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ENFIELD, ENGLAND A BRITISH CAVALRY TROOPER'S SWORD, PATTERN '1908', no visible serial number, ordnance inspector's stamp for August 1915, with straight narrow blind-fullered 35in. blade, pattern mark to back edge near hilt, sheet iron plain bowl guard with rolled edge, composite chequered 'pistol-grip' hilt with depression for thumb and domed pommel, complete with its iron scabbard with twin fixed suspension rings, overall length 44 1/2in., weight approx. 4lbs.. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

ROBBINS, DUDLEY A SCARCE WORLD WAR ONE 'T' HANDLED TRENCH-DAGGER, circa 1917, with 5in. stiletto blade, twin narrow blind fullers to each side joining near the tip, cast and moulded aluminium handle with a shaped iron finger-guard for three fingers, the narrow end of hilt stamped 'ROBBINS DUDLEY', good condition and complete with its original leather belt-scabbard with button-down tie, overall length of knife 6 1/2in., weight under 1lb.. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

CASE CUTLERY CO. USA A WORLD WAR TWO MILITARY BOWIE-KNIFE, MODEL 'V44', with bright 10in. clip-point blade false edged for the last 4in., twin narrow blind fullers to both sided running parallel to the back edge, the left hand side marked near hilt 'CASE X X', straight boat-shaped brass cross-guard with bulbous quillions and smooth cranked hard-rubber grips held by three rivets, complete in its plain leather scabbard with belt-loop to reverse, knife 14in. overall, weight in scabbard approx. 2lbs.. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

CARL EICKHORN, SOLINGEN A WW2 GERMAN RAD ENLISTED MANS HEWER, circa 1938, with heavy hatchet-shaped 9 3/4in. blade etched with the motto 'ARBEIT ADELT' (work enables) on the right hand side, blind fuller to both sides and the maker's mark together with 'GES. GESCH' and 'RADJ' within a triangle on the left hand side, solid iron carved cross-guard and hilt, stag-horn scales and 'eagles-beak' pommel, complete with its original metal scabbard with engraved steel fittings (losses to black painted section), overall length of knife 14 3/4in., weight in scabbard approx. 2 1/4lbs.. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A FINE PAIR OF 22-BORE FLINTLOCK HOLSTER-PISTOL WITH EBONY STOCKS AND NIELLO DECORATION, UNSIGNED, no visible serial numbers, probably from the Balkans or Greece circa 1780, with 11 1/4in. brushed bright possibly Spanish barrels deeply carved and engraved at the breech-ends with flowers on a stippled ground, the central section with vacant cartouche of Spanish form, carved and raised blind sighting-rib, the muzzles covered with deeply embossed and carved white-metal nose-caps with further niello and possibly traces of gilt embellishment, integral fore-sights, two moulded bands at breech, plain top-tangs, radiused and curved locks with raised carved scroll-work to the pointed tails and cock platforms, raised and carved decoration to both cocks, engraved undersides to the semi rainproof pans, top-jaws and frizzen faces, extensively carved ebony full-stocks featuring raised scrolled borders surrounding areas of stylised floral designs, applied panels of deeply embossed and carved white-metal around the top-tangs and back of wrists en-suite with the nose-caps, en-suite bulbous pommel-caps with long side spurs, en-suite sideplates, trigger guards and full-length ramrod pipes, both pistols retaining their original iron ramrods, each approximately 17 1/2in. overall, weight of each approximately 2lbs..

A 22-BORE FLINTLOCK HORSE-PISTOL, UNSIGNED, no visible serial number, German or Bohemian circa 1775, with 9 1/4in. iron barrel with carved and engraved slightly raised blind sighting-rib, brass boat-shaped fore-sight, stepped and raised platform at breech forwards of the top-tang, flat curved bevel-edged lockplate with pointed and stepped tail, swan-necked cock (top-jaw and screw replaced), lozenge pan, unbridled frizzen, walnut full-stock with carved raised borders around the furniture and ramrod channel, semi birdshead butt with moulded iron butt-cap, the tail extending almost to the carved apron at the top-tang and embossed with a grotesque mask, pillared trigger-guard bow, complex carved and moulded sideplate, lozenge ramrod thimbles and throat with rolled ends and replacement ramrod, 15 1/2in. overall, weight approximately 2 1/4lbs..

L. POND, USA A .30 TEAT-FIRE FRONT-LOADING SIX-SHOT CARTRIDGE REVOLVER, serial no. 1164, circa 1865, with 5in. octagonal barrel signed by the maker and with patents to 1864, plain blind-ended cylinder with removable inserts (some frozen), brass frame, central hammer and sheath trigger, smooth walnut flared grips with detachable ejector rod mounted in the heel, 10 1/8in. overall. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament

SIR WILLIAM RUSSELL FLINT (1880-1969), 'THE BALANCE', a limited edition print of two female figures, signed to lower margin with blind stamp, mounted framed and glazed size approximately 43cm x 58cm (print shows signs of yellowing) together with assorted prints and frames, etc

L.S. LOWRY (1887-1976) 'LANCASHIRE LEAGUE CRICKET MATCH', a limited edition print published by the Adam collection in 1967, blind stamp to lower margin - print is faded, together with a box of assorted prints to include Perri Duncan 'Sleeping Cat', Ray Lloyd cricket prints, Diane Elson cat print, hand tinted print, North East View of Shenstone Park by Stebbing Shaw and T. Donaldson published 1798, etc

