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17th century | height: 20 cm | region: Montelupo | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | condition: debris | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/15AVLpnKpsYFalk33qmKuCKDV6KuYJc-o?usp=sharing

Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory,  the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.

Novo-Hispanic school. Mexico. Late 17th century. Nicolás De Correa (1660-1720)‘Adoration of the Ecce Homo, Man of Sorrows, Lord of the Green Reed, Holy Christ of Humility and Patience, or Most Holy Christ of the Cold Stone’. Oil on canvas.118 x 188 cm. A perfect scene enclosed in a painting of large dimensions, which looks like the passage of a suffering and serene Christ in Easter week in any corner of Spanish geography. The large scene, framed in period gilded cane, is completely filled by the central, mystical figure. Seated and serene, resigned and with all the acceptance of the divine will on his face, bearing our sins, he is silent and mute in the face of the executioners who mock, spit on him and insult him, as the Gospels narrate. Seated on a pilaster, or ‘cold stone’, as the text of John 3. 16 reads on its front:‘In hoc apparuit charitas Dei in nobis, qvoniam filivm svvm vnigenitvm misit Devs in mvndvm. Vt vivamvs per tvm.’(For this is why the Love of God appeared in us, because God sent His only begotten Son into the world, so that we might live through Him.)Above Christ, two angels, flying and weeping, carry a wide, almost mournful phylactery, like a banner, with some verses from the Song of Songs 3, 11: ‘EGREDIMINI ET VIDETE FILIAE SION REGEN SALOMONEM/ IN DUADEMATE...., [QUI CORONAVIT ILLUM MATER SUA].... (Go forth, ye daughters of Zion, and behold King Solomon with the crown [with which his mother].... and so ends the verse, though he is not.... [his mother] crowned him on his wedding day, on the day of his heart's joy).The procession is opened by two angels, standing like ceremonial candle holders to the right and left of the central cross, which is Christ himself. One carries the cross which he will be nailed to and die on; the other, the pillar of his scourging and sufferings, with the cock that crowed at Peter's betrayal.On the right and left, all around the crowd that fills the back, are the angels of the Passion, sacredly carrying symbols and instruments of the Lord's Passion, ‘a great cloud of spectators surrounds us’ (Heb 12:1-4; Ps 21; Mk 14).  In the box, on the left, are Mary Magdalene, Mary his mother, and his mother's sister, Mary of Clopas, the mother of James and Joseph; all with the beloved disciple John.  On the right is Mark the Evangelist with the lion, whose gospel described this scene so heartbreakingly, amidst an audience of praying and worshipping saints.  A picture for meditation and contemplation, ‘eyes fixed on Him who endured pain and the cross, who tasted death on behalf of all, tested by what He suffered, and who, suffering, learned obedience’. All perfectly described by the evangelist present in the picture.For all of us who approach this scene, it is a great spectacle in which we take part ‘as if we were present’. As the psalm says, ‘all who seek you, O Lord, and behold you, all who behold you, who behold in us also that wondrous spectacle of your own salvation’.Sadly, on the back of the canvas there is an illegible text, due to the use of bad ink, or the use of very watery watercolours, which the humidity and the passage of time have gradually erased.

1620 | PUBLISHER: Antwerp, Apud Perum et Ioannem Belleros | NUMBER OF PAGES: 1004 + index | LANGUAGE: Latin | DIMENSIONS: 390 x 252 mm | THE FULL TITLE OF THE WORK: Joannis Lorini Societatis Jesu Commentarii in leviticum. In quibus praeter exactam sensus litteralis explanationem, variarum tum editionum, tum lectionum collationem cum vulgata, phrase[o]n etiam Scripturae, atque vocabularum,... Editio Secunda castigatior. Cum indicibus locupletissimis locorum S. Scripturae, rerumque lectu digniorum. Hebraicarum exin grecarumque vocum elencho expolitur, et illustratur | CONDITION: missing edge straps, spots, insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

