We found 106056 price guide item(s) matching your search

NO RESERVE Cicognara Leopoldo. Memorie spettanti alla storia della calcografia. Prato: per i frat. Giachetti, 1831.In-8° (mm 215x135). Pagine 262. Senza le tavole. Fregio al frontespizio. Lievi arrossature. Legatura coeva in mezza pelle, carta marmorizzata ai piatti, titoli in oro su tassello in marocchino rosso al dorso. Leggere abrasioni ai piatti e lungo le cerniere.Prima e unica edizione di questo scritto dedicato ai nielli, di cui il Cicognara aveva un'importante raccolta, alle carte da gioco e alla litografia: in appendice si trova una sezione sull'oreficeria. 8° (mm 215x135). 262 pages. Wanting the plates. Ornament to the title-page. Light foxing. Contemporary half-leather, marbled covers, gilt title on morocco lettering-piece to the spine. Covers slightly worn and damaged joints.First and only edition of this work dedicated to niellos (of which Cicognara owned an important collection), playing cards and lithography. The appendix includes a section devoted to the jewellery-making.

NO RESERVE Cinelli Calvoli Giovanni. Biblioteca volante... continuata dal dottor Dionigi Andrea Sancassani... Tomo primo [-quarto]. In Venezia: presso Giambattista Albrizzi q. Girolamo, 1734-1747.Un'opera in 4 volumi in-4° (mm 215x150). I. Pagine 16, cxlii, 238. Al frontespizio stemma inciso su rame del dedicatario. Una tavola calcografica con ritratto dell'autore in medaglione, inciso da Giuseppe Filosi. II. Pagine xxxxxvi, 380. Al frontespizio stemma inciso su rame del dedicatario. III. Pagine [8], 416. Al frontespizio stemma inciso su rame del dedicatario. IV. Pagine [8], 556, [4]. Al frontespizio stemma inciso su rame del dedicatario. Buon esemplare, diffuse fioriture, qualche brunitura marginale, piccoli aloni, sporadici segni d'uso. Legatura coeva uniforme in mezza pergamena con angoli, piatti in carta marmorizzata. Dorsi lisci, decorati in oro. Titolo e numero del volume su doppio tassello in marocchino. Tagli spruzzati in rosso. Piatti abrasi in più punti, alcune sbucciature ai labbri, più evidenti al volume quarto. Nota di possesso 'Dr. Donarelli' al frontespizio del primo volume; al recto della carta di guardia anteriore del medesimo volume nota di mano del tardo Ottocento, con riferimento alle bibliografie redatte da Gamba e Haym. Nelle carte di tutti i volumi tratti marginali e annotazioni bibliografiche in lapis. Nuova e ampliata edizione, corredata di ampie note e promossa dall'erudito veneziano Apostolo Zeno, della Biblioteca volante, data originariamente alle stampe nel 1677 dal fiorentino e Accademico Gelato Giovanni Cinelli Calvoli (1626-1706), e qui nella continuazione di Dionigi Andrea Sancassani (1659-1738). Nei quattro tomi di questa edizione veneziana le segnalazioni bibliografiche di opuscoli e libri di piccola dimensione - definiti da Cinelli Calvoli 'volanti', perché soggetti a inevitabile perdita - sono ora presentate nella sequenza alfabetica degli autori, un ordinamento di più agevole consultazione rispetto a quello originario, suddiviso in scanzie. Serrai, Storia della bibliografia, III, pp. 189-197.One work in 4 volumes, 4° (215x150 mm). I. 16, cxlii, 238 pages. Engraved coat of arms of the dedicatee on the title-page. One plate with medallion portrait of the author, engraved by Giuseppe Filosi. II. xxxxxvi, 380 pages. Engraved coat of arms of the dedicatee on the title-page. III. [8], 416 pages. Engraved coat of arms of the dedicatee on the title-page. IV. [8], 556, [4] pages. Engraved coat of arms of the dedicatee on the title-page. A good copy, foxing throughout, a few marginal browning, small spots, traces of use in places. Contemporary half-vellum, marbled covers. Smooth spines, tooled in gilt. Title and volume numbering on double morocco lettering-piece. Edges speckled red. Covers somewhat abraded, board edges worn, especially to the fourth volume. Ownership inscription 'Dr. Donarelli' on the title-page of the first volume. An annotation in a late 19th-century hand on the recto of the front flyleaf of the first volume, relating to Gamba's and Haym's bibliographies. Numerous pencilled reading marks and marginal notes. New and enlarged edition of the Biblioteca volante by the Florentine Giovanni Cinelli Calvoli (1626-1706), first appeared in print in 1677, and supplemented here with the lenghty notes by Dionigi Andrea Sancassani (1659-1738). In this four-volume Venetian publication the entries are now arranged in alphabetical order.Serrai, Storia della bibliografia, III, pp. 189-197.