A local interest train tram or bus transportation destination blind for Lancashire and Cumbria including Ambleside Barrow and Bolton

A local interest train tram or bus transportation destination blind for Lancashire and Cumbria including Preston Keswick and Kendal

An early to mid twentieth century walnut wall mirror, possibly Waring and Gillow, with blind fretwork cartouche and bevelled glass 82cm H

Artist: Andy Warhol (American, 1928 - 1987). Title: "Baron Philippe Rothschild". Medium: Color offset lithograph with gold and blind embossing. Date: Composed c1975. Dimensions: Overall size: 6 x 4 in. (152 x 102 mm).Lot Note(s): Signed in black marker, center left. Edition unknown, presumed very small. Very light cream wove paper with gold embossing and letterpress. Full margins. Fine impression. Very good to fine condition with crisp corners; the label has never been affixed to a bottle. Literature/catalogue raisonne: Paul Marechal, “Andy Warhol Ephemera…Catalogue Raisonne, 1950-1987.” Lyon, France: Les amis du Musee de l’Imprimerie, 2018, Section 14, no.53. Comment(s): A limited number of these labels were printed exclusively for distribution to friends, suppliers, etc., and were not intended to be used on the bottle. Chateau Mouton Rothschild is a wine estate located in the village of Pauillac in the Medoc, 30 miles northwest of the city of Bordeaux, France. It produces one of the world's greatest clarets. In 1946 the vineyard began the tradition of having each year's label designed by one of the world's great artists or sculptors of the day (Picasso, Chagall, Miro, etc.). For the 1975 vintage label, Warhol juxtaposes two different images of Baron Philippe Rothschild. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28401-1-400]

A GEORGE III MAHOGANY 8-DAY LONGCASE CLOCK, the 12.5-inch break arch brass dial, signed 'W Fenton Newcastle', with subsidiary seconds and foliate engraving, the flat top hood with Corinthian columns, the shaped trunk door flanked by blind fretwork carved canted corners, the plain base raised on a plinth. 216cm high. With weights and pendulum

A VICTORIAN CHIPPENDALE REVIVAL MAHOGANY CABINET, the upper section with blind fretwork carved frieze and pilasters, surrounding a pair of astragal glazed doors, the base with similarly carved pilasters and drawer fronts over a pair of panelled doors, raised on splayed bracket feet. 202cm high by 106cm wide 

A GEORGE III MAHOGANY CHEST ON CHEST, the dentil moulded cornice above a blind fret-work carved frieze over two short above three long graduated drawers, flanked by blind fret-work carved canted corners, the base with slide over three long graduated drawers, all fitted with brass swan-neck handles, raised on bracket feet. 194cm high by 116cm wide by 60cm deep

A VICTORIAN CHIPPENDALE STYLE MAHOGANY BOW-FRONTED HANGING CORNER CABINET, with dentil cornice and blind fretwork carved frieze. 95cm high, 66cm wide, 47cm deep. 

Sir Peter Blake RA born 1932 limited edition print number 1 of 250, signed and dated 96, in an ebonised frame, size 69cm x 56cm, with Big Art Issue blind stamp. This lot maybe subject to Artists Resale Act, slight lifting to sides of print from back, some marks to frame otherwise good

William Lionel Wylie RA (1851-1931) etching The Grand Fleet at Scapa Flow The Kaiser Class with the flag of Admiral Von Reuter flying in the Frederich de Grosse being taken to Scapa Flow for internment byt he second Division of the Grand Fleet 25 November 1918 signed by the artist and Albany E Howard Fine Art Trade Guild blind stamp TMC, etching 31cm x 71cm, ebonised frame side 56cm x 91cm, some small spotting foxing and sun staining to mount otherwise generally good

Sir William Russell Flint, "Clarissa Fishing", coloured artist proof, pencil signed with blind stamp to margin, 34cm x 25cm

Helen Bradley, pencil signed coloured print, figures in a snowy parkland, blind stamp to margin, 30cm x 39cm

Artist: Diane Arbus (American, 1923-1971). Title: "Backwards Man in His Hotel Room, New York". Medium: Original photogravure. Date: Composed 1961. Printed 1978. Dimensions: Overall size: 15 3/4 x 11 5/8 in. (400 x 295 mm). Image size: 13 3/16 x 8 13/16 in. (335 x 224 mm).Lot Note(s): Stamped with the photographer's name, verso. High-grade archival paper. Ample margins. Fine, quality printing. Very good to fine condition. Comment(s): This edition authorized and supervised by Doon Arbus. Diane Arbus often combined the ordinary and the strange within a single image, to create photographs that surprise or shock the viewer. Here a man stands in a normal, slightly shabby hotel room looking blankly into the corner. It is only when you look more closely that you see that his feet are turned the wrong way round. The picture was made for a project on eccentrics that Arbus had proposed to Esquire and here features Joe Allen, ‘the Backwards Man’, a contortionist who worked in Hubert’s Museum, one of several ‘freak shows’ that Arbus visited for the project. In her notes on the assignment she mused that he was "a metaphor for human destiny – walking blind into the future with an eye on the past" (courtesy National Galleries of Scotland). Image copyright © The Estate of Diane Arbus, LLC. [27153-3-600]