A set of twelve Irish Victorian fiddle pattern dessert spoons, W O Cohen, Dublin 1884, 9.24 ozt

A 9ct gold and pink stone baguette cut ring, ring size O

An 18ct gold five stone diamond ring, ring size O

A diamond cluster ring, central diamond, 0.3ct approx., ring size O

A collection of jewellery, comprising: a sapphire and diamond tank track bracelet, length 17cm, stamped 14K, a cultured pearl necklace to a silver clasp, length 41cm, stamped 925, a white gold ring set with single-cut diamonds, size O, signed Damas, stamped 750, a 9ct gold ring set with single-cut diamonds, size J1/2, British hallmarks, stamped 375, a three-tone gold ring, size M1/2, a 9ct gold clasp, length 2.5cm, British hallmarks, a cultured mabé pearl gold pendant and an aquamarine silver pendant, three gold charms, a gold bangle, and two gold pairs and one silver pair of gem-set stud earrings

A hardstone necklace, probably Scotland, 19th century, and an opal demi-parure, comprising: a necklace composed of carved and spherical beads of jasper and banded agate, and one faceted citrine, mounted in gilt metal, length 41cm; and a ring and pair of stud earrings, each set with a cabochon opal, mounted in gold, ring size O, earrings 1.2cm each, post fittings

A diamond ring, designed as an openwork oval plaque, centred with a circular-cut diamond between foliate swags within a diamond-set frame, mounted in silver and gold, total approximate diamond weight 0.50cts, size O

A sapphire and diamond ring, of cluster design, claw-set with an oval sapphire, within a border of brilliant-cut diamonds totalling approximately 1.50 carats, mounted in white gold, size O

A pink tourmaline and diamond cluster ring, the cushion-shaped pink tourmaline weighing approximately 1.90 carats, in a surround of brilliant-cut diamonds, millegrain-set in platinum, total approximate diamond weight 0.35 carats, size O, stamped PLAT

A diamond solitaire ring, claw-set with a circular-cut diamond weighing approximately 0.90cts, mounted in platinum, Sheffield hallmarks for 2017, sponsor's mark PMC, size O

An amethyst and diamond ring, the cushion-shaped amethyst set within diamond borders in 18ct white gold, size O

A sapphire solitaire ring, the colour change sapphire weighing 4.03cts in rubover polished yellow gold setting, size O 1/2A verbal report from GCS states that the sapphire is unheated, with a colour change, origin: Sri Lanka

Ellis Brothers, a diamond ring, Canada, early 20th century, set with two rows of graduated cushion-shaped diamonds, mounted in white gold, size O, signed Ellis Bros., stamped 18K

A group of jewellery including an Art Deco sapphire and diamond pendant, comprising: a gold pendant of wreath design, set with a circular-cut amethyst, suspending an oval amethyst drop, pendant length 3.6cm, necklace length 45cm, necklace stamped 750, later gilt clasp; a sapphire and diamond half-hoop ring mounted in 18ct gold, size O, British hallmarks; and an Art Deco pendant of geometric design, set with rose-cut diamonds and calibré-cut sapphires, mounted in gold and platinum, pendant length 2.7cm, French assay marks for 18ct gold, numbered 25904, silver chain

A diamond half hoop ring, the central band set with three brilliant-cut diamonds between two bands of single-cut diamonds, mounted in white gold, size O

A garnet and diamond ring, of heart-shaped design, centring on a garnet cabochon surrounded by rose-cut diamonds, the shank decorated with openwork scrolls and chasing, mounted in silver and gold, total approximate diamond weight 0.60cts, size O

