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Two 18th century Religious texts: H Hammond: 'A paraphrase and annotations upon all the books of the new testament, Briefly Explaining All The Difficult Places Thereof' published London printed John Nicholson, Tho. Newborough and Benj.Tooke, dated 1702. Folio size full brown leather bound, gilt title to spine Hammond on the new Testament, 40cm by 26cm. PLUS An Ecclesiastical History of Great Britain chiefly of England from the First Planting of Christianity, in this Island, with a brief account of the affairs of Religion in Ireland' Vol II, by Jeremy Collier, London Pub. 1714, printed Samuel Keblem Richard Sare, John Nicholson, Ben Tooke, etc, dated 1714, folio brown leather bound. (2)

A volume of 'The Turner gallery: a series of sixty engravings from the principal works, with a Memoir and Illustrative Text, by Ralph Nicholson Wornum', published by James S. Vertue, City Road and Ivy Lane, folio, gilt tooled Morocco, complete with receipt dated 1887, from James Rimell & Son, book and printsellers.

Volume II of 'The Works of Williman Hogarth, Reproduced from the Original Engravings, published London, Bell and Daldy, 1872, folio, red Morocco, with black and gilt tooled lettering.

A New System of Universal Geography, no date c.1795, folio, 7 by George Augustus Baldwyn 80 folding maps and plates including map of North .America by Thomas Kitchin all rather worn, stained, creased, or otherwise age damaged.

Early 18th century religious texts: Holy Bible with annotations: Samuel Humphreys,'The Sacred books of the Old and New testament recited at large and illustrated with critical and explanatory annotations,...embellished with proper maps and other ornamental and useful representations', in three volumes, Published London printed R. Penny, 1735, gilt spine, folio, full leather bound brown leather, 40cm by 24cm, first vol. includes map of Paradice by T. Hutchinson. (3)

A 19th Century brass and leather bound three drawer telescope engraved Stanley, Great Turstile London, length 77cm together with a folio copy of The Graphic History of the South African War London 1909. (2)

A folio of prints by Errol Le Cain (10)

Heylyns ((Peter) Cosmography; in four books, containing the Chronograph and History of the World and all the Principal Kindgoms..., 1677, Folio, Engraved Title, four folding maps, rebound spine.

Meredith (Louisa Anne); 'Bush Friends in Tasmania, Native Flowers, Fruits and Insects'. Drawn from Nature, with Prose Descriptions and Illustrations in Verse, 1891, fifteen chromolithographed plates, original green cloth and gilt folio, limited edition numbered 561/700, signed by the Author.

Smith (Philip, 1928-). Deutsche Bucheinbande der Renaissance, by Jakob Krause, Brussells: Bibliotheca Wittockiana, 1994, colour plates, printed Maker's Notes tipped-in at rear, pink and yellow endpapers, graduated yellow to white edges, contemporary black, yellow, and blue scarf-jointed morocco, with Philip Smith's dated blind stamp on front pastedown and signed and dated by him on rear pastedown, exposed yellow spine with triple yokes, that at head lettered in blind, covers with elaborate maril onlays, folio (30 x 21.5cm/12 x 8.5ins), housed in sewn purple felt pouch with velcro fasteners Exhibited: Meister der Embandkunst, Berlin 1995 Exhibition. Explanation by the binder: 'No attempt was made to make a pastische on the Kraus style; this is simply a structural experiment, and use of available maril.' (1)

Esmerian (Raphael). Bibliotheque Raphael Esmerian, 5 parts in 6 volumes, Georges Blaizot & Claude Guerin, Paris, 1972-74, colour and black and white plates including some tipped in, original cloth gilt, together with Pierpont Morgan Library. Art of the Printed Book 1455-1955, Masterpieces of Typography through Five Centuries from the Collections of the Pierpont Morgan Library, New York, 1973, black and white plates, original printed wrappers, slightly spotted and dust-soiled, spines slightly browned, plus Maggs Bros Ltd, Bookbinding in the British Isles, Sixteenth to the Twentieth Century, Catalogue 1212, 2 parts in 2 volumes, 1996, colour and black and white plates, original printed wrappers, all folio, plus other bookbinding catalogues and related, mostly large-format paperbacks (36)