NO RESERVE Colomb de Batines Paul. Bibliografia dantesca, ossia Catalogo delle edizioni, traduzioni, codici manoscritti e comenti della Divina Commedia e delle opere minori di Dante, seguito dalla serie de'biografi di lui... traduzione italiana fatta sul manoscritto francese dell'autore... Tomo primo [-secondo]. Prato: Tipografia Aldina Editrice, 1845-1846.Un'opera in due tomi, legata in 3 volumi in-8° (mm 215x135). Pagine VIII, 351, [1]; [3], 356-769, [1]. Arrossature. Legatura coeva, non omogenea ma simile, in mezza pergamena con punte, percallina marrone ai piatti, titoli in oro su tasselli al dorso a 4 nervi, segnalibro in tessuto rosso. Leggere abrasioni ai bordi dei piatti. SI AGGIUNGE: Colomb de Batines Paul. Giunte e correzioni inedite alla bibliografia dantesca... pubblicate di sul manoscritto originale della R. Biblioteca nazionale centrale di Firenze dal dott. Guido Biagi... In Firenze: G. C. Sansoni, 1888. In-8° (mm 215x145). Pagine IX, [1], 264, [4]. Lievi arrossature e bruniture. Brossura editoriale originale conservata entro legatura moderna in mezza pergamena con punte, percallina ai piatti, titoli in oro al dorso su doppio tassello. Prima edizione - incluso il volume di Giunte - della fondamentale opera bibliografica di de Batines, ancora oggi punto di riferimento indispensabile per gli studi su Dante.Colomb de Batines Paul. Bibliografia dantesca, ossia Catalogo delle edizioni, traduzioni, codici manoscritti e comenti della Divina Commedia e delle opere minori di Dante, seguito dalla serie de'biografi di lui... traduzione italiana fatta sul manoscritto francese dell'autore... Tomo primo [-secondo]. Prato: Tipografia Aldina Editrice, 1845-1846.One work in two tomes, bound in 3 volumes, 8° (215x135 mm). VIII, 351, [1]; [3], 356-769, [1] pages. A few foxing in places. Near uniform contemporary binding in half-vellum, brown cloth covers. Spine with four raised bands, title in gilt on lettering-pieces. Red fabric bookmark. Board edges slightly abraded. ADDING: Colomb de Batines Paul. Giunte e correzioni inedite alla bibliografia dantesca... pubblicate di sul manoscritto originale della R. Biblioteca nazionale centrale di Firenze dal dott. Guido Biagi... In Firenze: G. C. Sansoni, 1888. 8° (215x145 mm). IX, [1], 264, [4] pages. Slightly browned and foxed in places. Modern half-vellum, cloth covers. Spine with title in gilt on double lettering-piece. Publisher's original wrappers preserved inside. The first edition of the celebrated standard bibliography devoted to Dante's work, complete here with the volume of addenda (Giunte), published in 1888.

NO RESERVE De Renzi Salvatore. Storia della medicina italiana... Tomo primo [-quinto]. Napoli: dalla Tipografia del Filiatre-Sebezio, 1845-1848. Cinque volumi in-8° (mm 225x130). Pagine 370, [2]; VIII, 474, [2]; VIII, 752; VIII, 583, [1]; VIII, 1016. Qualche leggera arrossatura, alcune gore marginali. Legatura omogenea in pergamena su cartone, titoli in nero al dorso. Pochi leggeri aloni ai piatti. Segnatura manoscritta a penna ai contropiatti anteriori. SI AGGIUNGE: De Renzi Salvatore. Storia della medicina in Italia. Tomo primo. Seconda edizione. Napoli: dalla Tipografia del Filiatre-Sebezio, 1849. In-8° (mm 205x125). Pagine VIII, 488. Arrossature. Cartonato coevo rivestito in carta verdina, titoli manoscritti al dorso, contropiatti e sguardie in carta verde. Tracce di polvere ai piatti, lievi abrasioni lungo le cerniere. Al frontespizio timbro di possesso 'S. Baglioni'.Raro esemplare della prima edizione di questa importante storia della medicina, integrato e completato dal primo volume - unico pubblicato - della seconda edizione ampliata e aggiornata. Il De Renzi studioso vanta tra i propri meriti, oltre a questo imponente contributo, anche un'opera sulla Scuola medica salernitana che gli valse l'elogio autorevole di Oskar Kristeller: "Le sue opere sono rimaste la base per ogni successivo studio sulla Scuola Salernitana. Esse sono state corrette e completate in molti punti importanti, ma non sono state superate".De Renzi Salvatore. Storia della medicina italiana... Tomo primo [-quinto]. Napoli: dalla Tipografia del Filiatre-Sebezio, 1845-1848. Five volumes, 8° (225x130 mm). 370, [2]; VIII, 474, [2]; VIII, 752; VIII, 583, [1]; VIII, 1016 pages. Light foxing, a few marginal waterstains. Vellum over pasteboards, black titles at the spine. Covers slightly spotted. Handwritten shelfmark to the upper pastedowns.ADDING: De Renzi Salvatore. Storia della medicina in Italia. Tomo primo. Seconda edizione. Napoli: dalla Tipografia del Filiatre-Sebezio, 1849. 8° (205x125 mm). VIII, 488 pages. Foxing. Contemporary green cardboards, handwritten titles to the spine, pastedowns and flyleaves in green paper. Dust traces to the covers, joints slightly abrased. To the title-page ownership stamp 'S. Baglioni'.Rare copy of the first edition of this important history of medicine, supplemented with the first volume - the only one published - of the second enlarged edition. De Renzi can boast, among his merits, in addition to this impressive contribution, also a work on the medical school of Salerno, which was highly praised by Oskar Kristeller.

NO RESERVE Diplomatica. Baring Daniel Eberhard. Clavis diplomatica, specimina veterum scripturarum tradens, alphabeta nimirum varia, medii aeui compendia scribendi, notariorum veterum signa perplura, cet. singula tabulis aeneis expressa. Praemissa est bibliotheca scriptorum rei diplomaticae... Hanoverae: sumtibus haeredum B. Nic. Foersteri et filii, 1754.In-4° (mm 252x191). Pagine [4], 60, 152, [2], [153]-196, [6], 197-616, [20]. Vignetta incisa al frontespizio. 73 tavole fuori testo, di cui una a doppia pagina, e una ripiegata. Alcune illustrazioni nel testo. Testatine, iniziali decorate e finalini xilografici. Esemplare mediocre, uniforme brunitura dovuta alla qualità della carta e dell'inchiostro; diffusi aloni e fioriture, ampie gore, che interessano anche le tavole. Legatura coeva in bazzana. Dorso a cinque nervi, scomparti decorati con ferri floreali, titolo in caratteri dorati. Tagli rossi. Numerose abrasioni e mancanze alla legature, cerniere usurate, in particolare l'anteriore con lieve distacco del piatto in corrispondenza della cuffia di testa. Piccole mancanze al dorso, spellature agli angoli. Al frontespizio timbro nobiliare, e nota di possesso settecentesca, di difficile lettura. Seconda e accresciuta edizione di questo trattato di diplomatica redatto da Daniel Eberhard Baring (1690-1753), al tempo responsabile della Biblioteca Regia di Hannover, in Bassa Sassonia. La prima edizione era apparsa, sempre a Hannover, nel 1737.4° (252x191 mm). [4], 60, 152, [2], [153]-196, [6], 197-616, [20] pages. Engraved vignette on the title-page. 73 plates hors texte (of which one double-page, and another one folded). Some illustrations in the text. Woodcut head- and tailpieces, decorated initials. A fair copy, uniformly browned as expected; spotting and foxing throughout, large waterstains to the leaves and plates. Contemporary bazzana leather. Spine with five raised bands, compartments decorated with floral tools, title lettered in gilt. Edges red. Covers and joints rather abraded, the upper cover slightly detached at the top. Corners worn, minor losses to the spine. Armorial stamp, and an illegible 18th-century ownership inscription on the title-page.Second and enlarged edition of this monumental treatise by Daniel Eberhard Baring (1690-1753), at the time librarian at the Royal Library in Hannover, Lower Saxony. The first edition of the Clavis diplomatica had appeared, always in Hannover, in 1737.

