 10s, Falkland Islands 1938-50 to £1, 1952 to £1, F.I.D. 1944-45 opts to 1s, 1946-49 Maps to 1s, St Helena 1938-44 to 10s, Tristan da Cunha 1952 overprints to 10s, also commems for period including 1948 RSW sets, almost all previously hinged, cat £1500+

South Atlantic Islands: Collection in one volume from 1950s to 1982, not comprehensive but some better sets (u/m unless noted) including Ascension 1938-53 to 10s (m/m), 1963 Birds to £1, St Helena 1961 to £1, 1971 to £1, Tristan da Cunha 1952 to 10s, 1954 to 10s, 1960 to 10s (m/m) and 1965-67 to £1, mostly fine (300+)

Collection in SG KGVI printed album, with good representation throughout (no Dues) with both mint and used, a number of contries complete (for spaces given) mint or used incl Aden and States (excl the Dhow set), Basutoland, Bechuanaland, British Solomon Islands, Cyprus, Dominica, Fiji, Gilbert & Ellice Islands, Gold Coast, GB, Grenada, Jamaica, KUT, Malta, Mauritius, Northern Rhodesia, Pitcairn Islands, St Kitts-Nevis, Singapore, Somaliland, Tristan Da Cunha, Turks and Caicos and the Virgin Islands, others of note incl Hong Kong RSW and India 1948 Gandhi sets used, cond mixed in places but the majority fine (Hundreds)

* JAMES S DAVIS DA PAI RSW FRSA, BRIGHT EYES oil on panel, signed 20cm x 20cm Framed and under glass

* DOREEN E DAVIS (FREW) DA, PIGEONS IN VENICE oil on canvas, signed 30cm x 30cm Framed and under glass

* DOREEN E DAVIS (FREW) DA, UNDER THE TUSCAN SUN oil on canvas, signed 30cm x 30cm Framed Label verso: ARTeries Gallery, 127 Douglas Street, Glasgow

* ROBERT KELSEY DA MUniv PAI FRSA, CORNFIELD oil on board, signed and dated '85 30cm x 30cm Framed and under glass Artist label verso

* PERPETUA POPE DA Edin (SCOTTISH 1916 - 2013), PEAT DITCH, ISLAY oil on canvas, signed 61cm x 45.5cm Framed.

* CHARLES ANDERSON DA RSW HON. FRIAS, YELLOW LANDSCAPE oil on board, signed and dated '03 in pencil 13cm x 14cm Framed and under glass Note: Charles Anderson studied Drawing & Painting at Glasgow School of Art under David Donaldson, Mary Armour etc, graduating with Diploma in 1959. The following year he entered The Royal Scottish Academy painting competition for Post Graduate students and won the Chalmers Bursary. Joan Eardley - one of the adjudicators- took a keen interest in his work and encouraged him to exhibit at the RSA the same year. He worked as a professional mural painter and sculptor for the next 30 years on major art and design projects throughout the United Kingdom, carrying out commissions for a wide variety of clients including local authorities, property developers, banks and major insurance companies. Since early 1997 he has returned to the painting of easel pictures and contributed to the annual exhibitions of The Royal Glasgow Institute, the Royal Scottish Society of Painters in Watercolours, The Royal Scottish Academy and The Paisley Art Institute. He has works in various private collections throughout the U.K. and abroad. In 2006 he was elected President of the Glasgow Art Club, and served in this position until February 2009.

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), SUILVEN AND LOCH INVER limited edition lithographic print, signed, titled and numbered 268/500 in pencil 26cm x 29cm Mounted, framed and under glass Note: This limited edition print sold out a number of years ago and is not available from any known retail outlet.

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), CATTLE, ARISAIG limited edition lithographic print, signed, titled and numbered 120/600 25cm x 32cm Mounted, framed and under glass.