Brugalla (Emilio). El Arte en el Libro y en la Encuadernacion, 1st edition, Bilbao, 1977, colour portrait and black and white illustrations from photographs throughout, Brugalla's signed and dated presentation inscription to Philip and Dorothy Smith in French to portrait frontispiece recto, 22 March 1978, inner hinges broken and text block loose, top edge gilt, original stamped morocco gilt in slipcase (slightly rubbed and marked), folio (signed limited edition 237 of an unspecified number), together with 2 other Brugalla works with signed presentation inscriptions to Philip Smith, plus Suarez (Dolores Baldo), Arte y Encuadernacion, una panoramica del siglo XX, 2 copies, Madrid, 1999, original cloth in dust jacket, plus Ollero & Ramos (editors), Enciclopedia de la Encuadernacion, 2 copies, Madrid, 1998, colour and black and white illustrations, original boards, all large 8vo, plus other modern bookbinding interest, mostly in Spanish (20)

@Sellars (David, 1949-2015). L'Infinito in tutte le lingue che l'hanno saputo pronunciare, by Giacomo Leopardi, Urbino, Italy: Edizioni I.S.A., 1997, marbled free endpapers with inset contrasting circle, pastedowns of scored black morocco, marbled silver edges, contemporary marbled black morocco, signed and dated 1998 in pencil on limitation leaf, spine titled in blind, covers scored and with continuous chasm-like cut-away with jagged edges, small folio (30.5 x 21.5cm/12 x 8.5ins), housed on a cloth cradle with labelled spine in a slipcase with patterned paper sides Limited edition, 53/1300 copies. Exhibited: First Italian International Exhibition of Book Art. David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)

Bonet (Paul). Carnets 1924-1971. Repertoire complet, descriptif et bibliographique de toutes ses reliures, Preface de Julien Gracq, Paris, 1981, colour and black and white plates, original boards with colour onlays and glassine dust jacket, card slipcase, (limited edition 121/150), together with Maestri Rilegatori per L'Infinito. Prima Mostra Internazionale di Rilegatura d'Arte in Italia, Macerata, 1998, colour illustrations throughout, original printed white wrappers, both 4to, plus Getty (Paul), The Wormsley Library, A Personal Selection, 2nd edition with a Supplement of subsequent acquisitions, published for the Wormsley Library by Maggs Bros, 2007, colour illustrations throughout, original pictorial wrappers, folio, plus others related including paperbacks and non-English publications (24)

Smith (Philip, 1928-). Antony & Cleopatra by William Shakespeare, Designed and Produced by Ronald King with Notes and an Introductory Essay 'The Elusive Absolute' by Keith Please, Guildford: Circle Press Publications, 1979, colour silk-screen illustrations throughout, some full-page or double-page, some mounted, colophon with manuscript note by Philip Smith, his printed binding notes mounted on rear blanks, yellow edges, near contemporary yellow morocco, blindstamp on rear pastedown '20 CPSmith 05', blind lettered on spine, covers with onlaid dark blue morocco band with painted constellations, that to upper cover with three onlaid pyramids and painted crescent moon, that to lower cover with onlaid temple buildings, upper cover blind tooled with circular geometrical design incorporating the "Golden Rectangle" with a line linking to the centre star of Belt of Orion above, folio (38 x 29cm/15 x 11.5ins), housed in a custom-made felt-lined cloth solander box, covered with yellow marbled paper, front with circular geometrical design repeated in pen & ink, gilt lettered marbled paper label on spine Limited edition of 40 Artist's Proofs, of a total edition of 300 copies, all signed by the artist Ronald King. With printed 'Comment on the design' loosely inserted: "The design of this binding is atypical of P.S's style, and is intended to create a simple sweep of leather with few features, unlike his 'multipleist' work. The interest lies, he thinks, not so much in the realistic treatment of the scene as in the amazing coincidences happening in the diagram. It is an intuitive and intellectual work. This seemingly impossible occurrence convinces him further that some other agency (Universal Consciousness) is 'at work' and is the 'Real Doer' of everything. This feeling of simply being a channel or instrument is strong. 'No claim, no blame, no fame'!" (1)

Nowakowski (Radoslaw). Street in Kielce (walk along thinking), no date, leporello-style concertina pop-up book with canvas boards and printed paper wraparound, oblong narrow folio, (signed limited edition, 423 of an unspecified number) together with two other bookworks by the same artist, Wtorek Tuesday Mardo Mardi and Non-Completed Theory of Art, both Elephant's Tail, 2003 and undated, first in original wooden and stapled clear plastic slipcase, the second loose fascicules in original wooden box, 4to/8vo, signed limited editions 6 & 21 of unspecified numbers, and a folded square card envelope with artist's catalogue and biography, etc. (4)