NO RESERVE Diplomatica. Fumagalli Angelo. Delle istituzioni diplomatiche... Tomo primo [- secondo]. Milano: dalla Stamperia e Fonderia al Genio Tipografico casa Crivelli presso il ponte di S. Marco, n.o 1997, 1802.Un'opera in 2 volumi (mm 249x196). I. Pagine [2], XXIX, [1], 459, [1]. 6 tavole fuori testo, ripiegate e legate in fine. II. Pagine IX, [1], 516. 2 tavole fuori testo, ripiegate e legate in fine. In entrambi i volumi vignetta incisa al frontespizio e in apertura del testo. Bell'esemplare, in barbe. Alcuni falli di carta, qualche minima fioritura; frontespizi leggermente bruniti e con qualche alone. Piccoli strappi ai margini delle tavole, alcune con bruniture e lievi fioriture. Legatura ottocentesca in mezza pergamena con angoli, piatti in tela azzurra. Dorsi lisci, divisi in scomparti da filetti e fregi in oro, titolo e numero del volume in caratteri dorati. Contropiatti e sguardie rinnovati, in carta marmorizzata. Timbro di possesso a entrambi i frontespizi, di ardua identificazione.Prima edizione dell'importante e ampio trattato di Angelo Fumagalli (1728-1804), che testimonia il grande interesse per gli studi diplomatici fiorito nell'Italia del tardo Settecento, e in particolare presso il monastero cistercense di Sant'Ambrogio a Milano. L'opera è suddivisa in due corposi tomi, ed è dedicata al politico Francesco Melzi d'Eril. One work in two volumes (249x196 mm). I. [2], XXIX, [1], 459, [1] pages. 6 folded plates, bound at the end. II. IX, [1], 516 pages. 2 folded plates, bound at the end. Engraved vignette on each title-pages and at the beginning of text. Uncut copy, slightly foxed. Title-pages lightly browned, with some spots. A few paper flaws, short tears to the margins of plates; a few plates slightly browned and waterstained. 19th-century half-vellum, covers in pale blue cloth. Smooth spines, divided into compartments by gilt fillets and friezes, title and volume numbering lettered in gold. Marbled pastedowns and flyleaves, renewed. Unidentified ownership stamp on each title-page.First edition of the notable treatise by Angelo Fumagalli (1728-1804), a striking witness to the great interest in the late 18-century for diplomatic studies, especially at the monastery of Sant'Ambrogio at Milan. The work is divided into two volumes, and dedicated to the politician Francesco Melzi d'Eril.

NO RESERVE Diplomatica. Lallemant Jacques-Philippe. Histoire des contestations sur la diplomatique, avec l'analise de cet ouvrage compose par le R.P. Dom. Jean Mabillon seconde edition. Naples: chez Jean Gravier, 1767.In-8° (mm 202x122). Pagine [2], V, [1], 7-191, [1]. Fregio xilografico al frontespizio, testatine e iniziali incise su legno. Buon esemplare, qualche leggera fioritura, lavori di tarlo al margine interno di alcuni fascicoli. Legatura moderna in mezza pergamena, piatti in cartonato. Dorso liscio, con titolo in oro su tassello in marocchino nocciola. Tagli spruzzati in rosso. Lievi spellature al tassello.Nota operetta del padre Jacques-Philippe Lallemant (1660-1748), data per la prima volta alle stampe a Parigi nel 1708, a seguito delle discussioni e polemiche sorte dopo la pubblicazione nel 1681 dei De Re Diplomatica Libri VI del maurino Jean Mabillon (1632-1708), e che avevano trovato ampio spazio sulle pagine dei giornali eruditi del tempo.8° (202x122 mm). [2], V, [1], 7-191, [1] pages. Woodcut ornament to the title-page, headpieces and decorated initials. A good copy, a few light foxing, wormtracks to the gutter of some quires. Modern half- vellum. Smooth spine, con gilt title on hazel morocco lettering-piece. Edges speckled red. Lettering-piece slightly worn.The well-known work by the Benedictine Jacques-Philippe Lallemant (1660-1748), first printed in Paris in 1708, and containing a defense of Mabillon's De Re Diplomatica Libri VI against severals attacks appeared on various learned journals.