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), HILL FARM, ARRAN limited edition lithographic print, signed, titled and numbred 91/200 in pencil 23cm x 25cm Mounted, framed and under glass

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), FARM GATE, ARRAN limited edition lithographic print, signed, titled and numbered 124/850 in pencil 39cm x 58cm Mounted and framed

* ROBERT KELSEY DA MUniv PAI FRSA, SPANISH COURTYARD, MALAGA oil on canvas, signed 32cm x 32cm Framed and under glass Provenance: Richmond Hill Gallery

* ROBERT KELSEY DA MUniv PAI FRSA, STILL LIFE oil on canvas, signed 60cm x 50cm Framed

* JAMES FULLARTON DA, LANDSCAPE oil on board, signed 50cm x 60cm Framed and under glass

A Jiajing mark and period ‘cafe-au-lait’ glazed jar of lobed baluster form imitating the shape of a melon, with rounded sides rising to a short straight neck, the white glazed base inscribed with the six character underglaze blue mark Da Ming Jiajing nian zhi.PROVENANCE: Private collection from America

Each moulded in the form of a flattened double-gourd, supported on an ornate simulated wood stand, tied at the narrow waist with drapery enamelled in green, the upper body gilded with the character “Da”, (great) within a medallion surrounded by five gilt bats (‘wu fu: the five elements of fortune) against an iron-red brocade pattern ground, the lower body similarly decorated with the character “Ji” (happiness) above a ruyi border, all below a moulded gilt bat at the mouth rim. For similar Qianlong Enamelled and Gilt DaJi wall plaques, see ‘Gong Ting Zhen Cang:Chinese Qing Dynasty imperial porcelain’ page 218, jointly published by Nanjing Museum and Shanghai culture publishing, and Hong Kong Autumn Sale 2016, lot 0051, Collection of Mr.Zhang Zong Xian, Kuangshi.PROVENANCE: The property of a French noble family; the collection was accumulated by the present owner's great grandfather, from the late 19th century to early 20th century

Brenda Lenaghan, DA,RSW "Girl and Peonies" Oil-on-Board, signed with a Macauley Gallery Label verso, 90 x 90cm

*Hornby Dublo. Mixed collection of 3-rail model rail, including locomotives, tenders, rolling stock, track, buildings etc, mostly boxed including D12 Corridor Coach x 5, EDL2 Locomotive x 2, D1 Bogie Bolster Wagon x 2, Tender D2 and D12, D1 Meat Van, D1 Coal Wagon x 2, D1 Oil Tank, D1 Horse Box, D1 Petrol Tank x 2, Island Platform (DA 456), Through Station (DA 455), Signal Cabin (DA 458), Footbridge, 15 boxes of track, various switches, single arm signals, transformer, power control unit, etc (2 cartons)