Übermalung: Ölkreide auf Photographie 59,5 x 50 cm. Unter Glas gerahmt. Signiert und betitelt 'A. Rainer Du Blind Hund'. - Mit leichten Altersspuren.ProvenienzPrivatsammlung, Bayern

After William Russell flint, a limited edition print "Mademoiselle Sophie" 686/850 blind stamped, framed and glazed, 46cm x 63cm

After William Russell Flint, a limited edition print entitled "The Trio" pencil signed lower right, FATG blind stamp, framed and glazed, 46cm x 60cm

A late 18th Century mahogany astragal glazed corner cupboard with blind fret decoration

Michael Rothenstein "Peacock Bird" (1908-1993) signed Artists Proof IV, woodcut printed in colours with peacock and butterfly, blind stamp to top left corner overall size 74cm x 93cm (ARR may apply)

WWII Royal Observer Corps sector clock, the chain driven single fusee movement by Elliott Ltd, No. 18782, dated 1941, the backboard stamped A/159408, 46cm dia. Provenance :- This clock was at Manston Aerodrome until 1951, when it was purchased at public auction by the current vendor's relative, it was then displayed in his Pub until 1971 and has been passed down through the same family.Colour Sector Clocks were used in all Royal Air Force and Royal Observer Corps Operations Rooms during WW2 and continued in use for aircraft plotting until 1960. The dial of a Sector Clock had a very specific design to aid the complex efforts of RAF controllers. Radar would pick up approaching hostile aircraft well out to sea but once over the land, radar was, in the early years, blind. Aircraft were then tracked by numerous Royal Observer Corps Posts with information sent to ROC and RAF Operations Rooms. This included the altitude, bearing, and strength of approaching hostile or indeed allied aircraft. Incoming reports at RAF Ops Rooms would be shown by colour coded flags of either red, yellow or blue according to time of receipt. ROC Ops Rooms used coloured arrows plotted on the Ops Table according to the position of the Minute Hand on the Coloured segment of the Sector Clock at a succession of 5 Minute intervals. This was later reduced to 2.5 Minute intervals as aircraft speeds increased during the end of WW2

Sitzendes Mädchen. Mosbacher Fayence 20. Jh. Weiß glasiert, am Boden Blind- und Unterglasurmarke, H=25 cm.