NO RESERVE Diplomatica. Mabillon Jean. Librorum de Re diplomatica supplementum. In quo archetypa in his libris pro regulis proposita, ipsaeque regulae denuo confirmantur, novisque speciminibus & argumentis asseruntur & illustrantur... Luteciae-Parisiorum: sumtibus Caroli Robustel, via Jacobaea, ad insigne arboris palmae, 1704.In-folio grande (mm 445x286). Pagine vj, [2], 116 116. Tra le pagine 68 e 77 otto tavole calcografiche ripiegate, incluse nella segnatura e paginazione. Marca tipografica calcografica al frontespizio. Illustrazioni xilografiche; grandi testatine, iniziali decorate e finalini incisi su legno. Buon esemplare, leggera brunitura delle carte. Frontespizio con tracce di polvere e qualche alone. Marcato alone all'angolo superiore esterno bianco, che interessa circa metà delle carte del volume. Alcune gore e bruniture alle tavole, l'ultima tavola è staccata. Legatura coeva in bazzana, su piatti in cartone. Al centro di entrambi i piatti piccolo stemma riferibile alla famiglia Locatelli, impresso in oro. Dorso a sei piccoli nervi, decorato in oro. Contropiatti e sguardie in carta marmorizzata a pettine, tagli rossi. Numerose spellature e mancanze ai piatti. Cerniere usurate, dorso fessurato e danneggiato in più punti. Cerniera anteriore interna piuttosto allentata. Tracce di timbro al frontespizio, al margine inferiore '14126', da numeratore meccanico.Il volume di supplemento al monumentale trattato De Re Diplomatica del maurino Jean Mabillon (1632-1707), la cui prima edizione - autentica pietra miliare nella storia della diplomatica - era apparsa nel 1681. Esemplare legato alle armi della famiglia Locatelli.Large folio (445x286 mm). vj, [2], 116 116 pages. Between pages 68 and 77, 8 engraved and folded plates, included in collation. Engraved printer's device on the title-page. Woodcut illustrations. Woodcut decorated initials, head- and tailpieces. A good copy, leaves slightly dusted. Title-page somewhat soiled and spotted. Large spot to the upper outer blank corner, affecting the half of the volume. Some browning and waterstaining to the plates, the last one is detached. Contemporary bazzana leather, over pasteboards. At the centre of both covers gilt coat of arms of Locatelli family. Spine with six small raised band, decorated in gilt. Marbled pastedowns and flyleaves, edges red. Losses and abrasions to the covers. Joints worn, spine cracked. Front hinge rather loose. Traces of stamp on the title-page, to the lower margin the stamped number '14126'.The supplement to the monumental treatise De Re Diplomatica by the Maurine father Jean Mabillon (1632-1707), the first edition of which - a veritable milestone in the history of diplomatic - had appeared in 1681.

NO RESERVE Fontanini Giusto. Della eloquenza italiana... libri tre nel primo si spiega l'origine, e il processo dell'italiana favella. Nel secondo si tratta del suo ingrandimento per le opere scritte. Nel terzo si dispone una biblioteca ordinata d'autori singolari nelle materie più classiche, illustrata di molte osservazioni. Roma: nella Stamperia di Rocco Bernabò, 1736.Tre parti in un volume in-4° (mm 257x185), con paginazione continua. Pagine XXVIII, 756. Frontespizio in rosso e nero con vignetta incisa. Ritratto inciso dell'autore, firmato da Michele Sorello. Grandi iniziali calcografiche, finalini incisi su legno. Fioriture e bruniture diffuse, aloni, qualche macchia e traccia di polvere, più evidenti alle prime e ultime carte. Legatura della seconda metà del Settecento, in pergamena su piatti in cartone. Dorso liscio, con titolo in oro su tassello dipinto. Tagli screziati in rosso. Alcune piccole macchie ai piatti. Ex libris del primo Novecento 'Bib. Brucchini' al contropiatto anteriore. Inseriti sciolti nel volume alcuni fogli di carta e una lettera (sigillo in ceralacca parzialmente conservato) con elenchi di libri, di diverse mani settecentesche e ottoccentesche.Edizione accresciuta e emendata del notissimo repertorio allestito dallo storico e letterato Giusto Fontanini (1666-1736), professore di retorica alla Sapienza e in seguito arcivescovo di Ancira. La fortunata opera era apparsa in prima edizione a Roma, in forma più concisa, nel 1706. Di particolare interesse la terza parte, che presenta una ampia bibliografia di edizioni in lingua italiana. L'edizione del 1736 uscì postuma a cura di Domenico Fontanini, che vi appose una lettera dedicatoria al cardinale Annibale Albani.Peignot 332; Ottino-Fumagalli 605.Three parts in one volume 4° (mm 257x185), with running pagination. XXVIII, 756 pages. Title-page in red and black with engraved vignette. Engraved portrait of the author, signed by Michele Sorello. Large engraved initials, woodcut tailpieces. Foxing and browning throughout, some spots, a few stains, traces of dust, more prominent to the first and last leaves. Late 18th-century vellum over pasteboards. Smooth spine, with title in gilt on painted lettering-piece. Edges speckled red. Covers slightly stained. Early 20th-century ex libris 'Bib. Brucchini' on the front pastedown. Some loose leaves and one letter (traces of sealing wax) inserted in the volume, bearing lists of books written in various 18th- and 19th-century hands. Enlarged and revised edition of the renowned bibliography compiled by the historian and writer Giusto Fontanini (1666-1736), professor of rhetorics to the University La Sapienza in Rome, and later named archbishop of Ancyra. The popular work first apperead in Rome in 1706, and its third part is of the greatest import, including a bibliography of editions printed in Italian language. The edition of 1736 was published posthumously by Domenico Fontanini, who appended a dedicatory epistle to Cardinal Annibale Albani.Peignot 332; Ottino-Fumagalli 605.

NO RESERVE Gamba Bartolomeo. Serie de' testi di lingua usati a stampa nel vocabolario degli Accademici della Crusca. Bassano: dalla Tipografia Remondiniana, 1805.In-8° (mm 224x135). Pagine XXIX, [3], 226, [2]. Insegna della Crusca incisa al frontespizio e al recto dell'ultima carta. Ottimo esemplare in barbe, lievi e sporadiche fioriture. Legatura novecentesca in mezza pelle con angoli, piatti in carta decorata. Dorso a quattro nervi con titolo e dati editoriali impressi in oro su duplice tassello. Conservata l'originario cartoncino decorato che legava il volume.Prima edizione di questa indispensabile bibliografia.8° (224x135 mm). XXIX, [3], 226, [2] pages. Device of the Academy of Crusca on the title-page and at the end. Copy in very good condition, uncut. Light foxing in places. 20th-century half-leather. Spine with four raised bands, gilt titles on double lettering-piece. The original decorated cardboards preserved inside.First edition of this authoritative bibliography.