A collection of jewellery, comprising: a 9ct gold bangle set with eleven graduated pearls, inner circumference 17cm, British hallmarks, pearls untested; a ruby and diamond five-stone ring, size P, stamped 18; a five-stone multigem and 18ct gold ring, size O, London hallmark; an amethyst and 9ct gold ring, size N1/2, London hallmarks; a blue zircon and 9ct gold ring, size P1/2, Birmingham hallmarks; an amethyst and seed pearl heart-shaped pendant, length 2cm, pearls untested; a fire agate and gold drop pendant, length 2.3cm; a gold Scorpio pendant necklace, pendant length 2.1cm, chain length 22cm, pendant stamped 9K; a gold pendant set with an oval opal and a pair of stud earrings en suite, pendant length 2.2cm, earring length 0.8cm; a pair of ruby, diamond and 9ct gold drop earrings, length 2cm, London hallmarks, post fittings; a pair of opal and 9ct gold stud earrings, length 1cm, London hallmarks, post fittings; a pair of gold stud earrings, diameter 0.4cm, stamped 375; a pair of seed pearl and gold stud earrings; an amber brooch; and a gold Playboy bunny stickpin

An emerald and diamond ring, claw-set with a step-cut emerald weighing 2.02 carats, within a border of baguette and brilliant-cut diamonds, to shoulders set with brilliant-cut diamonds, mounted in white gold with millegrain borders, size O, stamped 750

Cartier, a gold wedding band, 'Trinity de Cartier', designed as three interlocking bands in three-coloured gold, size O, signed Cartier Paris, faintly numbered, French assay mark for 18ct gold

A gold locket mourning ring, mid 19th century, designed as a belt engraved with floral designs, opening to reveal a compartment containing a band of woven hairwork, size O

A diamond three stone ring, the central heart-shaped diamond weighing 4.01cts, flanked with pear-shaped diamonds in yellow and white gold, size O

An Art Deco jadeite and diamond ring, 1920s, set with an oval jadeite plaque carved and pierced with a design of fruiting branches, to shoulders set with single-cut diamonds, size O

An unusual jasper cameo and diamond ring, 17th/18th century and later, set with an oval speckled jasper cameo depicting three leopards, within a border of cushion-shaped diamonds, to a later ring mount of floral design, mounted in gold and silver, cameo 1.3 x 1.2cm, ring size O, case

A bloodstone intaglio ring, 17th-18th century and later, the bloodstone intaglio engraved with a design of figures including Venus, Cupid, Pan and a satyr making an offering to a priapic Herm figure, in a later gold ring mount, intaglio 1.4 x 1.1cm, ring size O (sizing beads)

Vhernier, a jasper and gold 'Pirouette' ring, the curved mount in-set with grey jasper to an 18ct gold band, size O, signed Vhernier, stamped 750, Italian assay marks

A jadeite and diamond ring, claw-set with a cabochon jadeite, between shoulders set with baguette diamonds, mounted in platinum, size O

A five-stone diamond ring, set with a sequence of five brilliant-cut diamonds totalling approximately 0.50 carats, mounted in gold and platinum, size O, stamped 18CT PLAT, case

An amethyst and enamel mourning ring, circa 1771, centring on an urn of glazed hairwork accented with cushion-shaped amethysts, to a band applied with black enamel, the commemorative inscription 'MARY PASTON OB 24 MAR 1771 AE 20' in reserve, mounted in gold, size O

A ruby and diamond ring, early 20th century, of cluster design, set with a cushion-shaped ruby, within a border of circular-cut diamonds with an openwork scrolled gallery, mounted in platinum, numbered 3215, French import assay mark for platinum, size O 1/2 Accompanied by SSEF report no. 137409, dated 3rd April 2024, stating that the ruby weighs 2.99 carats and shows no indications of heating. Origin: Burma

A diamond ring, early 20th century, of cluster design, set with cushion-shaped diamonds, mounted in white gold, size O, case stamped Antrobus

Late 19th century brise fan, painted silk, two sticks broken, another fan , mother o' pearl sticks, pierced and gilt decorated, hand painted silk with lilies of the valley , broken sticks ( 2)

