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Ascension. 1949 1½d black and rose-carmine, perf 14. Unmounted mint sheet of sixty. No R2/4 'buoy', but with R3/1 cut mast and railings, 5/1 davit, 5/6 medallion re-entry and 6/6 re-entered shed. SG 40d, da, db (£390)

*Carpi (Ugo da, circa 1480-1520/23). The Descent from the Cross, after Raphael, circa 1520, chiaroscuro woodcut printed from three blocks in black, brown and ochre on laid paper, trimmed to black outline margin (present on all sides), a few marks and minor flaws, sheet size 353 x 284 mm (13.9 x 11.2 ins), mounted on later laid backing paper, 19th century gilt and wood frame, glazed Bartsch XII, 43, 22. Illustrated Bartsch volume 48 (Chiaroscuro Woodcuts V, 22). (1)

*Rossini (Luigi, 1790-1857). Veduta dell'Arco di Costantino, escavato e ristaurato da Papa pio VII regnante, Rome, 1821, etching on wove paper, some marks, plate size 41 x 49 cm (16 x 19.25 ins), together with Veduta di fianco del Panteon preso nel vicolo del Grottino, Rome, 1821, etching on wove paper, plate size 61 x 44 cm (24 x 17.25 ins), both in modern antique-style black and gilt frames, glazed (unexamined out of frames), plus Brun (Jo Jovanni), Veduta della Basilica di S: Pietro in Vaticano, [Rome], Carlo Losi, 1785, copper engraving on laid paper, some minor marks and pale discolouration to margins, plate size 43 x 60.5 cm (17 x 23.75 ins), narrow margins, old wood frame, glazed (3)

A CASED COLLECTION OF FIFTY HALLMARKED SILVER 'THE GENIUS OF LEONARDO DA VINCI' MEDALLIONS, contained in a chest of six drawers, each medallion weighing approx 51 g, W 44.5 cm

A RUSSIAN SILVER-GILT TREE ON ONYX GROUND, WORKMASTER DMITRIY ALEXANDROV, ST. PETERSBURG, 1867-1886re-gilded silver sculpture of a tree on onyx platform, marked with 88 standard, workmaster`s mark DA in Cyrillic for Dimitriy Alexandrov, St.Petersburg, 1867-1886, height: 13 cm (5 1/8 in.) PLEASE NOTE: The easter eggs in the photographs are NOT sold this lot, and are for illustrative purposes only.

[CHIAROSCURO PRINTS], a bound collection, large folio, of 18th century prints by J. Basire, W. Rylands, S. Watts et alia, printed in bistre, lemon, etc, many chiaroscuro, after the Old Masters (incl. Da Vinci, Rafael, Correggio, Michelangelo, Rembrandt and others), early 20th century cloth (1)

Trissino (Giovanni Giorgio) La Italia liberata da Gothi, 1547-8, Rome and Venice, three volumes in one, folding map (? shaved edge), folding plan, vellum endpapers, gauffered gilt edges, full morocco gilt by Bedford

Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request

Lambertini (Cesare). Tractatus de iure patronatus clarissimorum omnium, Venice, Zenarum, 1584, large egnraved vignette to title page, historiated head- and tailpieces throughout, soiling to blanks and title, small worm-track to lower margin of title and adjacent leaves (the text unaffacted), very occasional tide-mark in lower margin, contemporary vellum, contemporary manuscript title inked to spine, a few worm-holes, joints cracked, soiled and worn overall, folio, together with Mazzolini, Silvestro, da Piero, Summae Sylvestrinae ... nunc recens diligentissime correcta, 2 volumes, Venice, Zopinos, 1581, engraved vignette title pages, bookplates and manuscript shelf-marks, some soiling to endpapers, contemporary vellum, rebacked with the original spines laid down, manuscript titles to spines and catch-titles to bottom edges in a contemporary Gothic rotunda in black ink, rubbed and soiled, 4to, plus Cristiano (Federigo), Della vita di S. Ignazio fondatora della Compagnia di Gesu, 1st edition, Bologna, Lelio dalla Volpe, 1741, title page printed in red and black with engraved Jesuit emblem, terminal errata leaf, institutional blind stamps and mild soiling to prelims, contemporary half vellum, patterned paper sides, old shelf-mark label to spine, 4to, and Trombelli (Giovanni-Crisostomo), Vita, e culto de Ss. Genitori di Maria Vergine Giochimo, ed Anna, 1st edition, Bologna, 1768, foxing and browning, contemporary cat's-paw vellum, 4to, and 33 others in 37 volumes, mainly 18th-century Italian imprints of works by or relating to Jesuits or Catholic priests, including a few Dutch and German imprints of similar texts, contemporary vellum, general browning and wear, various formats Neither Lambertini nor Mazzolini in Adams but cf. L79. (3 shelves)

Reinesius (Thomas). Syntagma inscriptionum antiquarum, 1st edition, Leipzig and Frankfurt, 1682, half-title, engraved allegorical title by Joachim von Sandrart, vignette title page printed in red and black, folding geneaological table, numerous woodcut initials and facsimiles of monumental epigraphy to the text, bookplate of Conservative politician Arthur Smith-Barry (1843-1925), browning, contemporary vellum, inked spine title, arabesque lozenges to sides, slightly rubbed and marked, front joint split but firm, folio, together with Cassius Dio, [Greek title] Romanae historiae ... studio et labore Nic. Carminii Falonii, 2 volumes in 1, Naples, 1747, engraved allegorical frontispiece, title pages in red and black, woodcut initials, Greek and Latin text in double column, ink-stamp and pencil mark to title, binder's blanks browned, occasional light spotting, terminal blank torn, contemporary vellum, title gilt to spine, some wear to extremities, folio, plus Suetonius, [De vita Caesarum] Ex recensione Joannis Georgii Graevii ... 1st Graevius edition, Utrecht, 1672, printer's device to title, woodcut numismatic vignettes to text, sporadic water-staining, contemporary vellum, gilt arms of the city of Arnhem to sides, front board repaired along top edge, slightly rubbed and soiled, 4to, and Terence, Il Terentio Latino, commentato in lingua toscana ... da Giovanni Fabrini ... Venice, heirs of Marchio Sessa, 1580, publisher's device and near-contemporary inscriptions to title, staining and browning, later vellum, minor wear, square 8vo, and 32 others (45 volumes in total), mainly 17th- and 18th-century continental imprints of classical authors including Horace, Pliny, Virgil and others, contemporary vellum bindings, occasional browning, some soiling and wear, various formats Adams T369 for Terence. (3 shelves)

MARTINEZ 1982Vintage Port (3)QUINTA DA ROEDA 1983Vintage PortMARTINEZ 1993Finest Vintage 12 bottles

Cayman Islands 1950 SG 135-147 M/M set Tristen Da Cunha 1961 SG 42-54 M/M set, a block of four Western Australia 1d 1861 and a selection of other stamps and albums

Waltham Type A-17 gentleman's US military wristwatch with luminous hands and Arabic hour numerals, white 24 hour and minute markers, black face, stainless steel case marked to the case back 'TYPE A-11 SPECIFICATION MIL-W-6433 MFR'S PART NO.10616-08-12-24 MFR'S SERIAL NO 24170 ORDER NO DA-36-038-ORD-8290 STOCK NO 6244-10616-CS-12-24 WALTHAM WATCH CO. U.S. PROPERTY' and 17 jewel movement, on green canvas strap, case diameter 32mm.