NO RESERVE Giappone. Stampe e incisioni. Japan. Prints and Engravings. Hillier Jack. Japanese prints and drawings from the Vever collection. Londra e New York, Sotheby Parke Bernet, 1976.Prima edizione, stampata in sole 2000 copie, di cui il nostro esemplare è il numero 193, e perfettamente conservata con le sovraccoperte editoriali entro astucci originale.First edition. Copy no. 193/2000. Original publisher's cloth and dust jacket, original slipcase.

NO RESERVE Grand-Carteret John. Les moeurs et la caricature en France. Paris: A la librairie illustrée, 1888.In-4° (mm 276x185). Pagine [8], XII, 690, [2]. Frontespizio e occhietto in rosso e nero. Antiporta cromolitografica, raffigurante 'Les antiquaires', realizzata da Delpech su disegno di L. Boilly. Numerose tavole (alcune a colori) in paginazione; numerose illustrazioni nel testo. Ottimo esemplare, qualche piccolo alone e leggera fioritura. Legatura di poco posteriore in mezzo marocchino verde scuro con angoli, piatti marmorizzati. Dorso su cinque nervi, titolo in oro; data di stampa al piede. Segnalibro in seta verde. Conservata all'interno la brossura editoriale originale, illustrata a colori con titoli in rosso e nero; qualche brunitura e alone alle copertine. Etichetta cartacea applicata al margine inferiore della copertina anteriore in brossura, oggi scarsamente leggibile. Ex libris moderno 'F.R.' al contropiatto anteriore. Prima edizione di questa celebre storia dell'illustrazione caricaturale in Francia, redatta dal giornalista e grande collezionista di stampe e disegni Grand-Carteret (1850-1927). Di grande interesse le due appendici che completano la rassegna, la Bibliographie et histoire des journaux à caricatures e la Biographie des artistes caricaturistes.4° (276x185 mm). [8], XII, 690, [2] pages. Title-page and half-title in red and black. Chromolithographic frontispiece, depicting 'Les antiquaires', by Delpech after L. Boilly. Numerous plates (some are coloured), and illustrations in the text. Copy in very good condition, a few small spots, light foxing. Near contemporary dark green half-morocco, marbled covers. Spine with five raised bands, title in gilt, the date of publication at the foot. Green silk bookmark. The original publisher's illustrated wrappers preserved inside, titles printed in red and black. Wrappers slightly browned and spotted in places. Paper label pasted onto the lower margin of the upper wrapper, barely legible. Modern ex libris 'F.R.' on the front pastedown. First edition of this highly estimeed history of caricatural illustration in France, compiled by the journalist and outstanding print and drawing collector Grand-Carteret (1850-1927). The two appendices are especially noteworthy, including the Bibliographie et histoire des journaux à caricatures, and Biographie des artistes caricaturistes.

NO RESERVE Harwood Edward. Degli autori classici sacri profani greci e latini biblioteca portatile ossia il prospetto... reso più interessante per nuovi articoli e per recenti scoperte, ed illustrazioni critiche, cronologiche, e tipografiche con mutua cura disposte dall'ab. Mauro Boni e da Bartolomeo Gamba. Parte prima [- seconda]. Venezia: a spese di Antonio Astolfi, 1793.Un'opera in 2 volumi, in-12° (mm 172x101). I. Pagine XXII, 449, [3]. Manca la carta iniziale *1 bianca, ma è invece presente l'ultima carta bianca T10. II. Pagine VIII, 5-428, LXX, [4]. Mancano le carte bianche S11 e S12. Esemplare in ottimo stato di conservazione, sporadiche e leggere fioriture. Legatura uniforme coeva in vitello raciné. Dorsi lisci, divisi in scomparti da filetti in oro, e decorati con ferri floreali dorati. Titolo in oro su tasselli in pelle, numero del volume in caratteri dorati. Contropiatti e sguardie in carta marmorizzate, segnalibri in seta rosa, tagli marmorizzati. In entrambi i volumi cerniere leggermente abrase, qualche minima mancanza in corrispondenza delle cuffie di testa.La seconda e notevolmente ampliata edizione in lingua italiana della celebre e fortunata A View of the Various Editions of the Greek and Roman Classics del classicista e biblista Edward Harwood (1729-1794), apparsa originariamente a Londra nel 1775. Una prima e più concisa edizione era apparsa sempre a Venezia nel 1780, data alle stampe per le cure di Maffeo Pinelli con il diverso titolo di Prospetto di varie edizioni degli autori classici greci e latini. La nuova edizione del 1793 fu edita dal noto bibliografo italiano Bartolomeo Gamba (1766-1841). Gli ultimi fascicoli del secondo volume comprendono il Quadro critico tipografico, redatto dall'abate Mauro Boni (1746-1817).One work in 2 volumes, 12° (172x101 mm). I. XXII, 449, [3] pages. Lacking the first blank *1; complete with the final blank T10. II. VIII, 5-428, LXX, [4] pages. Lacking the blanks S11 and S12. A very good copy, light foxing in places. Uniform contemporary binding, calf raciné over pasteboards. Smooth spines, divided into compartments by gilt fillets, and decorated with floral gilt tools. Gilt title on lettering-pieces, volume numbering lettered in gilt. Marbled pastedowns and flyleaves, pink silk bookmarks in seta rosa, Marbled edges. Joints of both volumes slightly worn, a few minor losses to the extremities of spines. The second and significantly enlarged edition in Italian language of the famous and estimeed treatise A View of the Various Editions of the Greek and Roman Classics by the biblical and classical scholar Edward Harwood (1729-1794), first appeared in London in 1775. A first and briefer edition had been published in Venice in 1780, edited by Maffeo Pinelli with the different title Prospetto di varie edizioni degli autori classici greci e latini. The new publication of 1793 eas edited by the well-known Italian bibliographer Bartolomeo Gamba (1766-1841). The last quires of the second volume contain the Quadro critico tipografico, compilet by abbot Mauro Boni (1746-1817).