A Sevres porcelain cabinet plate 19th century, the centre with a painted scene of a courting couple, to a gilt and pink ground border, printed mark S.57, 24cm diametertogether with a Sevres porcelain teapot on standwith a painted scene of musicians, signed Wateau, to a gilt and blue ground, painted marks, total 24cm highand two named view porcelain dishes,of shaped form, comprising a Dresden example titled 'Cattle on the Rhine, Germany', and another titled 'Northumberland',25cm wide (4)Provenance: The property of the late Baron John Mauger LanginCondition ReportNamed view dishes) The Northumberland example with a restored crack.Teapot) Wear to the painted scenes. Cabinet plate) Good condition, no apparent chips or cracks.

A Royal Worcester porcelain figural candlestick 19th century, modelled as a young boy, printed and impressed marks, 20cm hightogether with a Wedgwood drabware pastille burner, c.1820, impressed marks, modelled as an urn, supported by three dolphins, to a triform base,14cm highProvenance: The property of the late Baron John Mauger LanginCondition ReportCandlestick) No apparent chips or cracks.Pastille burner) Chips to the base. Scuffs to the urn.

A MOUNTED QAJAR BRASS SEAL WITH THE SHIR O SHAMSHIR (LION AND SWORD) SYMBOL PROPERTY FROM A PRIVATE GLYPTOLOGY COLLECTOR Qajar Iran, dated 1294 AH (1877 AD)Of octagonal shape, cast, made of brass, set on a low-grade silver mount, the central field decorated with a large lion holding a sword, the renowned royal Qajar symbol of the Shir o Shamshir, above it a line of stylised and intertwined thuluth script against floral meanders with the owner's name Jalal al-Din, below the lion the date 1294 AH.23.10mm x 22.04mm and 20.20mm high with the mount 23.10mm x 22.04mm Qty: 1

A SMALL QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) WITH GOL O BOLBOL MOTIF Iran, dated 1267 AH (1850 AD)With rounded ends and sliding tray, polychrome-painted, heightened with gold, and lacquered, the top decorated with the recurrent Qajar literary topos of the rose and the nightingale (gol o bolbol), with a row of large rose stems and birds perched amongst their branches, the sides with floral festoons with moths and a double pair of Mandarin ducks on the rounded ends, the underside and interior with a gilt vine scrollwork with grape bunches against red ground, the date 1267 AH inscribed in black ink inside a cusped gilt cartouche on the outer edge of the underside.2.3cm x 17cm 2.3cm x 17cm Qty: 1

SIX UNGLAZED EARTHENWARE PIERCED WATER JUG FILTERS Fustat, Fatimid Egypt, 10th - 12th centuryComprising six unglazed, incised, and pierced filters, each of similar circular shape but different in size, once possibly used at the junction of the body and neck of unglazed jugs, set in the middle of raised, flared walls, the largest decorated with a sunburst medallion in-filled with an irradiating rosette; the smallest with an abstract interlaced stellar motif; and the remaining four with similar geometric patterns and strapwork motifs.The largest 10.5cm outer diameterThe smallest 4.5cm outer diameter Although several hundreds of such filters have survived, very few are still attached to their original, complete jugs, making scholars wonder how these filters were actually produced and inserted in the jugs. Oliver Watson suggests that each filter was probably cut from a flattened piece of clay, and semi-dried so that it would be strong enough to handle and set into the neck of a jug as the throwing proceeded (O. Watson, Ceramics from Islamic Lands, 2004, p. 132). The largest 10.5cm outer diameter, the smallest 4.5cm outer diameter Qty: 6