A Chinese bronze ceremonial Buddhist ritual bell, Ghanta, Zhengde mark and probably of the period (1506-21), the copper bronze handle of the bell cast with the face of Buddha wearing an eight-foliate crown, supporting a band of lotus petals and surmounted by a vajra-form finial, attached to a domed-shaped bell cast in relief with lotus petals each containing a Sanskrit mantra, above a band of Buddhist symbols interspersed by masks and beaded swags, the borders with vajra symbols, the interior of the bell cast in relief with the vertical six character mark 'Da Ming Zhengde Nianzhi', 19cm highCompare a similar ghanta but with a Xuande mark sold by Christie's, Convention Hall, Hong Kong, 'The Perfect Countenance - Fine Buddhist Works of Art', 31 May 2017, Lot 2809.

A Chinese gilt bronze figure of Amitayus, Qianlong mark and period, dated 1770, cast seated in dhyanasana, on a rectangular plinth, the hands held in dhyanamudra, wearing a simple robe draped over the left shoulder, the front of the plinth with an inscription reading 'Da Qing Qianlong Gengyin Nian Jingzao' (respectfully made in the Gengyin year during the Qianlong period in the great Qing dynasty, corresponding to 1770), height 19cm, lacking aureole

Vase en porcelaine de Chine, à couverte monochrome céladon en forme de losange, imitant une pièce en métal avec anses en forme d'éléphant marque apocryphe estampée Da Qing Qianlong nianzhi 《大清乾隆年製》, XIXe. 清十九世紀H. 27 cm. Référence: pour une pièce similaire de plus grande taille avec une marque Qianlong et un décor en rose et bleu voir SHK 27 avril 2003 lot 185 Condition: socle en bois collé et pièce montée en lampe.Porcelaine - CéramiqueCeramics Porzellan und FayenceArts d'AsieAsian ArtAsiatica

A WORLD CUP ITALIA 1990 BOTTLE OF TREBBIANO DEL RUBICONE, VINO DA TAVOLA

Homerus - L'Odissea d'Homero Tradotta in Volgare Fiorentino da M. Girolano Baccelli, 8vo, vellum, 19th century inscription "The Gift of The Lady Eleanor Butler to John Parker 1815" (See DNB vol.3 page 500), Florence 1582, together with Hungary. L'Hermitage - Lettere di Raguaglio di Monsieur L'Hermitage a Madame Argenide ...., 12mo, vellum, Venice [1692] (2)

Ocean Liner Memorabilia; assorted ephemera Menus, brochures, passenger lists, magazines, photographs etc from Grace Line 'Santa Rosa' 1958, Italia Line 'Leonardo da Vinci' 1960, 'Michelangelo' 1965, 'Raffaello 1965, Ausonia 1957, Andrea Doria 1952, Uruguay, White Star Line; QEII photos by Raymond Augustin, Queen Mary, Mauretania 1932, RMS Ascania 1923, Laconia 1921, Aquitania 1914, Mauretania 1907, Societa di Navigazione Italia; Duilio 1923, HAPAG; menus, Royal Viking Skald; Deutschland 1900, Hollandischer LLoyd, IMM plaques, Unitede States Lines; Leviathan 1917, United States 1952, Norddeutscher LLoyd; Nouveau Bremen 1957, Postdam 1935, Europa 1930, Berlin 1935, Colombus 1923, Holland America Line; Rotterdam 1958, Nieuw Amsterdam 1938, Homes Lines, Cie Maritime Belge; Leopoldville 1948, Albetville 1948, Hamburg South America Line; Cap Polonio 1914, Monarch Star, National Hellenic American Line, Canada Pacific, Canada Steamship Lines, Princess Cruise and Norwegian American Line.

An oil on panel entitled verso - A Mountainous Landscape with Figures Rosa da Tivoli - 29cm x 37cm - in a gilt frame - re framed and repaired, splits to panel and some crazing, colours good

Significant Tristan Da Cunha postal stamp collection for the period 1963-1996 - To include variety of “Posted at Sea” covers and air letter overprints

Six film posters; The Fortune, A Fistful of Dynamite, The Master Gunfighter, The Shaggy DA, The Little Prince and Superdad/That Darn Cat

After Raffaello Sanzio da Urbino (1483-1520) Italian. "Madonna of the Candelabra", Oil on Canvas Painted Circular, 26" x 26".

Boxed set of twelve silver proof medallions of the Kings & Queens of England, each uin plastic case with Somerswet Fry's booklet Kings & Queens of England and Scotland (Dorling Kindersely 1999) along with another boxed set of twelve Tristan da Cunha gold plated crowns illustrating the Reign of Queen Elizabeth II 1952-2012 each in a capsule.

Four trays of plated crown sized Tristan da Cunha prooflike issues: twelve British monarchs; twelve further British monarchs, twelve silver and gold plated Coronation regalia and set of seven £5 Britannia commemorative (4)

Trstan da Cunha Anniversary of the Coronation 2013 four silver crown set in box of issue with certificate; boxed set of three crown sized coins the Year of the Three Kings in capsules plated in silver, gold and platinum, US 2006 quarter also in box; Windsor mint History of the British Coinage set. 2009 twelve gold plated with illustrations of monarchs in box of issue with certificate; also Windsor mint plated set of Knights of the Round Table 2009 silver and gold plated, 13 40mm coins with certtyificate and in box and a boxed set of eight Cook Islands gold plated life of Nelson comemoratives with glass lid (5)

A collection of London Mint Office 'super sized' modern commemorative coins:Tristan da Cunha 2012 super-crown (89mm) Rhodium & platinum plated in box of issue with certificate; gold plated 89mm 2012 Diamond Jubilee limited issue coin(195/999) in box of issue with certificate; 88mm 2012 Diamond Jubille gold plated (61/499) in capsule with certificate, boxed wit 1897 OH penny F; Queen Victoria set of four silver plated and pictorial Diamond Jubilee commemorative issues 70mm dia. in card presentation box of issue with 1887 crown EF inset in lid; a case containing four abdication commemoratives, silver plated and enalled George V, Edward VIII George VI and the Year of the Three kings (1936) along with four similar sized gold plated Great War commemoratives,declaration, 1st battle of the Marne, armistice and centenary (2014) all in capsules, along with a silver and gold plated 2002 golden jubilee commemorative with four conjoined heads of the queen on the reverse, also a boxed set of four Royal Baby (2013) 90mm silver plated and pictorial commemoratives with certificates in box of issue.(6)

Mongolia x 4. 24 carat gold coins. Year of the monkey 2004 and year of the dog 2006 both 500 Tugrik and Ballet dancer 2006 and Leonardo Da Vinci 1999 both 1000 Tugrik.