Arcadia Press. Icons of Cyprus, by Athanasius Papageorgiou, Preface by His Beatitude Monsignor Makarios, President of the Republic of Cyprus, 1971, numerous colour illustrations, many full-page, all edges gilt, psychedelic marbled endpapers, pastedowns signed and dated 1969 in ink by Philip Smith, original red morocco by Zaehnsdorf designed by Philip Smith, gilt lettered black morocco spine label, upper cover with central panel of black morocco onlay and gilt depicting an icon, contained in original cloth solander box, folio, together with At the Court of Borgia, Folio Society, 1963, original decorated cloth, inscribed by Philip Smith on recto of rear free endpaper 'binding design by Philip Smith', in slipcase with typed label on one side detailing the publisher's brief and the designer's aims Limited edition, 107/265 copies, signed by Makarios, this copy with limitation leaf annotated by Philip Smith in manuscript noting that the binding was designed by him, and with a further note by him on verso of final leaf: 'This limited edition binding designed by C. PHILIP SMITH (see initials in front cover stamp 100mm down from top right corner and 10mm inside the right hand edge) 1970'. (2)

Albert (Neale M.). The Neale M. Albert Collection of Miniature Designer Bindings. A Catalog of an Exhibition held at the Grolier Club September 13 - November 4, 2006, Photographs by Tom Grill, New York, 2006, portrait frontispiece, colour illustrations from photographs throughout, original cloth gilt in slipcase, together with Middleton (Bernard C.), A Catalog of the Thirty-Three Miniature Designer Bindings of You Can Judge a Book by its Cover, Compiled by Mel Cavin, Pico Rivera, California, 1998, colour illustrations from photographs throughout, original two-tone cloth gilt in glassine dust jacket, oblong folio, (one of 500 copies), plus Jury (David, editor), Book Art Object, The Codex Foundation, Berkeley, 2008, colour illustrations from photographs throughout, original cloth in dust jacket, folio, plus Duncan (Alastair & Bartha, Georges de), Art Nouveau and Art Deco Bookbinding: The French Masterpieces 1880-1940, 1st edition, 1989, colour plates and illustrations from photographs throughout, original cloth in dust jacket, 4to, plus others related on modern bookbinding and the art of the book (30)

Middleton (Bernard C.). Restoration of Leather Bindings, 3rd edition, revised and expanded, Oak Knoll Press & British Library, 1998, black and white illustrations, original cloth in dust jacket, together with Smith (Philip), New Directions in Bookbinding, 1st edition, 1974, signed by the author to page 15, colour and black and white plates and illustrations, original cloth in dust jacket, plus Reed (Ronald), Specimens of Parchment, Dawson's Book Shop, Los Angeles, 1976, title and 10 sheets with parchment specimens tipped on, loosely inserted as issued into original quarter cloth and printed boards portfolio, (limited edition 65/110 from a total edition of 200 copies), plus The Nature and Making of Parchment, The Elmete Press, 1975, black and white illustrations, top edge gilt, remainder untrimmed, original quarter vellum gilt in glassine dust jacket, (limited edition 294/425), all small folio, plus other bookbinding, paper and typography interest including many technical (approx. 55)

@Ely (Timothy C., b.1949). The Flight into Egypt, The Third Magnitude, 2009, twenty hand-made paper leaves, with artist's manuscript throughout, profusely illustrated with drawings, diagrams, and symbols, in watercolour and ink, signed and dated in pencil by Timothy Ely on the title-page, yellow endpapers, fore-edges untrimmed, top and bottom edges marbled, original sheep-backed textured boards, with various onlays of found objects and fragments, including the figure of Anubis, and circular and geometrical forms, such as pyramids, folio (43 x 31cm/17 x 12.25ins), housed in a printed cloth solander box, with paper label on spine Made especially for Philip Smith, Timothy Ely described this volume as 'probably my best ever work'. American painter, graphic artist, and bookbinder, Timothy is best-known for creating single-copy handmade books as art objects: 'I make books because the spatial compression, the sequencing of ideas and images, and the ability to both hide and expose intrigues me. I am interested in how the artefacts of history help us invent our personal stories, and I use this phenomenon to create my visual narratives. My books are atlases of arcane territories and theoretical futures.' (1)