Arnulf Rainer - - 1929 Baden bei Wien - lebt und arbeitet in Wien Zentralgestaltung. 1951. Öl auf Rupfen. Rechts im Rand mittig monogrammiert 'TRR'. 69 x 54 cm (27,1 x 21,2 in). • Frühe Arbeit des wichtigen österreichischen Avantgarde-Künstlers. • Der Ausstellungsbesuch 1951 bei der Galerie Nina Dausset in Paris mit den frühen Tachisten führt dazu, dass Rainer sich mit den Prinzipien des Automatismus und der Blindmalerei auseinandersetzt. • Rainer beginnt im Geist zu zeichen, mit geschlossenen Augen entstehen zentrale und vertikale Linien, die der Körpermotorik entsprechen. • An dem rhythmischen Liniengeflecht lassen sich kurze und schnelle sowie langsame und weichere Bewegungen ablesen. Wir danken dem Studio Rainer für die wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Süddeutschland (direkt vom Künstler erworben). Privatsammlung München (2003 von der Vorgenannten erworben). Aufrufzeit: 19.06.2021 - ca. 13.17 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONArnulf Rainer -1929 Baden bei Wien - lebt und arbeitet in Wien Zentralgestaltung. 1951. Oil on burlap. Monogrammed 'TRR' in center of right margin. 69 x 54 cm (27.1 x 21.2 in). • Early work from the important Austrian avant-garde artist. • A visit of a Tachism exhibition at Galerie Nina Dausset in Paris in 1951 inspired Rainer to examine of the priciples of automatism and blind painting. • Rainer's drawings form in his mind, he then creates central and vertical lines according to his physical gesture. • The rhythmic lines suggest short and long, as well as soft gestures. We are grateful to the Studio Rainer for the kind expert advice. PROVENANCE: Gisela Franz-Osterwald (acquired from the artist). Private collection (acquired from the above in 2003). Called up: June 19, 2021 - ca. 13.17 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Fritz Winter - - 1905 Altenbögge - 1976 Herrsching am Ammersee Ohne Titel. 1936. Mischtechnik. Öl und Wachskreide auf Papier. Lohberg 664. Rechts unten monogrammiert und datiert. Auf chamoisfarbenem Ingres-Bütten (mit Wasserzeichen). 63,5 x 48,5 cm (25 x 19 in), blattgroß. [JS]. • Frühes 'Licht-Gemälde', das mit seinem Formenrepertoire und seiner transluziden Schwerelosigkeit entscheidende Elemente von Winters berühmtem Zyklus 'Triebkräfte der Erde' (1944) vorwegnimmt. • Herausragendes Zeugnis von Winters meisterlicher Inszenierung sich sanft überlagernder, kristalliner Formgebilde, das Winters Nähe zum zeitgleichen avantgardistischen Schaffen Naum Gabos belegt. • Wie in dem 1944 geschaffenen Werkzyklus 'Triebkräfte der Erde' gelingt Winter hier bereits eine von innerem Leuchten getragene Komposition, die durch ihre metaphysische Präsenz begeistert. • Bereits in den 1950er Jahren stellt Winter in Amerika aus und ist auf zwei Ausstellungen des Museum of Modern Art, New York, vertreten. PROVENIENZ: Privatsammlung Süddeutschland (vor 1981). Galerie Thomas, München. Sammlung Deutsche Bank (vom Vorgenannten erworben). AUSSTELLUNG: Galerie Gunzenhauser, München 1981, mit Abb. (Faltblatt). Bauhaus-Künstler, Kunstsammlungen zu Weimar / Museum Wiesbaden / Bauhaus Dessau, 1993/94, Kat.-Nr. 146, mit Abb. S. 109. Auf Papier - Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt a. M., 3.3.-30.4.1995; Berlinische Galerie, Berlin, 18.5.-2.7.1995; Museum der Bildenden Künste, Leipzig, 10.8.-8.10.1995, Kat.-Nr. 214, S. 344-355, mit ganzs. Abb. Man lebt im Wirken der Schöpfung. Fritz Winter zum 100. Geburtstag, Kunst-Museum Ahlen, 10.9.2005-29.1.2006. Blind Date Istanbul, Sabanci University Sakip Sabanci Museum, Istanbul, 8.9-1.11.2007. Von einzigartiger Immaterialität und von einem sanften inneren Leuchten getragen sind Winters frühe 'Licht-Gemälde' der 1930er Jahre. In dieser wunderbaren Komposition hat Winter das 'immaterielle' Weiß zum Protagonisten erklärt, dessen abstrakte Formgebilde sich scheinbar flüchtig und schwerelos überlagern und im Zentrum verdichten, vor die scheinbar unendliche Weite des dunklen Raumes treten. Winter strebt in diesen seltenen frühen Kompositionen danach, geistig-immaterielle Inhalte zu schaffen, und nutzt dafür eine gesteigerte Reduktion der Bildmittel. Ab 1934 erreicht Winters Beschäftigung mit der Raum-Licht-Durchdringung dann ihren Höhepunkt und er nähert sich in seinen von universellen Gedanken getragenen Kompositionen schließlich, wie in der vorliegenden Arbeit, den frühen transluziden Plastiken des russischen Konstruktivisten Naum Gabo. Gabo gründet 1931 zusammen mit Theo van Doesburg, Auguste Herbin, Antoine Pevsner und Georges Vantongerloo in Paris die Künstlerbewegung 'Abstraction-Création', die bis 1937 auch einen gleichnamigen Almanach herausgibt und damit entscheidende theoretische Vorarbeit für die abstrakte Malerei liefert. Winter, der sich selbst bereits um 1930 konsequent der abstrakten Malerei verschrieben hatte, wird das Schaffen dieser avantgardistischen Vorreitergeneration genauestens verfolgt haben. Und so ist das vorliegende frühe 'Licht-Gemälde' Winters ein herausragendes kunsthistorisches Zeugnis seines Austausches mit den avantgardistischen Strömungen der Zeit und sein herausragender künstlerischer Beitrag zu jener internationalen Aufbruchstimmung, die schließlich u. a. mit der informellen Malerei der Nachkriegszeit breite öffentliche Anerkennung erlangen sollte. [JS] Aufrufzeit: 19.06.2021 - ca. 13.27 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFritz Winter -1905 Altenbögge - 1976 Herrsching am Ammersee Ohne Titel. 1936. Mixed media. Oil and wax chalks on paper. Lohberg 664. Monogrammed and dated in lower right. On creme Ingres laid paper (with watermark). 63.5 x 48.5 cm (25 x 19 in), the full sheet. [JS]. • Outstanding early composition, which, owing to its repertoire of forms and its translucid weightlessness, anticipates key elements of Winter's famous cycle 'Triebkräfte der Erde' (Driving Forces of the Earth, 1944) • Early documents of Winter's masterly orchestration of gently superimposing crystalline forms over a dark earthen ground • In this work Winter realized a composition characterized by an inner glow and metaphysic presence that is comparable with the cycle 'Treibkräfte der Erde' from 1944 • Winter showed works in the USA in two exhibitions at the Museum of Modern Art, New York, as early as in the 1950s. PROVENANCE: Private collection Southern Germany (before 1981). Galerie Thomas, Munich. Collection Deutsche Bank, Frankfurt a. M. (acquired from aforementioned). EXHIBITION: Galerie Gunzenhauser, Munich 1981, with illu. (folding leaflet). Bauhaus-Künstler, Kunstsammlungen zu Weimar / Museum Wiesbaden / Bauhaus Dessau, 1993/94, cat. no. 146, with illu. on p. 109. Auf Papier - Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt a. M., March 3 - April 30. 1995 / Berlinische Galerie , Berlin, May 18 - July 2, 1995 / Museum der Bildenden Künste. Leipzig, August 10 - October 8, 1995, cat. no. 214, pp. 344-355, with full-page illu. Man lebt im Wirken der Schöpfung. Fritz Winter zum 100. Geburtstag, Kunst-Museum Ahlen, September 10, 2005 - January 29, 2006. Blind Date Istanbul, Sabanci University Sakip Sabanci Museum, Istanbul, September 8 - November 1, 2007. Called up: June 19, 2021 - ca. 13.27 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Cornelia Schleime - - 1953 Berlin - lebt und arbeitet in Berlin und Brandenburg Reigen. 2005. Acryl, Schellack und Asphaltlack auf Leinwand. Verso auf der Leinwand signiert und datiert. 160 x 200 cm (62,9 x 78,7 in). • Seit dem Entstehungsjahr in österreichischem Privatbesitz. • Großformatige Arbeit aus der Werkserie der 'Love Affairs', in denen sich die Künstlerin sinnlich-intimen und erotischen Motiven widmet. • Durch die besondere Materialität der ungleichmäßigen, pastosen Oberfläche entsteht eine spannungsreiche Haptik. • Ab 2005 hält die Künstlerin eine Professur an der Kunstakademie in Münster/Westf. • 2020/21 sind Cornelia Schleimes Arbeiten u. a. in den Ausstellungen 'Berührend. Annäherung an ein wesentliches Bedürfnis' im Paula Modersohn-Becker Museum, Bremen, und 'We Never Sleep' in der Frankfurter Schirn Kunsthalle zu sehen. PROVENIENZ: Galerie Michael Schultz, Berlin. Privatsammlung Österreich (2005 vom Vorgenannten erworben). AUSSTELLUNG: Cornelia Schleime. Love Affairs, Galerie Michael Schultz, Berlin, 26.4.-27.5.2008; Kunsthalle Tübingen (mit dem abweichenden Titel 'Blind Date'), 7.6.-7.9.2008, S. 54f. (mit ganzseitiger Farbabb.). Aufrufzeit: 19.06.2021 - ca. 16.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCornelia Schleime -1953 Berlin - lebt und arbeitet in Berlin und Brandenburg Reigen. 2005. Acrylic, shellac and asphalt varnish on canvas. Signed and dated on the reverse. 160 x 200 cm (62.9 x 78.7 in). • Privately-owned since it was made. • Large work from the series 'Love Affairs' in which the artist committed to sensual-intimate and erotic motifs. • Through the special materiality of the uneven and pastose surface the artist creates a fascinating haptic appeal. • In 2005 the artist was called to teach at the Münster Art Academy. • In 2020/21 Cornelia Schleime's works were shown in the exhibitions 'Berührend. Annäherung an ein wesentliches Bedürfnis' in the Paula Modersohn-Becker Museum, Bremen, and in 'We Never Sleep' at the Frankfurt Schirn Kunsthalle. PROVENANCE: Galerie Michael Schultz, Berlin. Private collection Austria (acquired from above in 2005). EXHIBITION: Cornelia Schleime. Love Affairs, Galerie Michael Schultz, Berlin, April 26 - May 27, 2008; Kunsthalle Tübingen (with different title 'Blind Date'), June 7 - September 7, 2008, pp. 54f. (with full-page illu.). Called up: June 19, 2021 - ca. 16.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A George II style mahogany silver table with a canted pierced fretwork gallery and blind fretwork frieze over cabriole legs on claw and ball feet. c 1900 Height 76cm Width 81cm Depth 50cm.