An Italian Rossi Da Vinci travelling writing box, 8 x 16 x 6cm, together with a leather three bottle travel case.

A cased and complete Leonardo Da Vinci silver coin set.

Piccolo scrittoio da centro con alzatina con otto cassettini e tiretto, gambe arcuate impreziosite da bassorilievi in bronzo, interamente intarsiata a motivi floreali, cm. 87x50xh92 (compresa l'alzata)

Servizio da tea in porcellana per quattro completo di doppi piattini, piatto per biscotti e comport per muffin decorato a violette. Hammersley & C° . Periodo Edoardiano

Servizio da caffè in porcellana per sei completo di lattiera e zuccheriera, decorazione Old Country Roses Royal Albert, Inghilterra anni '60

Servizio da tea in porcellana per sei con doppi piattini, lattiera e zuccheriera, decorazione Old Country Roses Royal Albert, Inghilterra anni '60

Servizio di piatti in porcellana tenera da dodici con tre serie di piatti piani di diverse misure, due legumiere, due salsiere con sottopiatto e cinque piatti da portata di diverse misure, marcato E&Sons Burslem periodo Vittoriano. (alcuni pezzi sono leggermente danneggiati)

Bollitore per uova in sheffield sostenuto da quattro piedi scanalati con coperchio sbalzato a canne d'organo e completo di fornelletto. Periodo Vittoriano

Specchiera da appoggio con specchio basculante e due cassettini fine '800 cm. 56xh82

N.4 sedie Luigi XVI da restaurare

Salotto fine '800, composto da divano a due posti, 2 poltrone, 4 poltroncine

A Hornby Dublo 00 gauge gloss green 4-6-2 "Duchess of Montrose" 2 rail tank locomotive and tender, a Hornby Dublo D1 Island Platform (DA 456), a DI girder bridge, a D1 signal cabin (458), a Hornby Dublo DI turntable and a break down crane (No.133)

A mid 20th century Chinese hand painted porcelain melon shaped jar featuring Da Mo with bats, H. 16cm.

A PAIR OF 'DA JI' WALL PLAQUES, each of flattened double gourd form, painted with medallions inscribed with a single character da and ji, reserved against coral trellis gourds and encircled by bat motifs, with simulated wood stands, 36cms high

Collection in one volume from 1882 to 1946, a mixture of mint and used with some better items (m/mint unless noted) including 1882-90 to 12a (excl 4a 6p), 1895 2r to 5r incl both shades of 2r, 1902-11 to 2r with some shades, also used to 15r with shades, 1911-22 to 2r with some shades. also used to 25r, 1926-33 multiple star to 15r (15r wmk upright), 1929 Air incl 2a with faint offset impression on reverse, 1931 New Delhi incl ¼a showing slight doubling of center, 1932-36 to 6a bistre,1937-40 to 25r both u/m and used, 1940-43 to 14a, also a few 'Azad Hind' values to 12a+1a and Portuguese India 1898 Vasco da Gama set, condition largely fine (200+)

All world selection in album of 103 mainly older covers, including Canada, Tristan Da Cunha to UK, a few GB KGVI stationery postcards mint, assorted foreign, useful group well worth careful inspection, condition mixed

Diverse, mostly mint selection including St Helena from 1922 to 1986, earlier issues sparse but good range from 1953 onwards, Tristan da Cunha from 1952 to 1986,1952 opts part set but incl 2s 6d to 10s, 1961 Marine Life to 1r, 1963 to 10s then good range from 1967 onwards, Isle of Man from 1958 to 1989, Jersey from 1981 to 1989, four volumes of 1979 Rowland Hill Centenary commemoratives, a few thematic odds and some loose, mostly fine but a few earlier sets hinged (Few Hundreds)

South Atlantic Islands: Mint collection of definitives from Ascension, St Helena and Tristan da Cunha to around 2011 in one volume, St Helena from 1884, others from first issues, generally previously hinged to 1984 and u/m thereafter, better items include Ascension 1934 2s 6d, 1991 Fish to £2.50, 2002 Views to £5, 2008 Fauna to £5, St Helena 1890 to 10d, 1912 to 1s and 3s, 1922 to 3d bright blue, KGVI to 10s, 1993 Birds to £5, 1998 Ships to £5, 2003 Flowers to £5, 2008 Fish to £5, Tristan 1952 opt, 1953 and 1960 Marine Life all to 10s, 1961 Marine Life to 1r, 1965-67 to £1, 1994 Ships to £5, 2000 Monarchs to £5, 2005 Birds to $5, 2011 to £5, condition mostly fine (Scores)

Valuable, mostly mint collection of KGVI and early QEII definitive sets in seven stockbooks, sometimes slightly duplicated, a few hinged but most u/m, although some lower values have adhered to page or have tones, better sets include Sarawak 1945 BMA to $5 ($5 and $10 tones),1950-52 & 1955 to $5, Somaliland 1938 to 5r, 1953 to 10r, Solomon Is 1939 to 10s, Gibraltar 1953 to £1, New Hebrides 1938 to 10f, KUT 1954 to £1, Br. Honduras 1938-45 to $3 & 1953 to $5, Northern Rhodesia 1938-52 to 20s, Southern Rhodesia 1953 to £1, Aden 1953 to 20s, Swaziland 1954 to £1, Seychelles 1952 and 1954-62 to 10r, North Borneo 1954 to $10, Malta 1956 to £1, Br. Guiana 1938-45 to $3 and 1954 to $5, Tristan Da Cunha 1952, 1954 and 1960 to 10s (some hinged), Sudan 1948 postage and officials to 50p, Ascension 1956 to 10s and 1963 to £1, Basutoland 1938 to 10s, 1954 to 10s, HK 1954-62 to $10, Bahamas 1938-52 to £1, F.I.Ds 1954-62 to £1, Sierra Leone 1956 to £1, Nyasaland 1938-44 to £1 and 1945 to 20s, South Georgia 1963-69 to £1, Turks & Caicos 1956-60 to £1, Bechuanaland 1954 to 10s and much more, also several other volumes including some commemoratives with good thematic content etc, some album covers smoke damaged but contents unaffected except as mentioned (Hundreds)

Manuel Da Costa signed colour 12 x 8 inch football photo. Good condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