Dreyfus (John). Four Lectures by T.J. Cobden-Sanderson, Edited, with an Introductory Essay on Cobden-Sanderson's Life and Ideals, with Details of his American Pupils, and his Lectures in the United States in 1907, published Book Club of California, San Francisco, 1974, some black and white illustrations, original cloth-backed boards, (one of 450 copies), together with Harrop (Dorothy A. & others), The Old Stile Press... in the Twentieth Century: A Bibliography 1979-1999, Old Stile Press, 2000, colour and black and white illustrations, original pictorial boards in glassine dust jacket, (limited edition of 1000 copies, this being 33/250 copies with a loose insert in the form of a jeu d'esprit), both small folio, plus Lambirth (Andrew & King, Ron), Cooking the Books: Ron King and Circle Press, published Circle Press, 2002, colour and black and white illustrations and designs, presentation inscription from Ron King to Philip Smith in pencil to half-title, original printed wrappers, 8vo, plus other bookbinding and private press interest (21)

Smith (Philip, 1928-). The Imperfect-white Book, 1984, approximately 120 black blank leaves, printed tipped-in binder's notes at rear signed and dated by Philip Smith, black suede pastedowns, original black calf with incised abstract linear design on covers, tall folio (45 x 26cm/17.75 x 10.25ins) Philip Smith describes the work thus: "Root three 'monolithic' book in smooth black calf with incised 'monolith'... this work represents a current pre-occupation with the concept of a holistic Universe where all the opposites are integrated in non-dualistic spectrum gradients, e.g. brain: mind; mind: consciousness; consciousness: Self; good: evil; etc. The book cannot be taken without its 'imaginary' title and the conceptual notation implied as black text on the black paper of the book." (1)

Paper. A bound volume containing twenty-four leaves of cream laid paper, early 19th century, few wax seal marks where items (prints) previously attached, marbled endpapers, early 19th century calf backed and edged marbled boards, worn and boards detached, folio, sheet size 52 x 37cm (20.5 x 14.25 inches), together with A volume containing 120 leaves of cream laid paper, early 19th century, each leaf with single vertical faint red line to left & right hand margins, disbound folio, sheet size 37 x 23cm (14.5 x 9 inches), plus A bound volume containing ninety-seven leaves of dark cream laid paper, early 20th century, contemporary quarter vellum over printed paper covered boards, slight wear, folio, sheet size 37 x 22.5cm (14.75 x 9 inches) (3)

A folio of 19th Century prints

A Small Collection of Folio Society Edns. Unopened in slipcases. 8

SHAKESPEARE, William, The First Folio of Shakespeare. The Norton Facsimile, 2nd edn. 1996. fo. ed. Charlton Hinman, 1/4 bds. in slipcase. Tog.with 3 other Orbis Shakespeare volumes. 4

A Collection of Folio Society Editions, in slipcases. 17

A SMALL WOODEN FOLIO STAND, 'X' frame with slatted sides, 56cm wide

A FOLIO OF A SMALL COLLECTION OF PRINTS AND DRAWINGS, various, including The Great Fire of Bath

4 15th and 16th Century GILT. ILLUMINATED MANUSCRIPT PAGES, 2 on vellum 3.5"x4" ; 1 on vellum 4"x 5.5" framed; 1 on paper 3.3" x 4.5" mounted on card. Illuminated initials, and decorative side panels. All double sided. ms. prov: Purchased from the Folio Society in the 1960s.

Anglo-Chinese School. Crimes and punishments, 19th century, twelve watercolours on pith paper tipped on to album leaf rectos within blue paper frames, each 20 x 30cm overall, some chipping and paper loss not affecting watercolour illustrations, loose as issued in contemporary decorated moire cloth over boards with broken ties, some edge wear and wear to spine, folio (1)

*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo's Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher's name Giovanni Giacomo Rossi, Rome (active 1638-1684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620 mm (19.5 x 24.4 ins), contemporary calf-backed marbled boards, worn, folio Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi's famous engravings after Michelangelo's fresco of the Last Judgement, originally published by Antonio Lafreri. (1)