A Benares tray top table on fret and blind carved folding base. 23' diam

WILLIAM BURTON: 2 titles: A HISTORY AND DESCRIPTION OF ENGLISH PORCELAIN, London, Cassell, 1902, (1200) numbered (77), frontis and title page detached, original cloth gilt, armorial bookplate of Frederick Walter Carter; PORCELAIN, ITS NATURE, ART AND MANUFACTURE, London, B T Batsford [1906], 1st edition, original blind stamped cloth gilt + R L HOBSON: PORCELAIN, ORIENTAL, CONTINENTAL AND BRITISH, London, Archibald Constable, 1908, 2nd edition, original decorative cloth + W J POUNTNEY: OLD BRISTOL POTTERIES, Bristol, J W Arrowsmith, 1920, 1st edition, original cloth gilt + ARTHUR HAYDEN: SPODE AND HIS SUCCESSORS, London, Cassell, 1925, 1st edition, original cloth gilt + FRANK HURLBUTT: BOW PORCELAIN, London, G Bell, 1926, 1st edition, large 4to, original blind stamped cloth gilt + F SEVERNE MACKENNA: 18TH CENTURY ENGLISH PORCELAIN, Leigh-on-Sea, F Lewis, 1970, (600) numbered (267), 4to, original cloth gilt, d/w (7)

GEORGE WOOLISCROFT RHEAD & FREDERICK ALFRED RHEAD: STAFFORDSHIRE POTS AND POTTERIES, London, Hutchinson, 1906, 1st edition, 68 plates including 4 coloured as list, 4to, original cloth gilt, teg + LLEWELLYNN JEWITT: THE CERAMIC ART OF GREAT BRITAIN, London, J S Virtue [1883], new edition revised, original cloth gilt + W MOORE BINNS: THE FIRST CENTURY OF ENGLISH PORCELAIN, London, Hurst & Blackett, 1906, 1st edition, 72 plates including 45 coloured, 4to, original decorative cloth pink, green and gilt, teg + WILLIAM CHAFFERS: MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN, London, J Davy & Sons, 1863, 1st edition, original blind stamped cloth gilt (4)