NO RESERVE Religione e letteratura: lotto di 4 opere in 8 volumi. Lotto provvisto di attestato di libera circolazione.Siniscalchi Liborio. Quaresimale del padre Liborio Siniscalchi della Compagnia di Gesù. Aggiuntivi cinque discorsi sulla Passione del Redentore per li Venerdì di Quaresima. Edizione seconda accresciuta coll'indice delle cose più notabili. Venezia: Lorenzo Baseggio, 1744.In-4° (mm 232x170). Pagine [16], 396. Legatura in piena pergamena coeva. Antiporta incisa in rame da Antonio Baldi compresa nella numerazione. Marca tipografica al frontespizio (motto: l'aurora). Testatine e iniziali xilografiche, testo su due colonne. Dorso un po' danneggiato, aloni e fioriture su diverse pagine, ma nel complesso buona copia..All'ultima pagina "Catalogo de' libri, che si trovano presso Lorenzo Baseggio".SI AGGIUNGE: Testi Fulvio. Poesie liriche. In Venezia: presso li eredi Zatta, 1720. In-12° (mm 148x75). Pagine 609, [3]. Fregio xilografico al frontespizio, capilettera, testatine e finalini incisi su legno. Carte leggermente brunite e arrossature sparse. Legatura coeva in pergamena, titoli manoscritti al dorso. Buona edizione stampata coi tipi degli Zatta dell'opera poetica di Fulvio Testi, a cui sono aggiunte in appendice le poesie di Francesco Dini.SI AGGIUNGE: Genlis du Crest de Saint-Aubin Stéphanie. L'assedio della Roccella ovvero Chiara di Rosenberg. Livorno: Tipografia Vignozzi, 1830. Tre volumi in-12° (mm 140x90). Pagine 186, [5]; 188- 396; [3], 400 - 550. Antiporta calcografica a tutti e tre i volumi. Carte lievemente brunite. Legatura coeva in mezza pelle, titoli dorati incisi su tassello al dorso. Piatti abrasi, ai tomi primo e secondo alcuni fascicoli allentati, al tomo secondo mancante una parte dell'antiporta, dorso parzialmente scollato lungo la cerniera interna anteriore. Al tomo primo, al verso della seconda carta non numerata, notazioni manoscritte cancellate, al verso della carta di guardia posteriore nota di possesso manoscritta 'di Siviardo Mariotti 1847 In ogni luogo si fà in questo modo', al tomo terzo al recto dell'ultima carta bianca nota di possesso manoscritta 'Proprietà Mariotti' e alla carta di guardia posteriore data manoscritta '2 Aprile 1847'.SI AGGIUNGE: Lambert Claude François. Il nuovo Telemaco ovvero viaggi, ed avventure del Conte di e di suo figlio. Con annotazioni istoriche, geografiche, e critiche. Traduzione dal francese. In Utrecht: a spese della Compagnia, 1748. Tre volumi in-8°(mm 165x105). Pagine XX, 216; [4], 231, [1]; [4], 199, [1]. Al primo volume antiporta calcografica, fregio xilografico ai frontespizi, capilettera incisi su legno. Carte arrossate, lavori di tarlo marginali ai primi fascicoli del primo volume. Legatura coeva in cartonato con rinforzo al dorso, numeri romani manoscritti ai dorsi, titoli manoscritti a lapis su piatto anteriore al primo volume. Macchie, fori di tarlo e strappi ai piatti, fori di tarlo al primo volume che hanno allentato le cuciture di alcuni fascicoli, strappi al dorso, fori di tarlo al dorso del secondo e terzo volume. Traduzione italiana del romanzo, pubblicato anonimo, Le nouveau Télémaque la cui edizione originale venne stampata nel 1741. (si veda Annie Rivara. Les Soeurs de Marianne: suites, imitations, variations 1731-1761, Oxford, 1991, SVEC 1985, p. 311-317).Religion and Literature: Lot of 4 works in 8 volumes. Lot is sold with a valid export license.Siniscalchi Liborio. Quaresimale del padre Liborio Siniscalchi della Compagnia di Gesù. Aggiuntivi cinque discorsi sulla Passione del Redentore per li Venerdì di Quaresima. Edizione seconda accresciuta coll'indice delle cose più notabili. Venezia: Lorenzo Baseggio, 1744.4° (232x170 mm). [16], 396 pages. Contemporary vellum. Frontispiece engraved on copper by Anto. Baldi included in the numbering. Printer's device on title page (motto: l'aurora). Woodcut head-pieces and initials, text within two columns. Damaged spine, spots and foxing on different pages, otherwise a fair copy.On the last page 'Catalogo de' libri, che si trovano presso Lorenzo Baseggio'.ADDING: Testi Fulvio. Poesie liriche. In Venezia: presso li eredi Zatta, 1720. 12° (148x75 mm). 609, [3] pages. Woodcut tool on title page, woodcut initials, head-pieces and tail-pieces. Browning and foxing on the leaves. Contemporary vellum, ink titles on the spine. A fair copy printed by i 'tipi degli Zatta' of the poetical work by Fulvio Testi, to which are added in appendix some poems by Francesco Dini.ADDING: Genlis du Crest de Saint-Aubin Stéphanie. L'assedio della Roccella ovvero Chiara di Rosenberg. Livorno: Tipografia Vignozzi, 1830. Three volumes. 12° (140x90 mm). 186, [5]; 188-396; [3], 400-550 pages. Engraved frontispiece in all the three volumes. Light browning on the leaves. Contemporary half-calf, gilt-tooled titles on littering piece on the spine. Abrased the covers, on the first and second volumes some loosed quires, on the second volume wanting a part of the frontispiece, spine partially detatched on the inner front hing. On the first volume, on the verso of the second not numbered leaf, ink deleted notes, on the verso of the past flyleaf ink ownership inscription 'di Siviardo Mariotti 1847 in ogni luogo si fà in questo modo', on the third volume on the recto of the last blank leaf ink ownership inscription 'Proprietà Mariotti' and on the past flyleaf ink date '2 Aprile 1847'.ADDING: Lambert Claude François. Il nuovo Telemaco ovvero viaggi, ed avventure del Conte di e di suo figlio. Con annotazioni istoriche, geografiche, e critiche. Traduzione dal francese. In Utrecht: a spese della Compagnia, 1748.Three volumes. 8° (165x105 mm). XX, 216; [4], 231, [1]; [4], 199, [1] pages. On the first volume engraved frontispiece, woodcut tool on title pages, woodcut initials. Foxing on the leaves, marginal wormholes on the first quires of the first volume. Contemporary cardboard with reinforcement on the spine, roman ink numbers on the spines, ink titles in lapis on the front cover of the first volume. Stains, wormholes and tears on the covers, wormholes on the first volumes with loose seams of some quires, tears on the spine, wormholes on the spine of the second and third volumes.Italian translation of the novel, unknown published, Le nouveau Télémaque which original edition was printed in 1741. (see Annie Rivara. Les Soeurs de Marianne: suites, imitations, variations 1731-1761, Oxford, 1991, SVEC 1985, p. 311-317).