*De Morgan (Evelyn, 1855-1919). The Angel of Death, 1885, gold coloured pastel and black chalk on dark grey-brown wove paper, depicting a young woman seated on a rocky stepped plinth, her eyes half-closed, and her arms placed on the left arm of an angel who stoops over her and carries a scythe, monogrammed 'EP' and dated 1885 in gold lower right, 44.5 x 36.5cm (17.5 x 14.5ins), mounted, framed and glazed, with remains of old manuscript label on backboard 'The Angel of Death, Not for sale, De Morgan, 1 The Vale, Kings Rd, Chelsea' Evelyn and William De Morgan lived at 1 The Vale in Chelsea for 22 years. At that time a number of artists resided in close proximity in and around the area of The Vale: the De Morgans rented their house to Walter Sickert and his Chelsea Life School when they were on their travels abroad; James Whistler lived at 2 The Vale, which was subsequently occupied by Charles Ricketts who began the Vale Press there; on the same side of the Vale, close to the King's Road, was a chapel which was for a time the studio of sculptor Thomas Stirling Lee; and others who were not far away include Augustus John, Cecil Hunt, John Da Costa and Charles Maresco Pearce. Evelyn De Morgan painted two oils titled 'The Angel of Death'. One was executed in 1880, and exhibited in 1881 at the Grosvenor Gallery, London, and it is now in the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, plate 8). The other, dated 1890, was destroyed in 1991 when a fire raged through Bourlet's art storage unit in London where some of the De Morgan Foundation's art collection was held (plate 37). This remarkable study was executed, therefore, in the interim period between these two works, whilst the artist was as yet unmarried. It is one of a small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and none, to our knowledge, has ever before appeared at auction. Only a small number of artists used this technique, Edward Burne-Jones being one of them. It is generally believed that such works were final detailed compositional studies. Given that the artist was so prolific and meticulous in producing studies for her full-scale oils, it is perhaps not surprising that this view has come into existence. However, the De Morgan Foundation acknowledges that 'These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such'. Given this, and the fact that our study post-dates the initial oil of the same subject it now seems quite certain that such a work was done either for the artist's own pleasure (as seems to be the case here), or as a gift for, or commission from, an admirer of the oil painting. It is interesting to note that in the original oil the female figure gazes upwards with unseeing eyes which are clearly open, whereas here the young woman's gaze is downwards with her eyes half-closed, as it is in the later oil painting of 1890. The De Morgans were very interested in spiritualism, and especially angels, as evidenced in much of the symbolism of Evelyn's work. In her initial oil painting, the gentleness of the angel's touch, and grateful embrace of the frail girl is underlined by the weeds symbolising a hard life, and the spring flowers indicating joy to come. Here, however, as is typical of Evelyn's studies in gold, the background detail is pared away, and the figures, in all their beauty, come into stark relief.(1)

PIRANESI, Giovanni Battista. Veduta del piano superiore del Serraglio delle fiere fabbricato da Domiziano a uso dell'Anfiteatro Flavio, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 3rd state with the artist's address and price, 400 x 605 mm., a central vertical fold, slight surface dirt towards the sheet edges, [H.43 III; F.804; WE.160]

PIRANESI, Giovanni Battista. Veduta del Ponte Molle sul Tevere che niglia lontan da Roma, Rome, c.1774from the Rome edition of 'Vedute di Roma', etching with engraving, on thick laid paper with a fleur-de-lys in a double circle watermark, 1st and only Roman state with the artist's address and price, 440 x 675 mm., a central vertical fold with a printer's crease in the lower section, faint marginal surface dust, [H.64 I; F.767; WE.197]

TWO PAINTINGS DEPICTING SCENES FROM THE DREAM OF THE RED MANSIONLATE QING DYNASTY/REPUBLIC PERIOD the first depicting Jia Baoyu, the principal figure of the novel, surrounded by beauties in the Grand View Garden, da guan yuan; the second depicting a beauty travelling on a ferry, each framed and glazed (2)25.5x22cm (sight)Provenance:Private English collection.

LOVE - LPs. Setting the scene with this tremendous selection of 8 x LPs. Titles are Forever Changes (2 copies including the 1st UK orange labels/black text stereo EKS 74013 - Ex+ with a couple of faint hairline markings on side 1/Ex a top sleeve with some slight discolouration, also K 42015 RE - Ex+/Ex+), Four Sail (UK original Elektra EKS 74049 orange labels/silver text - Ex+ an extremely faint hairline mark on side 1/Ex+ smashing clean sleeve), Out Here (UK original Harvest SHDW 3/4 - Ex+ or archive condition records/Ex+ superb fully laminated sleeve), Da Capo (K 42011 butterfly - Ex+ or archive/Ex), Elektra Masters (K 32002 butterfly - Ex+ or archive/VG+), False Start (US Blue Thumb BTS 8822 - Ex+ or archive/Ex) and Revisited (2469 009 - Ex+ or archive/Ex).