PERCY MACQUOID & RALPH EDWARDS: THE DICTIONARY OF ENGLISH FURNITURE, Woodbridge Antique Collectors Club 1983, (1000), 3 vols, numbered (632), large 4to, original cloth gilt + SIR AMBROSE HEAL: THE LONDON FURNITURE MAKERS, London, Portman Books, 1988, large 4to, original cloth, d/w + ARTHUR HAYDEN: CHATS ON COTTAGE AND FARMHOUSE FURNITURE, London, T Fisher Unwin, 1912, 1st edition, signed and inscribed, original blind stamped pictorial cloth gilt + MAX ROBERTSON (ED): GOING FOR A SONG, ENGLISH FURNITURE, ARTHUR NEGUS TALKS TO MAX ROBERTSON, London, BBC, 1969 reprint, original cloth, d/w (6)

DAVID MICHAEL STERN & CLIFFORD WILLIAM FURNEAUX BURNETT: A MODERN PRACTICE OF OBSTETRICS, London, Balliere, Tindall & Cox, 1952, 1st edition, inscription on ffep, 4to, original blind stamped cloth gilt

WILLIAM JEANES: THE MODERN CONFECTIONER..., London, John Camden Hotten, 1861, 1st edition, 15 engraved plates including key plate for frontis, original blind stamped black cloth, spine gilt lettered

ANON: THE ILLUSTRATIONS OF NATURAL HISTORY EMBRACING A SERIES OF ENGRAVINGS AND DESCRIPTIVE ACCOUNTS OF THE MOST INTERESTING AND POPULAR GENERA AND SPECIES OF THE ANIMAL WORLD, ill J le Keux & R Sands, London, Longmans, 1829-30, added engraved title and 113 plates as called for, ffep, frontis added title and title page detached, prize label of Pottergate Street House Academy, Norwich on front paste down, original blind stamped cloth gilt worn, aeg, inner joints weak

LEWIS WRIGHT: THE PRACTICAL POULTY KEEPER..., London, Cassell [1894] 60th thou, 8 chromolitho plates as list, 16pp adverts at end, original blind stamped cloth + H PIPER: POULTRY, A PRACTICAL GUIDE..., London, Groombridge, 1872, 2nd edition, 8 chromolitho plates as list, original blind stamped cloth, re-cased, new end papers + WILLIAM BERNHARD TEGETMEIER: PHEASANTS, THEIR NATURAL HISTORY AND PRACTICAL MANAGEMENT, London, Horace Cox, 1897, 3rd edition enlarged, 16 plates as list, 2pp adverts at end, original cloth gilt (3)

EDWIN LANCASTER (ED): THE CORRESPONDENCE OF JOHN RAY, London for The Ray Society, 1848, 1st edition, original blind stamped cloth gilt worn + ROBERT W T GUNTHER (ED): FURTHER CORRESPONDENCE OF JOHN RAY, London for The Ray Society, 1928, 1st edition, original blind stamped cloth gilt, teg + CHARLES E RAVEN: ENGLISH NATURALISTS FROM NECKAM TO RAY, Cambridge University Press, 1947, original cloth (3)

JOSEPH NASH: BRITISH SONGBIRDS..., ill Newton Limbird Smith Fielding, London, William Tegg, 8 hand coloured plates as list, frontis loose, original blind stamped pictorial cloth gilt, teg, inner joints weak + HENRY GARDINER ADAMS: FAVOURITE SONG BIRDS, London, Groombridge, 1889, 8 hand coloured plates as called for, original decorative bevelled brown cloth gilt, aeg + HENRY STANNARD: OUTDOOR COMMON BIRDS..., London, Frederick Warne [1873], 1st edition, frontis, 1pp adverts at end, original decorative blue cloth gilt, aeg + HARRY H WITHERBY: FOREST BIRDS, THEIR HAUNTS AND HABITS, London, Kegan Paul Trench Trubner, 1894, 1st edition, 8 plates as called for, original pictorial bevelled green cloth gilt (4)

ROBERT MUDIE: A NATURAL HISTORY OF DOMESTIC AND WILD ANIMALS..., London, Charles Griffin, [1839], added hand coloured vignette title, 7 hand coloured plates as called for, original decorative cloth gilt, aeg (not in Freeman) + MARIA E CATLOW: POPULAR SCRIPTURE ZOOLOGY, London, Reeve & Co, 1852, 1st edition, 16 hand coloured plates as list, 8pp adverts at end, original blind stamped cloth gilt re-cased, new end papers + MRS MARY WARD: THE MICROSCOPE, London, Groombridge 1870, 3rd edition, 8 hand coloured plates as called for, 16pp adverts at end, original decorative cloth gilt, aeg + JOHN GEORGE WOOD: THE COMMON MOTHS OF ENGLAND, London, George Routledge, [1870], 1st edition, 12 hand coloured plates as called for, original decorative bevelled green cloth gilt (4)