NO RESERVE Riccioli Giovanni Battista. Geographiae et hydrographiae reformatae, nuper recognitae, & auctae, libri duodecim... Venetiis: typis Ioannis LaNoù, 1672.In-folio (mm 345x240). Pagine [16], 691 [i.e. 695], [1]. Frontespizio in rosso e nero, con numerosi schemi e diagrammi xilografici nel testo. Tracce di sporco al frontespizio, lievi bruniture e arrossature e gora marginale alle prime e alle ultime carte ma, nel complesso, buon esemplare. Legatura in pergamena su cartone rimontata, dorso e sguardie rinnovati.Seconda edizione, dopo la prima di Bologna 1665 di questa importante opera riguardante la misurazione delle distanze, delle altezze e delle profondità, allo scopo di tracciare mappe precise dei territori e dei fondali. Le illustrazioni raffigurano schemi esplicativi e strumenti di misurazione. L'opera include sezioni di geodetica, idrografia e navigazione oltre che tabelle di latitudini e longitudini fornite a Riccioli da gesuiti di tutto il mondo; di particolare interesse le parti relative all'America. Honeyman 2647; Sabin XVII, 196; Alden 672/192; Riccardi II, 372. Folio (345x240 mm). [16], 691 [i.e. 695], [1] pages. Title page printed in red and black, woodcut illustrations and diagrams in the text. Title page slighty soiled, light browning and foxing, marginal waterstains on the first and final leaves. Remounted vellum over pasteboards, modern spine and flyleaves. Second edition - the first was printed in Bologna in 1665 - of this scientific work about measurement (distances, hights, etc): the purpose was the realization of good maps of territory and backdrops. Many Jesuit authors helped Riccioli to collect infromations and the section about America is of particular interest. Honeyman 2647; Sabin XVII, 196; Alden 672/192; Riccardi II, 372.

NO RESERVE Schaeffer Jacob Christian. Fungorum qui in Bavaria et Palatinatu circa Ratisbonam nascuntur icones nativis coloribus expressae. Tomus primus [-quartus et ultimus]. Editio tertia. Ratisbonae: impensis auctoris, 1780.Quattro parti in due volumi in-4° grande (mm 278x220). Carte [52]; [57]; [57]; [42], pagine 132, [8]. Con 330 tavole in splendida coloritura coeva e due antiporte stampate in rosso. Vignetta calcografica stampata in rosso al frontespizio della quarta parte. Prima antiporta applicata con restauri, restauri marginali alle prime trenta carte del primo volume e, più estesi, all'ultima carta contenente al recto il testo e al verso la tavola CC che presenta parziale perdita di inciso; restauri anche al margine di antiporta, frontespizio e occhietto del secondo volume, parzialmente rimarginata l'ultima carta. Lievi bruniture e gore. Legatura coeva in pelle spugnata, cornice di triplice filetto con cantonali floreali ai piatti, titoli in oro su doppio tassello ai dorsi, tagli dorati, sguardie marmorizzate, restauri alle cuffie.Rara e ricercata terza edizione di uno dei primi e dei più affascinanti libri sui funghi a contenere un apparato illustrativo di così ampia mole. Esemplare finemente colorato da mano coeva. L'opera è considerata il maggior contributo scientifico del teologo, botanico e zoologo Schaeffer ed è tuttora un repertorio fondamentale e onnicomprensivo sulla micologia del territorio di riferimento, sia per l'esattezza delle descrizioni sia per l'accuratezza del monumentale apparato illustrativo. L'Autore, prussiano e membro della Royal Society, fu professore a Uppsala e Berlino. Nissen BBI, 1744; Stafleu and Cowan 10476; Volbracht, 1878.Rare and remarkable third edition of one of the earliest and most attractive colour-plate books on fungi. In it Schaeffer succeeded in assembling an enormous variety of fungi from a single region, and was among the first to investigate the fungi of Bavaria in such detail. A Prussian-born botanist, zoologist and theologist, Schaeffer spent most of his working life in Regensburg. Elected to the academies at Uppsala and Berlin, he was also made a Fellow of the Royal Society. His works on plants, insects and birds are notable for the exactitude of the descriptions and for the beauty and accuracy of the images. Nissen BBI 1744; Stafleu and Cowan 10476; Volbracht, 1878.Four parts in two volumes. Big 4° (278x220 mm). [52]; [57]; [57] leaves; [42], 132, [8] pages. With 330 contemporary colored plates and two red printed frontispieces. Engraved vignetted in red on the title page of the fourth part. Applied the first frontispiece with repairs, marginal repairs on the first 30 leaves of the first volume and, more evident, on the last leaf containing the text on the recto and the plate CC on the verso with partial loss of engraving; repairs on the margin of the frontispiece, title page and half-title on the second volume, partially remargined the last leaf. Light browning and waterstains. Contemporary leather, frame with triple fillet and floral decorations on the covers, gilt titles on double littering piece on the spines, gilt edges, marbled flyleaves, repairs on the head-cups. Rare and sought third edition of one of the first work about mushroom to contains a wide illustrations system. Contemporary colored copy. The work is considered as the major scientific contribute by the theologian, botanist and zoologist Schaeffer and is still today a fundamental inventory on the mycology of the reference territory, both for the accuracy of descriptions and accuracy of the illustrations system. The author, Prussian and member of the Royal Society, was professor in Uppsala and Berlin. Nissen BBI, 1744; Stafleu and Cowan 10476; Volbracht, 1878. Rare and remarkable third edition of one of the earliest and most attractive colour-plate books on fungi. In it Schaeffer succeeded in assembling an enormous variety of fungi from a single region, and was among the first to investigate the fungi of Bavaria in such detail. A Prussian-born botanist, zoologist and theologist, Schaeffer spent most of his working life in Regensburg. Elected to the academies at Uppsala and Berlin, he was also made a Fellow of the Royal Society. His works on plants, insects and birds are notable for the exactitude of the descriptions and for the beauty and accuracy of the images. Nissen BBI 1744; Stafleu and Cowan 10476; Volbracht, 1878.