*@Picasso (Pablo, 1881-1973). Los Toreros I-IV, 1961, together 4 lithographs, including one in colour, as issued in Jaime Sabartes, Picasso: Toreros, published by A. Zwemmer & A. Sauret, 1961, the English edition, with numerous colour and monochrome illustrations, contemporary presentation inscription to Robert Gardner-Medwin to front blank, dated February 1963, original decorated red cloth with slipcase (faded and some marks to edges), a few light spots to margins, oblong folio, sheet size 245 x 315 mm (9.7 x 12.5 ins) (1)

Hockney (David, 1937-). Hockney's Alphabet, Drawings by David Hockney & written contributions edited by Stephen Spender, 1st edition, Faber and Faber, 1991, 26 colour plates, original yellow cloth gilt, with slipcase, folio Deluxe (unnumbered) edition signed by David Hockney and Stephen Spender. (1)

*Watts (Simon, active 1760-1780). The Assumption of the Virgin Mary (after Luca Cambiaso), 1763, woodcut printed in ochre, on laid paper, with margins, in very good condition, 475 x 300 mm (18.75 x 11.75 ins) mount aperture, framed and glazed, together with Skippe (John, 1741/42-1811), Joseph Sold into Slavery by his Brothers (after Raphael), 1783, colour chiaroscuro woodcut on laid paper, printed in black, grey-green and light green, image size 215 x 285 mm (8.5 x 11.25 ins), with separate printed dedication label mounted below, bearing the inscription 'Joanni Lane de Hospitio Lincoln: Arm: hoc observantiae pignus, prout Amico debitum praestantissimo, libenter offert J. Skippe', mounted on original laid backing paper, 292 x 367 mm (11.5 x 14.5 ins) plus Mulinari (Stephano, 1741-1790), La guida Imene, e Palpita alla Fanciulla il Core: Vide la Sua Vittoria, e la dipinse Amore (after Giovanni da San Giovanni), copper engraving with aquatint in sepia on laid paper, plate size 310 x 400 mm (12.25 x 18.75 ins), sheet size 345 x 470 mm (13.5 x 18.5 ins), and 2 other smaller colour woodcut prints after Parmigianino from the collection of Jonathan Richardson, one dated 1734, each mounted on large laid paper, folio sheet, and numbered in a contemporary hand in brown ink to lower right 44 and 54 (5)

*Various artists. Pax Britannica, A Hellish Peace, Aquarium Gallery, 2004, 29 mostly colour gicl‚e prints on paper by Banksy, Steve Bell, James Boswell, Alexander de Cadenet, Anthony Caro, James Cauty, Billy Childish, David Gentleman, Richard Hamilton, Clifford Harper, Brian Jones, John Keane, Peter Kennard, Alan Kitching, Jenny Matthews, Paul Mattsson, Antonio Pacitti, 3 prints by Jamie Reid, Martin Rowson, 3 prints by Ralph Steadman, S.T.O.T. 21st C., and 2 prints by Gee Vaucher, each signed by the artist (except S.T.O.T. 21st C. rubber stamped), and including statement by Ralph Steadman, and a page from the Hutton Report as burnt outside 10 Downing Street, sheet size 297 x 210 mm (11.7 x 8.25 ins) or slightly smaller, with printed title-page, all loose as issued in original black drop-over book box, with camouflage-style printed label to upper cover, folio Printed in a limited edition of 100 sets. (1)

Durer (Albrecht, 1471-1528). The Sea Monster (Das Meerwunder), circa 1498, copper engraving on laid paper, without watermark, a very good, strong and clear impression, trimmed to or just inside the platemark, the inner border line intact, small (1 mm) hole to extreme lower right of the image, a few other minor marks and unobtrusive stains, otherwise in good condition, sheet size 252 x 191 mm (9.9 x 7.5 ins), together with 6 other 16th century German engravings and woodcuts by Aldegrever (3), Durer (2), and Altdorfer (1), 12 17th & 18th century engravings by G.F. Schmidt, Claude Le Lorrain, Bartolozzi, Cond‚, Dickenson, Saenredam (after Goltzius), 2 portraits from Boissard's Bibliotheca Chalcographica 1650, and J. Van Campen (after Giorgione), 3 19th century etchings by Herkomer, Richard Lane and Paul Rajon, 3 original drawings by E. Griset, Henry Corbauld and Richard Lane after A.E. Chalon, one 19th century unsigned circular oil study, 6 19th century watercolour landscapes, including one by George P. Popkin of Llyn Idwal, North Wales, dated 1850, and one inscribed to verso H. Stanier, plus other various mostly 19th century engravings and reproductions after Old Masters, including several wood engraved illustrations and colour reproductions, all contained in original folio album, all edges gilt, bound in green full morocco gilt, a little rubbed and some minor marks, folio (385 x 290 mm, 15.2 x 11.4 ins) Provenance: From the collection of Sir Theodore Martin KCB, KCVO (1816-1909), Scottish poet, translator and royal biographer, and author of The Life of His Royal Highness the Prince Consort, 5 volumes (1875-1880). This work earned him the Queen's lifelong gratitude and friendship. Thence by descent. Bartsch 71. Meder 66. (1)