JAMES EDMUND HARTING: RAMBLES IN SEARCH OF SHELLS, LAND AND FRESHWATER, London, John van Voorst, 1875, 1st edition, 10 hand coloured plates as called for, 2pp adverts at end, original cloth gilt + JOHN GEORGE FRANCIS: BEACH RAMBLES IN SEARCH OF SEASIDE PEBBLES AND CRYSTALS..., London, Routledge, Warne & Routledge, 1859, 1st edition, added coloured title and 8 coloured plates as called for, errata slip, 2pp adverts at end, 16mo, original blind stamped cloth gilt + CHARLES KINGSLEY: GLAUCUS OR THE WONDERS OF THE SHORE, Cambridge, MacMillan, 1855, 1st edition, engraved frontis, original decorative cloth gilt + ANON: SHELLS AND THEIR INMATES, London, RTS, 1841, 1st edition, coloured frontis (some foxing), 2pp adverts at end, 16mo, original blind stamped cloth gilt (4)

HENRY STEVENSON: THE BIRDS OF NORFOLK..., London, John van Voorst, Norwich, Matchett & Stevenson, 1866-70, 1st edition, 2 vols, 5 plates as called for, some foxing, original blind stamped cloth gilt, a continuation volume by Thomas Southwell was published in 1890 + BERNARD BERYL RIVIERE: A HISTORY OF THE BIRDS OF NORFOLK, London, H & G Witherby, 1930, 1st edition, plates and maps collated complete, original cloth + CLAUD BUCHANAN TICEHURST: A HISTORY OF THE BIRDS OF SUFFOLK, London and Edinburgh, Gurney & Jackson, 1932, 1st edition, plates collated complete, original cloth (4)

KELLY'S DIRECTORY OF NORFOLK, 1896, with map, original blind stamped cloth gilt worn

SUSANNA CLARKE: THE LADIES OF GRACE ADIEU, ill Charles Vess, London, Bloomsbury, 2006, 1st edition, original cloth backed decorative blind stamped boards, slip-case + MARY SHELLEY: THE MORTAL IMMORTAL, intro Michael Bishop, San Francisco, Tachyon, 1996 (100), numbered (76) and signed by Bishop, original cloth, d/w + OLIVIA HOWARD DUNBAR: THE SHELL OF SENSE, COLLECTED GHOST STORIES, ill Wendy Wees, intro Jessica Amanda Salmonson, Uncasville, California, Richard H Fawcett, 1997 (400), original cloth, d/w, all titles vgc (3)

WILKIE COLLINS: MY MISCELLANIES, London, Samson Lowe, 1863, 1st edition, 2 vols, vol 1 16pp adverts at end dated Nov 1863, vol 2 adverts at end including 16pp adverts dated Nov 1863, original blind stamped green cloth, spines a little dulled (2)

LOURENCE GOLDSTEIN: ALTAMIRA, ill David Newbert, Omaha, University of Nebraska, 1978, (300) numbered (263), Abattoir editions, 2 relief prints as called for, signed and inscribed to John Fowles, original cloth, printed paper label + DAVID GRENELL (ED): ANSWERS, Berkeley California, 1996 (50) numbered (36), ownership signature and inscription of John Fowles, 4to, original cloth + PETER ROBERT HENRY MOND, 4TH BARON MELCHETT (INTRO): A COASTLINE BRITAINS THREATENED HERITAGE, London, Kingfisher Books, 1987, contributors including John Fowles, 4to, original cloth, d/w, bookplate of John Fowles, typed letter signed from Melchett to Fowles on Greenpeace headed notepaper + autograph letter signed and a typed letter signed to Fowles from Charlotte Parry-Crooke loosely inserted + TOM WILLIAMSON: LIVING LANDSCAPES, HEDGES AND WALLS, London, The National Trust, 2002, 1st edition, 4to, original cloth, d/w, bookplate of John Fowles + PETER EVERETT: 2 titles: A DAY OF DWARFS, London, Neville Spearman, 1962, 1st edition, original cloth, d/w (part losses), blind stamp of John Fowles; NEGATIVES, London, Jonathan Cape, 1964, uncorrected proof, original wraps, blind stamp of John Fowles (6)

JOHN BROCKMAN: 37, New York, Holt, Rheinhart, Winston, 1970, 1st edition, signed and inscribed to John Fowles, original cloth, d/w + SHEILA KOHLER: MIRACLES IN AMERICA, New York, Alfred A Knoff, 1990, uncorrected proof, original wraps, autograph letter signed to John Fowles loosely inserted + J NEIL, C GARCIA: OUR LADY OF THE CARNIVAL, Diliman, Quezon City, University of the Philippines Press, 1996, 1st edition, signed and inscribed to John Fowles and with John Fowles' ownership signature, original pictorial wraps + LILA BITA: THE SCORPION AND OTHER STORIES, New York, Pella Publishing, 1998, 1st edition, original wraps, ownership signature of John Fowles + TOM SLATTERY: THREE GERMAN STORIES, Osterholz-Scharmbeck 1985, 1st edition, signed and inscribed to John Fowles, original wraps + THANASSIS HATZOPOULOS: AS IF PRESENT, Chalkis, 1997, 1st edition in Greek, English, French and Italian, signed and inscribed to John Fowles, original boards + GILLIAN ALLNUTT: HOB GREEN, Nimes Grand Phoenix Press, 2004 (250) (230) numbered (148), original wraps, John Fowles' blind stamp + one other title signed and inscribed to John Fowles (8)

JOHANN HEINRICH VOS: LOUISA, trans James Cochrane, Edinburgh, Johnstone & Hunter, 1852, original blind stamped cloth, spine dulled