Bion Nicolas. L'Usage des globes celeste et terrestre, et des spheres suivant les differens systemes du monde. Precede d'un traite de cosmographie... Sixiéme edition, revue, & corrigee. A Paris: Chez Jacques Guerin, imprimeur de Mesdames, rue du Fois et Nyon fils a l'occasion, Quai des Augustins, 1751.In-4° (mm 213x140). Pagine [8], 382 [i.e. 384]. 48 (di 49, manca n. 12) tavole calcografiche numerate fuori segnatura, a piena pagina o ripiegate. Fregio xilografico al frontespizio. Capilettera, testatine e finalini xilografici. Vignetta calcografica alla c. π2r. Buon esemplare, macchia di inchiostro al margine superiore del volume, alcune carte uniformemente brunite. Legatura coeva in vitello agli acidi, dorso a cinque nervi, al secondo scomparto titolo impresso in oro, i rimanenti scomparti decorati da ferri floreali dorati. Tagli marmorizzati. Contropiatti e sguardie in carta caillouté. Abrasioni ai piatti, mancanze in corrispondenza delle estremità del dorso e dei piatti. Sesta edizione del fortunato trattato redatto dall'artigiano francese Nicolas Bion (1652-1733), stampato per la prima volta a Parigi nel 1699. L'opera è divisa in tre parti: La Sphere du Monde, che illustra le più importanti concezioni dell'Universo, descrive il sistema solare ed elenca le costellazioni confrontando il numero di stelle ivi contenute secondo Tolomeo e Keplero. Segue il trattato dedicato al globo terrestre, e alla posizione della Terra nel sistema solare, intitolato De la Geographie, mentre conclude l'opera il terzo libro, Usage des Spheres et Globes, che spiega il modo costruire e di usare le carte e gli strumenti astronomici. L'opera è riccamente illustrata da tavole calcografiche, la maggior parte di esse ripiegate, che illustrano i fenomeni astrologici, le sfere di Tolomeo e Copernico, il planisfero celeste, i globi terrestre e celeste, una rosa dei venti. Particolarmente pregevoli le belle carte geografiche di tutti i continenti. 4° (213x140 mm). [8], 382 [i.e. 384] pages. 48 (of 49, wanting n. 12) copper engraved plates, full page or folded. Woodcut tool on the titlepage, woodcut initials, head- and tailpieces. Copper engraved vignette on fol. π2r. Good copy, marginal ink spot, some brownings. Contemporary calf, gilt title and tools on the spine, spine with five raised bands. Marbled edges, caillouté paper on the pastedowns. Abrased the covers with small losses. Sixth edition of this popular treatise by Nicolas Bion (1652-1733), printed for the first time in Paris in 1699. The work is divided into three parts: La Sphere du Monde explaining the most important theories on Universe, De la Geographie, concerning the Earth and its position inside the solar system and the Usage des Spheres et Globes, describing the scientific instruments and their use. The volume is widely illustrated.

NO RESERVE Burnet Thomas. Telluris theoria sacra: orbis nostri originem & mutationes generales, quas aut olim subiturus est, complectens. Libri duo.. Londini: typis R. N. impensis Gualt. Kettilby, 1689.Due parti in un volume in-4° (mm 195x150). Pagine [16], 126; [6], 133-287, [1]. Con antiporta allegorica e 2 carte di tavole ripiegate incise in rame fuori testo. Numerose illustrazioni calcografiche nel testo di cui una a piena pagina. Lieve brunitura uniforme e minime macchie ma ottimo esemplare. Legatura coeva in pelle, titolo e fregi in oro al dorso, rotture alle cerniere, tagli spruzzati in rosso e bruno.Buona edizione latina di questa fortunata opera di Burnet, "Important contribution to the future science of geology" (Landmarks of Science, 204). L'Autore espone una cosmogonia basata sulle tradizioni bibliche e teorizza una storia del mondo suddivisa in cinque periodi: il periodo che comprende il Caos originario e la vita paradisiaca in terra fino al Diluvio universale, il periodo diluviano, un successivo periodo che comprende l'età moderna, il momento della conflagrazione che riporta il mondo al Caos primigenio e, infine, il regno di Dio instaurato in terra. Convinto che il diluvio avesse colpito tutta la Terra, Burnet calcola che per sommergere tutto il pianeta sarebbe occorsa una quantità d'acqua pari a sei od otto oceani: non essendo questo possibile, egli ipotizza che la Terra avesse una struttura diversa dall'attuale. Ricoperta da una sottile crosta, era cava al suo interno e riempita dall'acqua, mentre un nucleo centrale più interno racchiudeva la materia incandescente. Inoltre, la diversa inclinazione del suo asse permetteva di godere di una costante primavera. Con il tempo la crosta terrestre si spaccò, anche per l'azione dei terremoti, e le acque interne, riscaldate dal nucleo incandescente, fuoriuscirono violentemente, sommergendo il pianeta. Con il ritiro delle acque, la terra apparve con l'aspetto attuale, costituito da monti, valli e mari. L'opera fu messa all'Indice nel 1739 per la sua concezione millenaristica e per gli attacchi alla visione cattolica che contiene.Two parts in one volume 4° (195x150 mm). [16], 126 pages; [6], 133-287, [1] pages. Copper engraved frontispiece and 2 folded plates out of the text. Many copper engraved illustrations in the text. Light browning and few stains, but very fine copy. Contemporary leather, gilt title on the spine, edges speckled red and brown. Damages on the hings. Good latin edition of this popular work by Burnet, "Important contribution to the future science of geology" (Landmarks of Science, 204). The Author explains a cosmogonic theory based on biblical tradition and divides the history of the world into three periods. It was included into the Index in 1739 because of its millenarian vision in contrast with the catholic one.

NO RESERVE Chiesa Cattolica. Martirologio romano dato in luce per ordine di Gregorio XIII e riconosciuto coll'autorità di Urbano VIII, Clemente X e Benedetto XIV. Nuova edizione italiana dove si aggiungono i nomi de' santi, e beati più recenti... In Roma: nella stamperia dell'Ospizio apostolico di S. Michele a Ripa. Presso Lino Contedini, 1806 In-4° (mm 245x175). Pagine XII, 296, 44. Frontespizio in rosso e nero con armi di Pio VII incise in rame. Qualche arrossatura ma buon esemplare. Legatura conservativa in pergamena con applicati i piatti e il dorso originali. Timbro in inchiostro viola con monogramma 'V.O.' al frontespizio.Edizione non comune del Martirologio aggiornato, voluto da Pio VII.4° (245x175 mm). XII, 296, 44 pages. Red and black title page with coat of arms of Pio VII, copper engraved. Some foxing otherwise a fair copy. Vellum with applied the original covers and spine. Ink purple stamp with monogram 'V.O.' on title page.Uncommon edition of the updated Martirologio, wanted by Pio VII.