*Coburn (Alvin Langdon, 1882-1966). New York, with a foreword by H.G. Wells, London/New York, Duckworth & Co/Brentano's, [1910], 20 photogravures by Alvin Langdon Coburn, from plates prepared by the artist, and printed under his personal supervision, each tipped-on to dark grey leaves, calf-backed mottled dark grey boards, lettered in gilt to upper cover, rubbed and scuffed to edges, backstrip deficient, folio (410 x 305 mm, 16.2 x 12 ins) Goldschmidt, The Truthful Lens (1980), 36. Foster, Imagining Paradise (2007), 226. The views are: The Metropolitan Tower, Brooklyn Bridge from a Roof-top, The Battery, Williamsburgh Bridge, The Holland House, Broadway at Night, Brooklyn Bridge from the River, The Flat-Iron, The Water Front, The Singer Building, Noon, The Ferry, The Tunnel-Builders, The Knickerbocker Trust Company, The Chinese Quarter, The Unfinished Bridge, The Singer Building, Twilight, The Stock Exchange, 5th Avenue from The St. Regis, The Sky-line & The Park Row Building. Coburn moved to Hammersmith in London in 1909, where he set up presses to print his own photogravures, the first publication of which was his series of Views of London (1909) to which the New York volume forms a companion. (1)

Large elephant folio Victorian scrapbook (unused).

Folio of unframed prints to include: 'Spy Sportsman' and 'The Politicians', and a group of Schweppes advertising prints depicting Art Deco ladies. CONDITION REPORT: 34 Prints total

Folio of assorted posters, local interest, to include: Memorial Hall, Laugharne, Grand Concert, Madam Cissy Jones, the Welsh nightingale, Miss Jones, Pencader, triple national winner and BBC artiste etc. together with others such as Miners Welfare Hall, Ammanford, Wednesday, October 19th, 1932, a Grand complimentary concert to Mr Tom Daniels etc.

A box of Folio Society books, including: three vols. by Oscar Wilde; six vols. by Thomas Hardy; and other vols.

A late 19th century spelter Art Nouveau letter rack, modelled as a seated woman holding open a folio. H. 22cm

A Really Good Suite of Folio Society Publications in Sleeves; twenty four in total.

The Irish Tangle for English Readers by Shane Leslie 1946; Tha Tain; Chitrál - The Story of a Minor Siege by Sir George S. Robertson (lacking map) Meuthen 1899; The Anti Christ and Gog and Magog by Maulana Muhammad Ali. Published by Dar-ul-Kutub Islamia Limited, LAHORE, 1948; The Importance of being Earnest' Oscar Wilde Folio Society Edition 1960; STANDING ORDERS AND REGULATIONS FOR THE ARMY IN IRELAND Published by Frederick Muller Ltd.. 1st thus. 1969, Edition originally published in Dublin, 1794. Large format. Black cloth boards, gilt title to spine. 150 pages plus index; The Birth of the Irish Free State 1921-1923 by Joseph Curran (7).

FOLIO SOCIETY: A collection of volumes including 'The Prime of Miss Jean Brodie', illustrated by Beryl Cook

AN INTERESTING FOLIO, CONTAINING WRITTEN CORRESPONDANCE BETWEEN THURLOE CONNOLLY AND PAUL EGESTORFF, 1940s; also various cubist sketches

A folio of assorted prints to include; Daniel Sherrin etc

A folio of prints and watercolours

The Dispatch Atlas, London 1863, large folio, half calf

Tableaux Historiques de la Revolution Francaise, vols. 1 and 2 only, Paris 1804, folio

14 folio society books inc. London portrait of a city, Praise of a folly, etc.