[Jacobus Philippus de Bergamo. De claris mulieribus, edited Albertus de Placentia and Augustinus de Casali Maiori, Ferrara: Laurentius de Rubeis, de Valentia, 29 April 1497], 175 (of 176) leaves, lacks A1 (xylographic title-page with full-page woodcut to verso, photocopies supplied), 45 lines and headline in Gothic type, printed marginalia, a1v full-page woodcut depicting eight scenes from the life of the Virgin within architectural border, a second border framing first text page (a2r), 172 woodcut portraits, including 116 repeats, printed from 52 blocks, ornamental capitals, printer's device at end, A2 variant with 'Prologus' centred on fourth line and signed 'A', A4 bound after a1, scattered old ink marginalia and annotations to several woodcut portraits, occasional spots or light browning, s2 soiled on recto and with two small archival paper repairs with slight loss of lettering affecting first four lines of recto and verso, the robes in woodcut portrait to recto and corner of woodcut initial and a few letters of lines 9-10 to verso, all edges gilt, modern blind-stamped brown morocco with four raised bands, folio (300 x 200mm) BMC VI, 613 (IB. 25752); Goff J-204; HC *2813; Hin, History of the Woodcut, pp. 510-12; Ink-120; ISTC ij00204000; Lippmann, Wood-Engraving in Italy 153; Oates 2246; Polain (B) 1497; Proctor 5762; Sander 915. Collation: A4[-A1] a-e8 f6 g-p8 q6 r8 s6 t8 v6 x8 y-z6. First edition of one of the finest and most beautiful early Italian illustrated books and the first to attempt life-like portraits. An Augustinian monk, Giacomo Filippo Foresti da Bergamo (1434-1520) draws here from Boccaccio's own 'De claris mulieribus', but develops a different approach, choosing lesser-known female figures to 'rediscover' them for posterity. The women portrayed include numerous saints and historical figures such as Joan of Arc, Margaret Queen of England and Mary Queen of Scots. The final seven portraits were contemporaries of the author and are of recognisable likenesses. Unlike other woodcuts in the book, those used for them were not repeated. Five of the seven have been identified as Bianca Maria Sforza, Catherina Countess of Forli and Imola, Leonora of Aragon, wife of Ercole d'Este, Danisella Trivulzia, and Cassandra Fidelis. The artist of these fine woodcuts has not been identified, but several engravers probably contributed to the illustrations. (1)

Illuminated manuscript facsimiles & reference. The Holkham Bible Picture Book, Introduction and Commentary by W. O. Hassall, 1st edition, Dropmore Press, 1954, colour and half-tone illustrations, top edge gilt, others untrimmed, original red full niger, blind vignettes to boards, spines slightly sunned, folio, number 39 of 100 copies signed by the editor, together with Dorez (L‚on, editor), Les manuscrits … peintures de la bibliothŠque de Lord Leicester … Holkham Hall, Norfolk, choix de miniatures et de reliures, 1st edition, Paris: Ernest Leroux, 1908, half-title, 60 plates, half-title and plate 23 slightly soiled, later red half morocco, large folio,McKendrick (Scot, editor), The History of Alexander the Great, An Illuminated Manuscript of Vasco da Lucena's French Translation of the Ancient Text by Quintus Curtius Rufus, 1st edition, Los Angeles, CA: J. Paul Getty Museum, 1996, photographic illustrations, original cloth with printed paper front board, spine slightly sunned, cloth slipcase (sunned), large folio, Thomas (Marcel, editor), Les Grand Heures de Jean Duc de Berry, 1st edition, Thames & Hudson, 1971, photographic illustrations, original red cloth gilt, red cloth slipcase (with slight fraying), large folio, and 2 others Provenance: From the Library of Cecil H. Clough (1930-2017). (6)