AN INDIAN OPENWORK SILVER HUQQA (WATER PIPE) COVER WITH LID Mughal Provinces, Northern India, ca. 1780 - 1860Of compressed globular shape, resting on a later-added, circular wooden base, surmounted by a circular lid with lotus pommel, the finely pierced and engraved decoration on the exterior of the body mirrored on the lid, consisting of a broad cartouche in-filled with birds set against lush floral scrolls and vegetal meanders, an iconic Persianate motif reminiscent of the Iranian gol-o-bolbol, with a cusped arabesque cartouche in the centre, repeated on the opposite side and lid as well.7.5cm diam. and 8.7cm high187 grams 7.5cm diam. and 8.7cm high Qty: 1

AN ENGRAVED BRASS DIVINATION BOWL WITH ZODIAC SIGNS Safavid Iran, 17th centuryOf typical shallow rounded shape, resting on a short straight foot and rising to a narrow, everted rim, the centre marked with a dome-shaped boss pierced in the middle, possibly once encrusted, the interior engraved with auspicious and talismanic inscriptions invoking the Prophet Muhammad, Ali and other Shi'a Imams, prayers and wishes, arranged in a spiralling pattern on the boss, cusped cartouches around the base of the boss, interlocking roundels to the cavetto, and further cartouches and free-flowing calligraphy around the rim, the exterior heavily engraved as well with further inscriptions, including the bismillah next to the foot, the central band with octagonal star-like cartouches in-filled with the twelve Zodiac signs, the Leo surmounted by the royal symbol of the Shir o Khorshid (Lion and Sun), the foot with a later-added ownerhsip inscription Saheb-e Shaham Aqa Beyt Ali Beig.18.7cm diam. and 5.7cm high 18.7cm diam. and 5.7cm high Qty: 1

A collection of twelve modern Chinese scent/snuff bottles various, a collection of various china wares to include three modern Chinese ginger jars, a pair of modern Chinese miniature vases on stands, Doulton figure "Top o the hill", Royal Crown Derby floral spray decorated duet tea set, Aynsley baluster shaped jug, Royal Crown Derby Posies tea strainer, blue jasper table bell, Shelley white glazed tea cup and biscuit plate, similar Japanese tea cup and saucer, a pair of Royal Worcester egg coddlers, a box of various plated ware to include three piece tea set, sugar caster, tray, toast rack, sauceboats, coffee bean spoons etc

BINDING SETS: The Diary of Samuel Pepys. Eight vols. Bound in three. Bell, 1924. Cont. half leather, VG; Walpole, H: Anecdotes of Painting in England, in 3 volumes. 1849. Cont. half leather; Goldsmith, O: The History of England, from The Earliest Times to the Death of George II. In 4 volumes. 1771. Cont. full leather, rubbed; Pitt, William, Earl of Chatham: Anecdotes, in 3 vols. 1810. Full tree calf, vg; Adelaide and Theodore; OR, Letters on Education: 3 vols, 1784, cont. full mottled calf, VG; Hallam, H; View of the State of Europe During the Middle Ages, in 2 vols. Paris, Baudry, 1835, 1st. Thus. Cont. full calf. (18)

Cecil ALDIN (ill): The Mongrel Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1912), 1st. Edn. Original pictorial boards; The Red Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1910), 1st. Edn. With all 12 colour Plates. Original pictorial boards, a little rubbed; Ten Little Puppy Dogs. Sands & co. no date (1902), 1st. Edn. Oblong 4to. Covers rubbed, inner hinges cracked; The White Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1909), 1st. Edn. With all 12 colour plates. Original pictorial boards, little rubbed; The White Kitten Book. Frowde and H&S, no date (1909), 1st. Edn. 12 colour plates. Original pictorial boards, rubbed; inner hinges strengthened with tape; Just Among Friends. Eyre And Spottiswoode, 1934, 1st. Edn. 4to. Covers rubbed, Lacking front blank endpaper, o/w Good+; Morton: Who's Who in the Zoo. Eyre & Spottiswoode, 1933, 1st. Edn. DW. 4to.Tears & repairs to dw, o/w VG; Handley Cross, or, Mr Jorrocks's Hunt [2 volumes]. Arnold, no date, (1911); Dogs of Character. Eyre & Spottiswoode, 1930, reprint, DW. 4to. Very Good+; Emanuel: The Dogs of War. Bradbury, Agnew, 1906, 1st. Edn. Original pictorial covers. (11)