C J BARRETT: THE HISTORY OF BARN ELMS AND THE KIT-KAT CLUB NOW THE RANELAGH CLUB, London, 1889, 2nd edition, 4to, original blind stamped vellum gilt soiled

EDWARD BOND "AN AMATEUR": A CONCISE HISTORY AND ANALYSIS OF ALL THE PRINCIPAL STYLES OF ARCHITECTURE..., London for T Cadell, Edinburgh, W Blackwood, 1829, 8 engraved plates as called for, contemporary blind stamped calf gilt, spine gilt in compartments, morocco gilt spine label

RICHARD JEFFERIES: WOOD MAGIC, A FABLE, London, Cassell Petter Galpin & Co, 1881, 1st edition, 2nd issue, 2 vols, 8pp adverts at end of each vol for July, original blind stamped cloth gilt (2)

SIR WALTER SCOTT: 3 titles: THE LAY OF THE LAST MINSTREL, London, Longman, Hurst, Rees and Orme, Edinburgh, A Constable, 1808; MARMION, A TALE OF FLODDEN FIELD, Edinburgh, Archibald Constable, London, William Miller & John Murray, 1808, 1st edition; THE LORD OF THE ISLES, Edinburgh, Archibald Constable, London, Longman, Hurst, Rees, Orme and Brown, 1815, 1st edition, all works uniform large 4to, blind stamped calf gilt, all edges marbled, marbled end papers, armorial bookplates of Sir William Browne Ffolkes (3)

WILFRED JOSEPH CRIPPS: 2 titles: OLD FRENCH PLATE WITH TABLES OF THE PARIS DATE-LETTERS AND FACSIMILES OF OTHER MARKS, London, John Murray, 1880, 1st edition, 20pp adverts at end dated July 1883, original cloth gilt worn; OLD ENGLISH PLATE, ECCLESIASTICAL DECORATIVE AND DOMESTIC, ITS MAKERS AND MARKS, London, John Murray, 1894, 5th edition revised and enlarged, original cloth gilt + WILLIAM CHAFFERS: HALLMARKS ON GOLD AND SILVER PLATE..., London, J Davy, 1863, 1st edition, 4to, original blind stamped cloth worn and soiled (3)

Miniature Bible [English]. The Bible in Miniature, or a concise history of the Old & New Testaments, London: E. Newbery, 1780, [2], 256pp., tipped-in engraved general title and engraved New Testament title present, 13 (of 14) engraved plates, all edges gilt, marbled endpapers, contemporary red morocco with elaborate gilt decoration, green leather oval onlays to centre of each board lettered in gilt 'JHS', 64mo? in 8s (41 x 29 mm), together with: Miniature Bible [English], The Holy Bible, containing the Old and New Testaments..., Glasgow: David Bryce & Son; London: Henry Frowde; Oxford: University Press, [1911], monochrome frontispiece & few illustrations, magnifier in rear pocket, original blind decorated brown morocco, 32mo (42 x 30 mm), New Testament [English], The New Testament of our Lord and Saviour Jesus Christ, Glasgow: David Bryce & Son; London: Henry Frowde; Oxford: University Press, [1895], original roan, 17 x 15 mm, contained in original tin container, hinged lid with integral magnifier (formerly with necklace hanging loop)Qty: (3)NOTESBible [English], 1780 - Roscoe J28.

Fuller (John E.). Fuller’s Computing Telegraph [cover title], Telegraphic computer, a most wonderful and extraordinary instrument, by which business questions, of every possible variety, are instantly performed ..., New York: 1860s, 24pp. booklet describing the use of and instructions for the ‘computer’, toned, some spotting and dust-soiling, edges a trifle frayed and chipped, first leaf with small loss to upper edge, 3rd leaf with long closed tear (repaired), printed front pastedown, inside rear cover with adhered folding lithographed table, entitled ‘Analytical table of mechanical movements ...’ (repaired), rear hinge strengthened, original blind-stamped cloth, rubbed and marked, some wear to extremities, rear cover dampstained, with accompanying double-sided engraved volvelle set into thick board, comprising ‘Palmer’s Computing Scale, improved by Fuller’ on one side (with the 'Pounds, Shillings & Pence' addition for the English market) and ‘Fuller’s Time Telegraph’ on the other, tartan borders to boards (some loss on edges), dust-soiled and lightly rubbed, some minor marks, square 4toNOTESDate estimated from the statement in the booklet that Hannibal Hamlin is vice-president of the United States (served 1861-1865). The title of this circular slide rule is believed to be one of the earliest examples of the word 'computer' being used to describe a device rather than a person.

Arts and Crafts Binding. The Nature of Gothic, A Chapter from the Stones of Venice, with a Preface by William Morris, by John Ruskin, Orpington: George Allen, 1899, letterpress illustrations, some spotting to first and final leaves and edges, top edges gilt, remainder untrimmed, contemporary bookplate of May Lawrence on front pastedown, crushed tan morocco, signed 'F.S' in gilt on rear turn-in, spine gilt panelled, blind-tooled hinge with trefoil dot decoration emanating from raised bands onto returns, upper cover with green morocco onlaid panel gilt-tooled with stylised Tudor rose surrounded by foliate tendrils, trefoil dot decoration at each corner, lettered in gilt above and below, gilt double fillet border and fillets on edges and turn-ins, 8voQty: (1)