Major (Richard Henry). Memoir on a Mappemonde by Leonardo Da Vinci, being the earliest map hitherto known containing the name of America..., 1865, monochrome folding map to rear, inscribed by the author to front endpaper, facsimile letter by B.B. Woodward to front, some minor toning, original blue cloth, boards and spine slightly rubbed, large 4to, together with Steer (D.M.), The Blockade of Brest by the Royal Navy, 1793-1805, a privately printed thesis, Liverpool, 1971, tipped in black and white illustrations, original black cloth, 4to, and Obreg¢n (Mauricio), The Columbus Papers, The Barcelona Letter of 1493, The Landfall Controversy and the Indian Guides, facsimile edition, 1991, colour and black and white illustrations, original red quarter morocco in slipcase, 4to, plus other exploration and cartography reference and related, mostly original cloth, some in dust jackets, G/VG, 8vo/4to Provenance: From the Library of Cecil H. Clough (1930-2017). (6 shelves)

Three vintage Italian film billboard posters; 'Chiedi Perdono a Dio... Non a Me', 193 x 140cm, 'La Morte Viene da Manilla' and a further example (3).

Aristoteles. Trattato dei governi... tradotto di greco in lingua vulgare fiorentina da Bernardo Segni... Firenze, Lorenzo Torrentino, 1549.In-4° (mm 210x130). Segnatura: A-Iii⁴. 420, [20] pagine. Iniziali silografiche. Fioriture, qualche carta brunita. Legatura successiva in pergamena su cartone, titoli in oro su tassello al dorso, contropiatti e sguardie in carta decorata a pettine, tagli gialli. Qualche lieve alone. Timbro della Biblioteca del cardinale Renato Imperiali al frontespizio 'Ex Bibl. Ios. ren. Card Imperialis' e etichetta ex libris 'Tammaro De Marinis' al contropiatto anteriore; antica segnatura al recto della seconda carta di guardia anteriore; lunga nota manoscritta al verso dell'ultima carta. Esemplare di illustre provenienza di questa prima edizione, non comune, della traduzione di Bernardo Segni (1504-1558), dedicata a Cosimo de Medici, del testo aristotelico. Le venti pagine in fine contengono un vasto indice: "tavola delle cose più notabili della politica di Aristotile". Torrentino Annali, 66; Cranz-Schmitt, 52.4° (210x130 mm). Collation: A-Iii⁴. 420, [20] pages. Woodcut initials. Foxing, some brownings. Vellum over pasteboards, gilt title on lettering-piace on the spine, decorated pastedowns and flyleaves. Light stains on the covers. On the title-page stamp of Cardinal Renato Imperiali Library 'Ex Bibl. Ios. ren. Card Imperialis', on the front pastedown ex libris 'Tammaro De Marinis'; early ink shelfmark on recto of the second front flyleaf; manuscript note on verso of the last leaf. Rare first edition of this translation of Aristoteles' work by Bernardo Segni (1504-1558), dedicated to Cosimo de Medici. The last twenty leaves contain a wide index. The copy was property of Cardinal Renato Imperiali (1651-1737) and of bookseller Tammaro De Marinis. Torrentino Annali, 66; Cranz-Schmitt, 52.