NO RESERVE Cirino Andrea. De venatione, et natura animalium libri quinque. Quibus ex universo antiquitatis penu triginta fere millia Auctorum oracula eduntur: & passim quae ad temporum emendationem; gentium transmigrationem... Panormi: Apud Iosephum Bisagni, 1653 [SI AGGIUNGE:] Id. Liber Secundus De Natura Piscium... Panormi: Apud Iosephum Bisagni, 1653.In-4° (mm 175x135). Pagine [14] (di 16, manca l'occhietto), 427, [1]. Con numerose illustrazioni xilografiche nel testo raffiguranti animali reali e immaginari. Strappo anticamente restaurato e lavoro di tarlo al margine del primo fascicolo, esemplare un po' corto al margine inferiore ma in buono stato di conservazione. Legatura probabilmente ottocentesca in pergamena su cartone. Ex libris 'Erio Fiore' al contropiatto anteriore. SI AGGIUNGE: Id. Liber Secundus De Natura Piscium... Panormi: Apud Iosephum Bisagni, 1653. In-4° (mm 190x130). Pagine [4], 552. Con un'illustrazione xilografica raffigurante un pesce al frontespizio. Qualche fioritura, illustrazione al frontespizio leggermente rifilata al margine esterno, lavoro di tarlo al margine interno di alcuni fascicoli ma esemplare in buono stato di conservazione. Legatura settecentesca in pergamena su cartone con restauri.Due dei quattro volumi che compongono l'opera completa di Andrea Cirino, dotto chierico, letterato e naturalista siciliano. I volumi dell'opera, dalle complesse vicende editoriali, ebbero da sempre circolazione autonoma e sono da considerarsi tutti della più grande rarità e particolarmente ricercati per le xilografie immaginifiche di gusto popolare. L'indice presente in alcune copie censite al secondo volume è qui legato nel primo. Mira I, 232; Mongitore, I, 29; Narbone, III, 100, 104, 106.4° (175x135 mm). [14] ( of 16, wanting the half-title), 427, [1] pages. With numerous woodcut illustrations in the text depicting real and imaginary animals. Repaired tear and wormhole on the margin of the first quire, not wide the lower margin otherwise a fair copy. Probable nineteenth-century vellum over pasteboards. Ex libris 'Erio Fiore' on the front pastedown. ADDING: Id. Liber Secundus De Natura Piscium... Panormi: Apud Iosephum Bisagni, 1653. 4° (190x130 mm). [4], 552 pages. With a woodcut illustration depicting a fish on title page. Some foxing, trimmed illustration on the outer margin of the title page, wormhole on the inner margin of some quires otherwise a fair copy. Eighteenth-century vellum over pasteboards with repairs. Two of the four volumes componing the complete work of Andrea Cirino, scholar and cleric, sicilian writer and naturalist. The volumes of the work, of complex editorial issues, always had autonomous circulation and are all very rare and particularly sought for the woodcut illustrations of popular taste. The index is in some copies registered in the second volume is here bound with the first one. Mira I, 232; Mongitore, I, 29; Narbone, III, 100, 104, 106.

NO RESERVE Croce Giulio Cesare. Bertoldo con Bertoldino e Cacasenno in ottava rima aggiuntavi una traduzione in lingua bolognese con alcune annotazioni nel fine. Parte seconda che contiene Bertoldino. Di Bologna: per Lelio dalla Volpe, 1741. Un volume (di 3) in-12° (mm 160x90). Pagine [4], 296. Con 8 illustrazioni incise su rame a piena pagina nel testo. Marca calcografica al frontespizio. Qualche piccola gora e arrossature. Legatura coeva in pergamena su cartone, titoli in oro su falso tassello al dorso, tagli spruzzati, segnalibro in tessuto verde. Lievi aloni.Versione in ottava rima del romanzo di Giulio Cesare Croce nell'unica edizione - la quinta - ad affiancare al testo la traduzione in dialetto bolognese effettuata da valenti donne e un giovane (Teresa e Angiola Zanotti, Teresa Manfredi e Giuseppe Bolletti). Incisioni sottoscritte da Pisarri, e G.B. Per la marca con la Volpe e la città di Bologna sullo sfondo si veda A. Sorbelli, Storia della stampa in Bologna. Bologna 1929, p. 165, marca I · One volume ( of 3). 12° (160x90 mm). [4], 296 pages. With 8 full-page copper illustrations in the text. Engraved printer's device on title page. Some light waterstain and foxing. Contemporary vellum over pasteboards, gilt titles on fake littering piece on the spine, sprinkled edges, green silk bookmark. Light spots.Octave version of the rhyme novel by Giulio Cesare Crose in the only edition - the fifth - to accompany the text with the bolognese translation made by womans and a young man (Teresa and Angiola Zanotti, Teresa Mandredi and giuseppe Bolletti). Engravings signed by Pisarri, and G.B. For the printer's device with the fox and the city of Bologna as ground see A. Sorbelli, Storia della stampa in Bologna. Bologna 1929, p. 165, marca I ·

NO RESERVE Deval Charles. Chirurgie oculaire, ou Traitè des opèrations chirurgicales qui se pratiquent sur l'oeil et ses annexes, avec un exposè succint des diffèrentes altèrations qui les rèclament, ouvrage contenant la pratique opèratoire de F. Jaeger et de A. Rosas. Paris: Germer Bailliére, 1844. LEGATO CON: Gaillard François-Lucien. Rapport sur la chirurgie oculaire de M. Ch. Deval... (Al colophon:) Poitiers: Imp. de A. Dupré, s.d.In-8° (mm 200x130). Pagine VIII, 739, [1]. Con 6 tavole litografiche ripiegate fuori testo numerate I-VI. LEGATO CON: Gaillard François-Lucien. Rapport sur la chirurgie oculaire de M. Ch. Deval... (Al colophon:) Poitiers: Imp. de A. Dupré, s.d. Pagine 19, [1], con 1 tavola litografiche più volte ripiegata. Qualche arrossatura. Legatura coeva in mezza pelle con punte, carta decorata ai piatti, titoli in oro al dorso a 4 nervi, carta rosa ai contropiatti, tagli marmorizzati. Timbro di possesso al frontespizio 'O. Eversbusch', scheda descrittivo bibliografica da catalogo di libreria applicata al contropiatto anteriore.I opera: Edizione originale di questo trattato che illustra la pratica chirurgica operatoria di due oftalmologi austriaci - Jaeger e Rosas - di cui l'Autore era stato allievo a Vienna, arricchendola di nozioni e osservazioni su altri metodi operatori osservati in Germania. Le tavole illustrano i procedimenti operatori e i relativi strumenti chirurgici, alcuni progettati dagli stessi Jaeger e Rosas. Hirsch, Handbook II, 251; Becker, 105. Non in Morton, non in Wellcome, non in Walleriana.8° (200x130 mm). VIII, 739, [1] pages. With 6 folding plates out of text numbered I-VI. BOUND WITH: Gaillard François-Lucien. Rapport sur la chirurgie oculaire de M. Ch. Deval... (on colophon:) Poitiers: Imp. de A. Dupré, s.d. 19, [1] pages with 1 folding plate. Some foxing. Contemporary half-leather, decorated paper on the covers, gilt titles on the spine, spine with 4 raised bands, pink paper on the pastedowns, marbled edges. Ownership stamp on title page 'O. Eversbusch', bibliographical descriptive card from the library catalog applied on the front pastedown. I work: Original edition of this work which illustrates the the surgical practice of two Austrian ophthalmologists - Jaeger and Rosas - of which the Author had been a student in Vienna, enriching it with notions and observations on other operating methods observed in Germany. The tables illustrate the surgical procedures and the related surgical instruments, some designed by Jaeger and Rosas. Hirsch, Handbook II, 251; Becker, 105. Not in Morton, not in Wellcome, not in Walleriana.