SHAW, George Bernard (Inscribed and SIGNED by Shaw and also by Gabriel Pascal): Marjorie Deans: Meeting at the Sphinx: Gabriel Pascal's Production of Bernard Shaw's Caesar and Cleopatra, with Forewords by Both the Author and Producer. MacDonald & Co. (1946). The frontis photograph of Bernard Shaw and Gabriel Pascal is INSCRIBED 'G Bernard Shaw, for the Lord Grantley's dustbin, I don't like the book'; Also, the half title INSCRIBED: 'A toi Dicky, la grand-Seigneur du Cinema brittanique, affectueusement Gabriel'. With the pictorial slipcase. The glassine dust jacket torn and taped to the inner covers, o/w VG

Ricketts, C (ill); Bernard Shaw: Saint Joan. Constable, 1924, Limited edition of 750 copies, Folio, Dust Jacket- with tears; O/W VG

FISH: 1- Couch (Jonathan). A History of the Fishes of the British Islands, 4 volumes, George Bell and Sons, 1877. With 252 color plates. 4to. Cont. half leather, top edges gilt. Vol.3 lacking the covers; o/w Very good; 2- Houghton, W: British Fresh-Water Fishes. William Mackenzie, 1879 (preface dates), 1st. Edn. Folio, complete with all 41colour plates. Leather backed boards, spine perished; two leaves of the introduction loose. Clean copy. (5)

Edward BAWDEN (ill): 1- Hoyle, Walter & Olive Cook: To Sicily with Edward Bawden. Previous Parrot Press, Oxford, 1998, Limited edition, #183 of 350 copies, SIGNED by Hoyle & cook. 4to. Original pictorial boards, VG; 2- Noel Carrington: Life in an English Village. King Penguin, 1949, 1st. Edn. VG; 3- Another copy, Spine torn, with loss; o/w VG; 4- BBC Year Book - 1947, 1st. Edn. DW; 5- Saunders, G: Bawden, Ravilious and the Artists of Great Bardfield. V&A, 2015, 1st. Edn. DW. (5)

Morris, F O: 1- A History of British Birds, in 6 vols. Bell and Daldy, 1870, 2nd. Edn. Numerous hand-coloured plates. Cont. full calf, worn and lacking 6 of the 12 covers; 2- A Natural History of the Nests and Eggs of British Birds, 3 vols. Bell and Daldy, 1870, 2nd. Edn. Numerous hand-coloured plates. Original pictorial boards, VG: 3- British Game Birds and Wildfowl. With 57 out of 60 colour plates. 4to. (33 x 27cm), Lacking all before page 17 and 3 out of the 60 plates. Original pictorial boards, stained and worn; The colour plates are bright and clean: Plus: The Minstrelsy of the Woods: or Sketches and Songs connected with the Natural History of some of the most interesting British and Foreign Birds. Harvey & Darton, 1832, 1st. Edn. With 17 hand-coloured plates. Original plain boards, lacking the label. Spotting to the one plate and a few pages. (11)

Jamieson (Alexander). A Celestial Atlas Comprising a Systematic Display of the Heavens in a Series of Thirty Maps Illustrated by Scientific Descriptions of their Contents, and Accompanied by Catalogues of the Stars and Astronomical Exercises, G. & W. B. Whittaker, T. Cadell and N. Hailes, 1822, engraved calligraphic title and dedication, thirty (complete) engraved celestial maps and charts (28 hand coloured), plus one plate. Oblong 4to. Original leather backed boards with a label to upper cover; both covers detached, o/w VG