Disegno/Drawing. Colombina Gaspare. Discorso distinto in quatro capitoli; nel primo de quali si discorre. Del disegno, e modi di essercitarsi in esso. Nel secondo. Della pittura, e qual deve esser il buon pittore. Nel terzo. De' modi di colorire, e sue distintioni. Nel quarto, et ultimo. Con quali lineamenti il dissegnatore, e con quali colori il pittore deve spiegare gli affetti principali, sì naturali, come accidentali nell'huomo, secondo l'arte della fisionomia... Padova, Pietro Paolo Tozzi, 1623.In-folio (mm 270x204). [8] (di 9, manca c. A1 contenente il frontespizio) carte, con 21 (di 26) tavole calcografiche numerate incise da Philipp Esengren. Mancanti le tavole 19, 22, 24, 25 e 26. Iniziali, testatine e finalini silografici. Diffuse fioriture e tracce di sporco, qualche macchia e alone, fori di tarlo e strappi sui margini di alcune carte non lesivi del testo o del contenuto delle tavole. Qualche carta con braghette di rinforzo al margine interno. Annotazioni manoscritte sui margini di alcune tavole, schizzi a c. [chi]1r e al verso della tavola 23.Rarissima prima edizione di questo manuale di pittura e disegno, opera del padovano Gaspare Colombina (1580 ca.-1651) e illustrata dall'artista fiammingo Philipp Esengren (1594-1631). "Il volume, erroneamente attribuito dallo Schlosser (1964) nella sua integrità allo Hesengrin, è assai raro: un esemplare, più ampio di quello descritto da C. Bianconi al Comolli (1791) e da ritenere pertanto manipolato con l'inserimento di tavole estrapolate da un'opera autonoma (Il perfetto disegno, s. l. né d.) dell'incisore, proveniente dal monastero benedettino di Praglia, si conserva presso la Bibl. univers. di Padova (Cessi, 1958)." (DBI, sv). L'esemplare Cicognara manca della tavola 10, presente invece nell'esemplare qui offerto, e della tavola 25, ugualmente assente nel nostro. Cicognara, 331.Folio (270x204 mm). [8] (of 9, lacking the title-page fol. A1) leaves; 21 (of 26) copper engraved plates, engraved by Philipp Esengren. Wanting plates 19, 22, 24, 25 and 26. Woodcut initials, head- and tailpieces. Foxing, soiled, some spots and stains, wormholes and tears to the margin of some leaves and plates, not affecting the text. Some leaves reinforced to the gutter. Annotations on the margin of some plates, drawings on fol. [chi]1r and on the verso of plate 23.Very rare first edition of this Manual of painting and drawing by the Padoan Gaspare Colombina (1580 ca.-1651), illustrated with plates engraved by the flemish artist Philipp Esengren (1594-1631). The copy described by Cicognara lacks plate 10, present in our copy, and plate 25, wanting in our copy too. Cicognara, 331.

Doni Anton Francesco. I marmi... cioè ragionamenti introdotti à farsi da varie conditioni d'huomini, à luoghi di honesto piacere in Firenze... Diviso in quattro libri... Venezia, Giovanni Battista Bertoni, 1609. Una parte (di 4) in-4° (mm 195x140). [8], 66 pagine. Marca silografica al frontespizio, illustrazioni, capilettera, testatine e finalini tutto inciso su legno. Vignetta silografica entro cornice incisa al verso dell'ultima carta. Gore e tracce di polvere vaste e diffuse sulle carte, alle carte degli ultimi 2 fascicoli restauri integrativi ai margini superiore e inferiore che talvolta toccano i titoli correnti o il testo. Legatura rimontata in pergamena su cartone, timbro in oro al piatto anteriore Inner Temple. Aloni e macchie ai piatti. Timbro di appartenenza 'Inner Temple' ripetuto più volte al frontespizio e varie pagine; timbro 'Shelf List' al recto della carta di guardia anteriore.Solo prima parte di questa seconda edizione della raccolta di Ragionamenti di Anton Francesco Doni (1513-1574), che deve il suo titolo allo svolgersi delle discussioni e dei dialoghi inclusi nell'opera sui gradini in marmo del Duomo di Firenze.One part (of 4), 4° (195x140 mm). [8], 66 pages. Woodcut printer's device on the title-page, woodcut illustrations, initials, head- and tailpieces. Woodcut vignette on the verso of the last leaf. Waterstains, dusted, some restorations to the upper margins of the leaves of the final quires, sometimes affecting the text. Vellum over pasteboards (recased), gilt stamp on the upper cover (Inner Temple). Spots and stains on the covers. Ownership stamp 'Inner Temple' on the title-page and on other leaves; stamp 'Shelf List' on the front flyleaf. Only first part of the second edition of this collection of Ragionamenti by Anton Francesco Doni (1513-1574). The title of the work - I Marmi - is due to the marble step of the Florentine Cathedral where the dialogues take place.