NO RESERVE Euclides. Degli elementi d'Euclide libri quindici. Con gli scholii antichi. Volgarizzati già d'ordine del famosissimo matematico Federigo Commandino da Urbino; e con commentarij illustrati. Et hora con diligenza reuisti, e ristampati... In Pesaro: appresso Flaminio Concordia : ad instanza di Gio. Antonio Ingegnieri da Fossombrone, 1619.In-folio (mm 300x205). Carte [8], 278. Armi del dedicatario incise in legno al frontespizio, marca xilografica al verso dell'ultima carta. Esemplare con restauri marginali e con alcuni lavori di tarlo risarciti alle ultime carte. Legatura moderna da restauro conservativo con piatti e dorso originali applicati.Non comune e ricercata seconda edizione dell'Euclide volgarizzato dal Commandino. Folio (300x205 mm). [8], 278 leaves. Woodcut coat of arms of the dedicatee on title page, woodcut printer's device on the verso of the last leaf. Marginal repairs and some wormholes on the leaves. Modern binding with applied original covers and spine. Uncommon and sought second edition of the vernacular Euclides by Commandino.

NO RESERVE Frizzi Antonio. Memorie storiche della nobile Famiglia Bevilacqua. Parma: Reale Stamperia, 1779.In-4° (mm 270x215). Pagine [8], XXIV, 266, [2]. Antiporta con le armi della famiglia, tre testatine finemente incise da Patrini (vedute delle località di Bevilacqua, Macastorna e Brentino), completo della tavola con albero genealogico spesso mancante. Ottimo stato di conservazione. Legatura coeva in cartonato alla rustica.Importante opera storico-araldica che ci offre notizie, ora succinte ora assai ampie, su 169 nobili personaggi della famiglia Bevilacqua di origini veronesi, vissuti nell'arco di sei secoli, da Morando, nato intorno al 1150, al conte Erneste, nato nel 1756. Edizione non comune, elegantemente stampata da Bodoni. Brooks, 144. Manca a De Lama e Giani. 4° (270x215 mm). [8], XXIV, 266, [2] pages. Frontispiece with the family coat of arms, three engraved head-pieces by Patrini (city views of Bevilacqua, Macastorna and Brentino), complete of the plate with the genealogical tree often missing. A very fine copy. Contemporary cardboard. Important historical-araldic work which offers informations, sometimes brief sometimes wide, about 169 nobles figures of the Bevilacqua family from Verona, lived among six centuries, from Morando, born in 1150, to Earl Erneste, born in 1756. Uncommon edition, printed by Bodoni. Brooks, 144. Manca a De Lama e Giani.

NO RESERVE Galeotti Niccolò. Ritratti de' prepositi generali della Compagnia di Gesù delineati, ed incisi. Da Arnoldo van Westherhout aggiuntivi i brevi ragguagli delle loro vite... Edizione seconda, accresciuta e corretta. In Roma: a spese di Venantio Monaldini, nella stamperia del Bernabò, e Lazzarini, 1751.In-folio (mm 385x275). Pagine [42] con 17 tavole incise in rame fuori testo di cui 16 di ritratti e una raffigurante lo stemma dell'ordine. Frontespizio in rosso e nero. Gora al margine delle ultime carte, qualche arrossatura. Legatura coeva in mezza pelle. Copia di dono per Johannes Carolus Bols, Pastor in Baelen: su una carta aggiunta legata in principio è calligrafato: "Die deugd verkrapt en Eer in Ricci hier vertoont Die om dees hade verdient opt meest te zyn geloont" (In short (free translated): all honours to Ricci who's portrait is shown below, he has deserved our) e "Dit is Ricci's agtbaar hoofd van zo veel duizend braven die tijd vernuft en zweet ja bloed ten besten gaven Voor Jesu naam en leer en die het kruys vanier manmoedig bragten voor Chinees en Japonier Verdient dien arbeid loon (?) een vonnis uitgedondert (? not sure) tot hun verderf, hun eer bemorst, hun goed geplondert Is de vergelding voor Lojolaas roem??? schaar Zo loopt de nyd de deugd als schaduw achter maar Dit schynt het lot te zyn der duegdsaamen en vroomen Geheel de wereld door ja zelfs men 't ziet tot Roomen" (In short: This is the honorable head of Ricci, one of so many thousands who gave their best in Jesus name and who spread the word and cross bravely towards China and Japan. This hard work deserves to be noticed. Cause they who spread the word were dishonored and their goods were plundered. A retribution for Lojolaas (Ignatius of Loyola) fame? And so it is, envy walks as a shadow behind virtue but this is apparently the fate of the virtuous ones. We can see it over the world, even in Rome. respect. ). Timbri 'Biblioth. Ist. St. Ignatius Antverp' a frontespizio e alla carta aggiunta legata in principio.Seconda edizione, accresciuta. I ritratti vennero incisi da Arnold van Westerhout. Sommervogel III, 1108-09.Si ringrazia il Dr. Loedja Biskup per la trascrizione e la libera traduzione.Folio (385x275 mm). [42] pages with 17 copper engraved plates out of text of which 16 portrait and one depicting the order coat of arms. Red and black title page. Waterstain on the margin of the last leaves, some foxing. Comtemporary half-leather. Gift copy to Johannes Carolus Bols, Pastor in Baelen: on the added leaf bound at the begenning of the work a note: "Die deugd verkrapt en Eer in Ricci hier vertoont Die om dees hade verdient opt meest te zyn geloont" (In short (free translated): all honours to Ricci who's portrait is shown below, he has deserved our) e "Dit is Ricci's agtbaar hoofd van zo veel duizend braven die tijd vernuft en zweet ja bloed ten besten gaven Voor Jesu naam en leer en die het kruys vanier manmoedig bragten voor Chinees en Japonier Verdient dien arbeid loon (?) een vonnis uitgedondert (? not sure) tot hun verderf, hun eer bemorst, hun goed geplondert Is de vergelding voor Lojolaas roem??? schaar Zo loopt de nyd de deugd als schaduw achter maar Dit schynt het lot te zyn der duegdsaamen en vroomen Geheel de wereld door ja zelfs men 't ziet tot Roomen" (In short: This is the honorable head of Ricci, one of so many thousands who gave their best in Jesus name and who spread the word and cross bravely towards China and Japan. This hard work deserves to be noticed. Cause they who spread the word were dishonored and their goods were plundered. A retribution for Lojolaas (Ignatius of Loyola) fame? And so it is, envy walks as a shadow behind virtue but this is apparently the fate of the virtuous ones. We can see it over the world, even in Rome. respect. ). Stamps 'Biblioth. Ist. St. Ignatius Antverp' on title page and on the added leaf bound at the begenning. Second edition, enriched. The portraits were engraved by Arnold van Westerhout. Sommervogel III, 1108-09. Thanks to Dr. Loedja Biskup for the transcription and free translation.