NO RESERVE Incisione su legno. Lotto di 3 opere inerenti la storia e la tecnica xilografica.Woodcut. Lot of 3 works.Il lotto comprende, tra gli altri:The lot includes among the others:Servolini Luigi. La xilografia. Milano: Mondadori, 1950. Prima edizione. First edition. Hind A. M. An introduction to a history of woodcut. Dover Press. 1963. Opera in due volumi. Two volumes.

Henry Fielding - Amelia in four volumes, some first editions, in later gilt tooled, red leather covers, the spine with six compartments and titled, 'The History of Tome Jones, a Foundling, some first edition in six volumes, printed for A Millar, in later gilt tooled red leather cover, spine with six compartments and titled

Lawrence Durrell Collection of first edition books, to include Prospero's Cell 1945, Mount Olive 1958, Bitter Lemons 1957, The Black Book, Justine, Tunc & Clea, all in dust wrappers (10)

John Fowles The Collector published Jonathan Cape 1963 first edition in original dust wrapper with first editions of Daniel Martin 1977, Mantissa 1982, The Aristos 1964 (4)

[Modern Firsts] Ben Okri Songs of Enchantment 1993 first edition signed copy in dust wrapper, J.R.R. Tolkien Unfinished Tales 1980, Patrick O'Brien 1996, Richard Woodman Ebb Tide 1998, Alexander Kent 1977 and The Tale of The Body Thief by Anne Rice (6)

Anita Lobel illustrated On Market Street first edition signed & dated on title page, Father Fox's Pennyrhymes illustrated by Wendy Watson, Zeralda's Ogre, others by Beatrix Potter and Helen Oxenbury (7)

[Tolkien] The Book of Fairy Poetry edited by Dora Owen and illustrated by Warwick Goble, Longmans Green 1920 First Edition, Tipped in colour plates in publishers cloth (Includes a rare early Poem by J.R.R. Tolkien) The Rose Fyleman Fairy Book with colour plates 1923 in gilt cloth and Kingsley's Water Babies illustrated by Jessie Willcox Smith (3)

Rudyard Kipling Just So Stories for Little Children illustrated by the author, Macmillan 1902 first edition in original pictorial red cloth with Kipling's All The Mowgli Stories illustrated by Stuart Tresilian 1933, in illustrated cloth (2)

The Rev. W. Awdry The Three Railway Engines published Edmund Ward (1945) believed first edition of the first book with references to the Fat Director and without the advert for the next Thomas book, original lettered boards and four others (5)

Austin Osman Spare The Devine Draughtsman original illustrated exhibition catalogue, Chris Van Allsburg The Stranger 1986 with full colour artwork signed on first page, Visual Alchemy by Bohuslav Barlow 1987 signed limited edition with autograph letter (3)

A Naturalist In North Celebes A Narrative of the Travels in Minahassa, The Sangir & Talaut Islands with notices of the Fauna, Flora and Ethnology of the Districts Visited by Sidney Hickson, published John Murray 1889 first edition with maps and illustrations, green cloth stamped in gilt

Wilfred Owen Poems with An Introduction by Siegfried Sassoon published in London by Chatto & Windus 1920 first edition with a frontispiece portrait in original cloth with printed spine label. Collection of Anti-War Poems published after the poet was killed during enemy action in 1918

Patrick O'Brian Three Bear Witness published Secker and Warburg 1952, first edition original cloth with silver lettering, in colour illustrated dust wrapper designed by Roy Sanford

Kazuo Ishiguro A Pale View Of Hills published by Faber and Faber 1982, first edition in original dust wrapper

W. Wilkie Collins Rambles Beyond Railways; or, Notes in Cornwall Taken A-Foot with Illustrations by Henry C. Brandling, published Richard Bentley 1851 first edition with tinted plates, bound in publisher original blind stamped cloth with gilt lettered spine

[Fanny Burney] Madame D'Arblay Camilla: or A Picture of Youth by the Author of Evelina and Cecilia printed for T. Payne & T. Cadell etc 1796 in 5 volumes, first edition bound in full leather with gilt stamped spines and leather labels thereon

Six albums of GB, Canadian and foreign first edition covers and presentation packs

A box of Fantastic comics 1-89 full set plus 30+ Terrific comics including first edition.

Three Enid Blyton novels two first editions The Ship of Adventure and the Secret of Moon Castle and a second edition Island of Adventure

[§] GILBERT BAYES (1872-1953) SAINT CHRISTOPHER CARRYING THE CHRIST CHILD, 2000bronze, inscribed in the bronze F.A.S. 1/841cm highProvenance: The Fine Art Society, LondonLiterature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, p. 186 illus.Note: First produced in 1953, this figure was inspired by the Royal Automobile Club Plaque d’Honneur of the same year. An edition of eight was cast by the Art Bronze Foundry, from the original bronze and plaster figure, held by the Bayes Trust, by The Fine Art Society in 2000, of which this is the first cast.