14 folio society books inc. Clarendons history of the great rebellion, With Napoleon in Russia 1812, etc.

13 folio society books inc. Eminent Victorians, English eccentrics etc.

T Couper, a folio of unframed watercolours and other pictures, some mounted but all unframed.

A folio of 1870's receipts, envelopes and letters which mostly bear stamps.

Panciroli Guido. Notitia utraque, dignitatum, cum Orientis, tum Occidentis, ultra Arcadii Honoriique tempora. Et in eam Guidi Panciroli... Commentarium. Eiusdem authoris De magistratibus municipalibus liber... Ultima editio... Lugduni: ex off. Q.H. à Porta: apud Io. de Gabiano, 1608. (Al colophon:) Lugduni: ex typographia Iacobi du Creux dict Molliard, 1608. In-folio (mm 340x210). Carte [16], 222 [i.e.208], 25 [i.e. 35], [13]. Primo frontespizio in rosso e nero, marche xilografiche ai frontespizi, numerose illustrazioni incise su legno nel testo, iniziali e fregi xilografici. Primo frontespizio con restauri, lievi bruniture, qualche arrossatura. Legatura moderna in marocchino verde, fregi e cornici in oro ai piatti, titoli in oro al dorso a 6 nervi, contropiatti e carte di guardia in carta decorata, tagli dorati, custodia in cartone rivestita con carta marmorizzata. Al primo frontrespizio due timbri, cassati, molto sbiaditi e di difficile lettura, altro timbro asportato con reintegro della carta.   Iniziano con proprio frontespizio il Commentarium, il De magistratibus municipalibus et corporibus artificum e il De quattuordecim regionibus Urbis Romae - tutte opere di Guido Panciroli - e le Annotationes di Franciscus Rhuardesius. Il Commentario di Panciroli alla Notitia Dignitatum, testo fondamentale per la conoscenza del diritto romano, venne stampato per la prima volta nel 1593, già corredato dal trattato sulle magistrature nell'antica Roma che compare anche in questra impressione insieme ad un altro scritto del giurista reggiano - il De quattuordecim regionibus Urbis Romae - che ne denuncia l'interesse antiquario per la configurazione urbanistica dell'Urbe e dei suoi monumenti. Compare invece in questa edizione per la prima volta il De rebus bellici.  

Gruter Janus. Inscriptiones antiquae totius orbis romani in absolutissimum corpus redactae olim auspiciis Iosephi Scaligeri et Marci Velseri industria autem et diligentia Iani Gruteri: nunc curis secundis ejusdem Gruteri et notis Marquandi Gudii emendatae... Amstelaedami: excudit Franciscus Halma, 1707. Due tomi in 4 volumi in-folio (mm 390x262). Pagine [8], 16, 56, CCLXXXVIII, [2] (di 4, manca c. χ1 bianca), CCLXXXIX-DCCXLVIII con 39 tavole incise in rame di cui una in antiporta, una con ritratto di Graevius e 2 nel testo; [2] (di 4, manca π1 bianca), DCCXLIX-MCLXXIX, [1], XXVII, [1] con 34 tavole calcografiche di cui una in antiporta e una con ritratto di Scaliger; [6] (di 8, manca π1 bianca), CCCLVI, [31], con 21 tavole incise su rame su fascicoli segnati A-K2 χ1. Frontespizi generali in rosso e nero con vignette calcografiche, illustrazioni incise in rame e in legno nel testo, capilettera xilografici. Qualche tavola e carta con bruniture, lievi arrossature, poche carte con piccoli strappi restaurabili al margine inferiore. Legatura omogenea coeva in pergamena su cartone con dorsi rifatti (eccetto Tomo I Pars I), filetti e fregi a secco ai piatti, titoli in oro ai dorsi a 7 nervi, tagli spruzzati in blu e rosso. Qualche macchia e alone ai piatti. All'occhietto del Tomo I Pars I note manoscritte a inchiostro.   Corposa edizione originale di epigrafia antica a cura di Pieter Burman, il cui nome figura nella prefazione a c. **1r. Opera di carattere encilcopedico, che mirava alla raccolta di tutto quanto noto in termini di iscrizioni risalenti alla classicità latina, si basa sul lavoro di vari eruditi e antiquari tra cui spiccano per fama e autiorevolezza Jean-Jacques Boissard (1528-1602), Joseph Justus Scaliger (1540-1609), Janus Gruter (1560-1627) e Johann Georg Graevius (1632-1703). Le scelte iconografiche delle tavole allegoriche poste in antiporta sono esplicative degli intenti di queste generazioni di antiquari, che aspiravano ad una resurrezione della conoscenza perduta del mondo classico attraverso il recupero e lo studio delle vestigia archeologiche. Tra i nomi degli artisti che siglano le tavole calcografiche ci sono gli olandesi Jan Goeree (1670-1731), Jan Van Vianen (1660 – 1726), Gerard Hoet (1648 – 1733) e Gerard Valck (1652 – 1726), tutti protagionisti del cosiddetto 'secolo d'oro' della pittura olandese.