Cecil ALDIN (ill): Bunnyborough. Humphrey Milford, no date, (1919), 1st. Edn. Folio. With colour title page and all 16 colour plates present. Pictorial boards, rubbed; MAC. Frowde and H&S, no date (1912), 1st. Edn. 4to. Pictorial boards. All 24 colour plates present, BUT text page to plate V missing, and supplied in Photostat; Emanuel: A Dog Day. 1904 reprint, with 28 colour plates. Pictorial boards, rubbed; A Gay Dog. 1905, 1st. Edn. With 24 colour plates. 4to. Pictorial boards, corner of upper cover chewed off, o/w VG; The Twins. Henry Frowde, no date (1910). 1st. Edn. All 24 colour plates present. 4to. Pictorial boards, rebacked & inner hinges strengthened with tape. Good+; The Bunch Book, For Dog Lovers Only. 1932, 1st. Edn. Spine a little faded, VG. (6)

2 SerigraphienRaimund Girke 1930 Heinzendorf - 2002 Köln "o. T." 1967 u. li. sign. u. dat. GIRKE 67. verso m. Sammlungsstempel: "Sammlung Schültke Frankfurt" Exemplar 38/55, 50 x 50 cm "Fluktuation" 1966 verso m. Sammlungsstempel "Sammlung Schültke Frankfurt", verso handschr. bez. u. dat. "Raimund Girke Siebdruck 1966, Auflage 30 n. numm., GAL H3, Hannover" 34 x 35 cm (Blattmaß), o.R. knickspurig und fleckig Provenienz: Privatsammlung Frankfurt

Tempera/KreidezeichnungIngeborg Schäffler-Wolf 1928 Heilbronn - 2015 Heilbronn "o. T. (Farbfelder)" 60 x 48 cm Provenienz: Aus dem Nachlass der Künstlerin. Lit.: Ingeborg Schäffler-Wolf "Ein verwirktes Leben Bd.1+2" Ktlg. Städtische Museen Heilbronn 2008; Abb. Bd. I, S. 60

LinolschnittOtto Freundlich 1878 Stolp - 1948 Lublin-Majdanek "o.T." verso m. d. Atelierstempel "Atelier d'Art Abstrait Fondation Otto Freundlich", auf Japan, 30 x 46 cm (Blattmaß), o. R.

FarbholzschnittMikhail Larionov 1881 Tiraspol - 1964 Fontenay-aux-Roses "Billet pour Grand Bal des Artistes Travesti Transmental" 1923 im Druck sign. M. Larionov 22,4 x 27,5 cm, o. R. Guter Zustand, die Ränder leicht gebräunt.

Lavierte BleistiftzeichnungJ. F. Overbeck, in der Art des 1789 Lübeck - 1869 Rom "Sanct Johannes Baptist" 34,5 x 35 cm, o. R. Provenienz: Privatsammlung Hessen Lit: AKL

Siebdruck Thomas Bayrlegeb. 1937 Berlin "Kikeriki" 1969 u. re. sign. u. dat. Bayrle 69 u. re. im Druck sign. Bayrle Exemplar 3/45, 42,4 x 59, 5 cm (Blattmaß), o. R. Guter, farbfrischer Zustand, keine Defekte, die Ränder minimal unfrisch. Nie montiert.

Fotografie George Barris1928 New York - 2016 Thousand Oaks, Cal. "Marilyn Monroe at Santa Monica Beach" 1962 u. re. sign. George Barris späterer Abzug auf Kodac-Fotopapier 34,5 x 27 cm (Darstellung) 35,5 x 28 cm (Blattmaß), o. R. Provenienz: Privatsammlung Frankfurt

Tempera/TuscheIngeborg Schäffler-Wolf 1928 Heilbronn - 2015 Heilbronn "o. T. (schwarz, orange, grün)" 142 x 96 cm Provenienz: Aus dem Nachlass der Künstlerin. Lit.: Ingeborg Schäffler-Wolf "Ein verwirktes Leben Bd.1+2" Ktlg. Städtische Museen Heilbronn 2008