[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth Harvey-Lee, OxfordshireLiterature: Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 11, pp. 29-30.Note: From an edition of 91 and believed to be the 5th and final state.Note: Gerald Leslie Brockhurst's print masterpiece Adolescence is the focal point of the Kirkton House collection of etchings. As the artist's most celebrated work within the medium and one of the greatest prints of the 20th century, it is a perfect centrepiece to a carefully considered collection of British etchings.Throughout his career, Brockhurst was particularly concerned with the evocation of feminine beauty. A precocious drawing talent, he commenced training at the Birmingham School of Art aged twelve, before going on to secure a scholarship to the Royal Academy Schools. He became one of the most successful and sought after portrait painters in London, but always maintained his fundamental skill as a draughtsman. When it became clear that the market for contemporary etching was growing, Brockhurst translated his drawing skills into the technique of etching, mastering the medium and publishing his first set of prints in 1920. The wider fashion in etchings at this time was for landscapes and cityscapes, but Brockhurst pursued the same subjects as his paintings, producing exceptionally detailed portraits and figures studies that became extremely popular. He drew on a wide range of visual influences that celebrated female beauty, from contemporary glamour portraits and fashion photography to Italian Renaissance paintings, to develop his own distinct style.In his ongoing exploration of female beauty and the theme of young womanhood, Brockhurst utilised each of his two wives as regular models. His first wife, Anais appears in etchings he created throughout the 1920s, patiently posing as a range of different characters as well as herself, however, the marriage itself came under strain after she learnt of his infidelity with her sister, Marguerite. Brockhurst then met and fell in love with Kathleen Nancy Woodward, whom he re-named Dorette, following his established penchant for gifting his female portraits and sitters with exotic names, a teenage model at the Royal Academy. She became his regular model and muse, and is the figure depicted in Adolescence. Following his divorce from Anais, they married and moved to the United States, amidst an unsurprising whirlwind of scandal.Adolescence is a charged work, as well as technical masterpiece. Brockhurst's mastery of the etching technique to render a range of surface textures and tones, particularly skin, is profound. This is the largest scale Brockhurst worked on in etching, yet the details are minute, and the process painstaking. His etchings have sometimes been mistaken for aquatints as he manages to create such tonal variety and soft edges, yet each work is etched, line by line, dot by dot. The subject is not so straightforward; the teenaged Dorette sits naked, contemplating herself in front of the mirror. It can be viewed as a psychological portrait as well as a physical one, exploring the complex and contradictory emotions and anxieties brought on by the process of adolescence, a conflict we can see across Dorette's expression, and in her uncertain gaze. This is a vulnerable moment where she is open with her anxieties and lack of certainty and confidence, rather than attempting to mask them. She is almost an adult, and is desired as one by the artist, yet there is still a great deal of youth and vulnerability to her, and it is this blurred boundary that so compelled the artist and continues to make this an enticing, elusive image.Adolesence is widely considered a masterpiece of the etching medium, a tour de force of the skills required to work effectively in the genre, with a subject that is compelling and complicated in its surprising emotional depth. It is easy to see why it remains so revered, and not a little scandalous.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)MAKE-UP 1925. TCHERNECHEVA.Etching with drypoint, from an edition of 18, signed26cm x 20.5cm (10.25in x 8in)Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

[§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970)A CHORUSEtching and aquatint, from an edition of 55, signed18cm x 25cm (7in x 9.75in)Provenance:The Leicester Galleries, LondonExhibited: Walker Art Gallery, Liverpool – Sixty-Third Autumn Exhibition, 1937.Note: Dame Laura Knight was one of the most distinguished and popular female artists working in 20th century Britain. Knight was made a Dame in 1929 and in 1936 became the first woman to be awarded full membership to the Royal Academy of Arts highlighting her pioneering role in raising awareness and respect for future women artists. Knight's artistic career was exceptional from the beginning, she joined the Nottingham School of Art at the young age of thirteen where she went on to specialise in the figurative, realist tradition; a testament to her innate artistic talent as up until 1893 female students were not allowed to draw nude models from life.Knight worked in a range of media including oils, watercolours, engraving and etching and is celebrated for giving an insight into the lives of individuals who lived on the fringes of society such as circus performers and ballet dancers. This collection of etchings showcases Knight's unique ability to gain the trust of these communities which facilitated her immersive working method that often involved Knight living alongside the individuals she drew. The etching Zebras shows how Knight documented the popular leisure activities of the early twentieth century, in this case by spending an intensive period of four months travelling around the country with Bertram Mills's circus recording the lives of itinerant circus performers.As well as popular entertainment, Knight also engaged with cutting edge performances in the art world; the drypoint etching Make Up is a portrait of Lubov Tchernicheva, the prima ballerina in the Ballet Russes's debut matinée peformance of Cleopatra at the London Colisseum. Sergei Diaghilev's Ballet Russes was instrumental in introducing European modernism to Britain and captured the imagination of many artists with Coco Chanel and Pablo Picasso designing costumes and French avant garde artists like Henri Matisse designing the set productions. However, instead of focusing on the drama of the performances themselves Knight was permitted backstage access to capture the unseen and private lives of the dancers. In Knight's autobiography Oil Paint and Grease Paint she highlights just how privileged she was recalling that ''No outsider but myself then haunted the stage''. This etching reveals the close relationship Knight shared with the performers; here she observes Tchernicheva carefully applying khol eyeliner for her role as Cleopatra in which she wore an Egyptian headdress designed by Sonia Delaunay. Knight stated 'there was to be no conversation; it was to be as if I did not exist' and it was this unobtrusive approach which enabled Knight to capture such quiet contemplative moments and that gives her etchings their intimate appeal.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE ALMONRYEtching, signed26cm x 18cm (10.25in x 7in)Provenance:Allinson Gallery, Storrs, ConnecticutNote: This edition is 82 in this state. Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

BONE, MUIRHEADGLASGOW, FIFTY DRAWINGS. [GLASGOW: JAMES MACLEHOSE AND SONS, 1911]First edition, folio, original blue cloth gilt

HAWTHORNE, NATHANIEL – WALTER CRANE, ILLUSTRATORWONDER BOOK FOR GIRLS & BOYS. [LONDON: HARPER AND BROTHERS, 1893]First Crane edition, first issue, 8vo, original pictoral cloth, dust jacket with some tears and soiling

NICHOLSON, WILLIAMAN ALMANAC OF TWELVE SPORTS. [LONDON: WILLIAM HEINEMANN, 1898]First edition, 4to, 12 coloured illustrations, cloth spine over original pictorial boards, a little offsetting

BAWDEN, EDWARDA BOOK OF CUTS. [LONDON: SCOLAR, 1979]First edition, first impression, small folio, dust-jacket, 81 illustrated pages, original grey boards, dust-jacket price-clipped

Gordon Sage Aviation Artist from Cambridge, signed First Edition print "Sama Bay". PP131 Sunderland MK5 209 Squadron, Koggala Lake, Ceylon 1946. Framed and glazed and dated 1987. Approx. 34cm x 51cm.