Alighieri Dante. Comedia... con l'espositione di Christophoro landino: nuovamente impressa: e con somma diligentia revista & emendata: & di nuovissime postille adornata. (Al colophon:) Stampato in Venetia: per Iacob del Burgofranco, pavese. Ad instantia del nobile messere Lucantonio giunta, fiorentino, 1529 a di XXIII di genaro. In-folio (mm 303x210). Carte [12] (mancanti), CCLXXXIX (di CCXCV mancano cc. b2, b7, e1, e2, e7, e8). Illustrazioni e capilettera xilografici. Diffuse tracce di polvere, molte carte con reintegri sui margini, gore e arrossature. Legatura coeva in pergamena floscia con ampi restauri integrativi ai piatti, titoli manoscritti al dorso, abrasioni. Marginalia. Esemplare scompleto di questa edizione del poema dantesco, nota per la cura tipografica e per la riproduzione - salvo qualche rara eccezione - del testo aldino del 1502 (vd. lotto 121) accompagnato dal commento del Landino. Il formato in folio e l'utilizzo del carattere romano richiamano la tradizione editoriale quattrocentesca della Commedia. Edit16 1159; Sander, 2326. Lotto non passibile di restituzione.

Saint-Non Jean Claude Richard (de). Voyage pittoresque ou description des Royaumes de Naples et de Sicilie... A Paris: [De l'Imprimerie de Clousier, rue de Sorbonne], 1781-1786. Cinque volumi in-folio (mm 490x320). Pagine [6], xiii, [3], 252; [4], xxviii, 1-108, [6], 109-283, [1]; [4], iv, xl, 1-130, 22, 131-201, [1]; [4], ii, xviii, 266, [4]; [4], iv, [2], 267-429, [1]. Con 9 carte geografiche a doppia pagina e 296 carte di tavole fuori testo, incise in rame, quasi tutte preservate dalle veline originali, compresa la celebre tavola del Phallus. Grande vignetta calcografica ai frontespizi, dedica incisa a Maria Antonietta, molte testatine e finalini calcografici. Minime bruniture e restauro marginale alla tavola del Phallus ma ottimo esemplare, con i cul-de-lampe del secondo volume stampati in nero e bistro. Legatura coeva in vitello bruno marmorizzato, piatti incorniciati da triplice filetto in oro, dorso a sei nervi, ai comparti ferro di melograni e tasselli in marocchino rosso e verde con titolo e numero di tomo impressi in oro, tagli rossi, qualche spellatura. Ricercata e splendida prima edizione del più importante e monumentale libro di viaggi illustrato di tutto il Settecento, dedicato ai Regni di Napoli e di Sicilia. Di assoluto rilievo l'apparato iconografico che consta di alcune carte geografiche e mappe topografiche a doppia pagina e quasi 300 tavole calcografiche con vedute di città e monumenti, dettagli edilizio-architettonici degli edifici descritti nel testo, oggetti d'arte e reperti archeologici tra cui qualli dei siti di Pompei. Questa opera preziosa, che fornisce quindi importanti testimonianze dei monumenti e dei ritrovamenti archeologici fatti al tempo, fu stampata "aux frais de l'auteur, l'abbé de Saint-Non, qui se ruina dans cette entreprise. Beaucoup des culs-de-lampe représentant des antiquités sont gravé par lui" (Cohen-Ricci, 928-930). Blackmer, 1473: "One of the monuments of french eighteenth-century book production"; Millard, French 148: "the completed work is one of the most beautiful that a private person has ever produced, and it is unparalleled among the sumptuous voyage pittoresque publications".