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Early 17th Century Monogrammed English Binding. [Asseline (Eustache)]/Eustachius a Sancto Paulo, Summa philosophiæ quadripartita [...], four parts in one, Coloniæ: Lazari Zatzneri, 1620, title-page and divisional title with printer's allegory, foliated initials, folding charts, in-text illustrations and some maps, lacking Q7 and signatures R, 2L, and all between 2P8-X, everything following 2X8 defective, bound in contemporary English calf, blind-ruled, centered by the original owner's monogram WP, five-compartment spine with raised bands, recto endpaper and flyleaf with contemporary and later manuscript inscriptions, 8vo. [Sold as a binding and not subject to return.] Provenance: William Parker, c. 1620, his contemporary binding and ink manuscript inscription to title-page.

Fine Binding. Hope (Thomas), Costume of the Ancients, volume I only (of 2), second edition, presentation copy (pencil inscription to ffep) London: Printed for William Miller, et al., 1812, pp: xv, 49, [4], illustrated with 130 full-page plates engraved by Henry Moses, some foxed, finely bound in contemporary red crushed morocco gilt, in the Regency Grecian Revival taste, the covers scored and blocked in blind with a foliate shaped kite, within graduating blind fillets, the latter intersected with a border tooled in gilt with ancient Greek tragedy masks, acanthus and ornaments, gilt turn-ins and dentelles, rubbed, the spine sunned, all edges gilt, blue endpapers, 4to.

Fine English Restoration Binding, and a Trinity of Early Female Ownership. The Book of Common Prayer [...], Together with the Psalter or Psalms of David [...], London: Printed by the Assigns of John Bill, Thomas Newcomb, and Henry Hills, Printers to the Kings most Excellent Majesty, 1680, [bound with] The Whole Book of Psalms: Collected into English Metre, London: Printed by J.C. for the Company of Stationers, 1676, separate titles: BCP black-ruled, Psalms with decorative woodcut border, BCP with the Royal Arms of Charles II to verso of [X4], each part printed in double-columns, signatures collating: A-U?, X?; A-E?, BCP: signature B4 defective with loss of text, signatures C4-D tatty with marginal chipped losses of letters, signatures E8 and O ditto, BCP and Psalms with some toning and occasional marginal stains in places, however mostly bright and fresh; 4ff of contemporary ink manuscript devout annotations to blanks (both recto and verso), by Frances Lloyd (the book's second owner, c. 1687), of apparent original thought and composition, including the Lord's Prayer, the creed, a short catechism, an exploration of the virtue of patience, etc., the text with further marginalia, - in the same lady's hand - but brief and mostly with some slight loss, the verso with a naive pen-and-ink sketch of a church and a pencil portrait, possibly of Thomas Roberts, 1749/50, above a marsupial, bound in contemporary red morocco, probably by Queen's Binder A (?possibly William Nott, from whom Pepys bought/commissioned a binding), richly gilt, the covers with a design of linked 'drawer handles' around floral bosses, tulips, other meandering scrolling foliage, and stars, many petals, volutes and scrolls painted black, within a blind-ruled fillet border, traces of the binder blind scoring the covers into quarters, flat spine of six compartments, alternately tooled and gilt with foliage and geometric motifs, divided by raised bands, marbled endpapers, lacking ffep, 8vo (18cm x 11.6cm).  Provenance: 1) Mary Temple, presumably the original purchaser of the book &/or its binding; contemporary ink MS inscription of c. 1680 to recto blank; 2) 'Frances Lloyds (sic) Book given her by her worth friend ye Lady Temple 1687'; ink MS ditto; 3) 'Dorothy Myddelton her Book Left her from her aunt Frances Lloyd 1725'; ditto. The binding is in very good, unrestored condition. The upper-cover joints are just beginning to split, though they're stable. The corners are gently bumped. A trifle of rubbing here and there, and some very light losses lost in the overall intricacy of the design. The bottom two spine compartments have former small wormholes, nothing too alarming. The boards very gently bowing. BCP: signature B4 defective with loss of text, signatures C4-D tatty with marginal chipped losses of letters, signatures E8 and O ditto. Both the BCP and the Psalms with some toning and occasional marginal stains in places, however mostly bright and fresh.

Law Statutes. [The Whole Volume of Statutes at Large, which at anie time heeretofore have beene extent in print, since Magna Charta, untill the XXIX. yeere of the reigne of our most gratious sovereigne Ladie Elizabeth], volume I only (Henry III to Henry VIII), London: Printed [by H. Denham and H. Middleton?] for Christopher Barker, printer to the Queenes most excellent Maiestie, 1587], Gothic black-letter printing, Mannerist woodcut headers, footers, vignettes, and historaited initials, lacking title-page and all before signature A, otherwise complete: 1043pp, [1] (colophon); A-[Ii]?, [Kk?], Ll-[Eeee]?, [Ffff?], occasional small wormhole, not affecting the text's readability, some ink manuscript marginalia and annotations in places viz. the law and its application to Ludlow, but very infrequent and brief, mid 18th century calf, blind-rolled borders, six-compartment spine, gilt-lettered piece within the second compartment, folio in 8s. Provenance: 1) An. 1593 March 26. Reg. Eliza. 35. The guift (sic) of William Norton of London Stationer, to the Towne (sic) of Ludlow in the countie (sic) of Salop [...]; printed Elizabethan/Jacobean bequest label preserved on later pastedown; 2) Ludlow Corporation, 1752, their dated gilt-lettered and tooled morocco label to upper-cover.