Swarovski Crystal Annual Edition 'Togetherness, The Lovebirds', 1987, excellent condition, contained in original packaging & box, with stand and plastic plaque (The first Swarovski Annual Edition)

Michael Warren (born 1938)/Bird at the Shore/limited edition 211/300/lithograph, 20cm x 28cm/and another print Golden-Eye Ducks on Strangford Lough, N Ireland, framed with two postage stamps and a first day cover Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.uk

[Biblical text] Gill, Eric (illustrator). The Song of Songs, called by Many the Canticle of Canticles, The Golden Cockerel Press 1925, 4to first edition hard back, cream buckram cloth with gilt lettering to spine, numbered 348 of an edition of 750 printed, containing twenty woodcuts ranging from full-scale nudes to emblematic devices/see illustration Condition Report: No dust jacket, slightly grubby covers. Red pen annotation to corner of inner front cover. Pencil annotations to flyleaf. Slight browning/yellowing to some pages, particularly edges. Generally fair condition.

Dickens (Charles), The Life and Adventures of Nicholas Nickleby, first edition, early state, plts by Phiz (H K Browne), slightly foxed throughout, cf gt, 8vo, Chapman & Hall, 1839.

Bachmann, OO gauge, 30-325 "First World War Ambulance Train No. 40" Special Commemorative Edition, boxed, mint.

ALDOUS HUXLEY; "MUSIC AT NIGHT AND OTHER ESSAYS" first edition, 1931, signed to the rear, No 139 with slip case

A COLLECTION OF 20TH CENTURY FIRST EDITION BOOKS, to include, "My Child, My Sister" by Roy Fuller (one shelf)

Queens Beasts interest, to include a set of ten silver spoons 'The Queens Beasts Spoons', edition no 452 of 2000, contained within fitted presentation box with certificate dated 1972, also together with a Jacqmar silk scarf with the Queens Beasts and a first day cover, (3)

Selection of Antique guides and reference books inc silver, netsukes & first edition books

Assorted crime/thriller books all signed by the authors, some first edition inc Richard North Patterson, Lynda la Plante and Charles Frazier

[MAN RAY] ELUARD, FACILE, 1935MAN RAY (AMERICAN 1890-1976), photographer; ELUARD, PAUL, also known as EUGENE EMIL PAUL GRINDEL (FRENCH 1895-1952), author, Facile. Poemes de Paul Eluard ([Paris]: Editions G.L.M., 1935). First edition 420 of 1020. 4to (243 x 183 mm). Text in French. Includes 12 original heliogravures by Man Ray. In original wrappers.

CHEMIAKIN, MIHAIL CHEMIAKIN, COMPLETE SET OF TWO VOLUMES, 1986MIKHAIL CHEMIAKIN (RUSSIAN B. 1943), MIHAIL CHEMIAKIN (New York: Mosaic Press, 1986). Vol. I: Russian Period, Paris Period, vol. II: Transformations, New York Period. First edition. 4to (315 x 262 mm). 496, 476 pp. Text in English. With original dustjackets over black cloth-covered boards with gilt lettering. Vol. I inscribed to current owner, signed and dated 1993.

After Robert Morden (British,1650-1703): a late 17th century 1st edition map of Essex, copper plate, later hand-coloured, engraved by Sutton Nicholls, for Camden's Britannia (Swale and Churchill, London), circa 1695, with label verso for Frost and Reed Framers, dated 1946, 35 by 43cm, framed 38 by 45cm.Identified as first edition as Inworth, has been mis-spelt Inford.

A collection of five novels by Iris Murdosh, comprising The Red and the Green, First Edition, The Time of the Angels, First Edition, The Nice and The Good, First Edition Second Impression, Bruno's Dream, First Edition, and A Severed Head, First Edition Second Impression, all published by Chatto and Windus, all hard cover with dust jackets, 8vo. (5)

A collection of silver proof coins, including a Birmingham Mint 1977 silver proof coin medal and chain, a 1957 Sputnik I commemorative token, a Gambia Independence 10 delasis commemorative coin, a Malawi ten Kwacha commemorative coin, and eight Pobjoy Mint gold on Sterling silver 1977 Silver jubilee crown medals, together with two 1977 Queen Elizabeth Silver Jubilee Post Office Commemorative Stamp Edition tokens, each with a set of corresponding first day covers, both boxed. (14)

COIN & COINAGE -- VAUGHAN, Rice. A Discourse of Coin and Coinage: The First Invention, Use, Matter, Forms, Proportions and Differences, ancient & modern: with the Advantages and Disadvantages of the Rise or Fall thereof, in our own or Neighbouring Nations: and the Reasons. Together with a Short Account of our Common Law therein. As Also Tables of the Value of all sorts of Pearls, Diamonds, Gold, Silver, and other Metals, London, Printed by The Dawks, 1675, 12mo., FIRST EDITION, pp. 242 [consisting of title-page and A2-L10 (p.236), pp. 237-245 Tables giving the values of precious stones lacking], 18thc calf, spine gilt, head and foot chipped with loss, extremities rubbed, corners bumped.

SCOTT, Walter. Marmion; A Tale of Flodden Field, Edinburgh, Ballantyne, Constable, Miller and Murray, 1808, FIRST EDITION, browned throughout, some spotting, contemporary blue morocco, gilt, spine re-backed with cloth with original spine laid down, corners bumped, extremities rubbed; together with another first edition of the same work, rebound in cloth and a first edition of ROKEBY, Edinburgh, 1813, rebound in cloth, all 4to. (3)

HEMINGWAY, Ernest. The Old Man & The Sea, London, Jonathan Cape, 1952, FIRST EDITION, lightly browned throughout, original pictorial cloth, some marginal fading, spine faded.