Miscellaneous. [De La Créquinière] & [Toland (John, translator)], The Agreement of the Customs of the East-Indians, With those of the Jews, And other Ancient People [...], To which are Added Instructions to Young Gentlemen that intend to Travel, first English edition, London: Printed for W. Davis, 1705, signature K defective, 4 plates only (of which one is defective), contents loosening, contemporary blind-ruled sheep (rubbed, split), 8vo, King Charles the Martyr, [Coade (George)], A Letter to a Clergyman, Relating to his Sermon on The 30th of January [...], sole edition, London: Printed for J. Robinson, 1746, contemporary calf (disbound), 12mo in 6s, The New-Readers Pocket Book: or A Military [...] and A Naval Dictionary [...], London: Printed J. Newbery, 1759, contemporary calf (disbound, perished spine), 12mo in 6s, [Ovid] & Biman (Paulus, translator & editor), P. Ovidii Nasonis Fasti, Tristia, de Ponto, &c. Enchusani [i.e. Enkhuizen]: Alberti Kluppel, 1653, engraved title-page, contemporary vellum, 12mo, (4).

Miscellaneous. Scarce Victorian Poetry Dedicated to the 1st Duke of Westminster, Naylor (R.A.), Nugæ Canoræ, sole edition Printed for Presentation Only/[By] Bowker Brothers, Middle Row, Goswell Road, London, n.d. [1888], original cloth gilt, the upper-cover centred by the Grosvenor crest, all edges gilt, 4to, Eliot (George), The Spanish Gypsy: A Poem, first edition, Edinburgh: William Blackwood and Sons, 1868, lacking ffep, original cloth, 8vo, Hyndman (H.M.), The Bankruptcy of India […], sole edition, London: Swan Sonnenschein, 1886, lacking ffep, original cloth (tired), 8vo, Anon, Etiquette; or, the Perfect Lady, London: Milner and Sowerby, n.d. [1855], original publisher’s green cloth, small 8vo, Second World War, The Diary of 85 (Essex) Medium Battery Royal Artillery 1943-1945, Margate: Printed by W.J. Parrett, Ltd, 1947, cloth, 8vo, Thackeray (W.M.(M), The English Humourists of the Eighteen the Century, London: Smither, Elder and Co., 1858, publisher’s cloth boards, 8vo, Travel, Enock (C. Reginald, F.R.G.S.), Peru, first edition, London: T. Fisher Unwin, 1908, presentation copy blind stamp, original cloth, 8vo, further travel, Salisbury (William), The Botanist’s Companion, volume II only, London: Longman, et al., 1816, publisher’s boards, 12mo in 6s, The Mirror, volume II, 1823, original publisher’s boards, 8vo, Moat’s Short-Hand, 1833, calf over marbled boards, tired, 8vo, Mark Twain, John Ruskin, 8vo, Wardle on Silk Fibre, 1908, original cloth, 8vo, Victorian building, construction, and manufacture, etc., (33).

Natural History. Scotland, Gordon (Seton, F.Z.S.), The Land of the Hills and the Glens: Wild Life in Iona and the Inner Hebrides, With 57 Illustrations from Photographs by the Author, first edition, London: Cassell and Company, Ltd, 1920, original cloth, 8vo, Gadow (Hans), Amphibia and Reptiles, London: Macmillan and Co., Limited, 1901, original cloth, 8vo, Houghton (Rev. W.), Country Walks of a Naturalist with His Children, sole edition, London: Groombridge and Sons, 1869, 7 chromolithographs only (of 8), original cloth, 8vo, Furneaux’s Butterflies and Moths, 1897, publisher’s blind-stamped presentation copy, original cloth, 8vo, Johns (The Rev. C.A.), Flowers of the Field, Elliott’s edition, tenth impression, 1923, colour plates, cloth, 8vo, further ornithology and botany, hunting, (13).

Scotland. Scott (Sir Walter), various works by or about, early 19th century and later, including: Fine Binding, The Poetical Works of Sir Walter Scott, Bart. With a Memoir of the Author. Illustrated by Engravings. Edinburgh: Adam and Charles Black, 1852, finely bound in contemporary elaborately blind-embossed maroon morocco (rubbed and chipped losses), gauffered gilt edges, marbled endpapers, 8vo, The Oxford Miniature Edition, Robertson (J. Logie, editor), The Complete Poetical Works, five-volume set, London: Henry Frowde, 1894, uniform full vellum, green-stained edges, slipcase en suite, 16mo, various Waverley volumes, imprints and bindings, qty other Scottish related works: [Latta (Mary)], The Orphans of Glenulva, sole edition, Edinburgh: Oliphant and Co., 1862, original publisher’s decorative cloth, 12mo, Gunn’s Orkeny Book, n.d., pictorial cloth, 12mo, Wilson’s Tales of the Borders and of Scotland, n.d. [c. 1900], cloth, 8vo, three works of Bee Jay, two of which are signed and contain loosely-inserted ALS from the author, 8vo, Robert Burns, various maps, including motoring, topography, folk lore and ballads, etc, (approx. 60)

The Bassandyne Bible, the First Bible Printed in Scotland, Geneva Version. The Newe (sic) Testament [...]/Conferred diligently with the Greke (sic), and best approved translations with divers languages, At Edinburgh: Printed by Thomas Bassandyne, 1576, [bound with, as posthumously issued] [The Old Testament, Alexander Arbuthnet, 1579], printed in parallel columns, NT title-page centred by the arms of Scotland, NT collates A-X?, Y²; signatures X onwards with dormant world trails at lower-left gutter/lower-margin, its fore margins repaired, but without loss of marginal notes, upper-right damp-stained throughout yet not affecting legibility of text; OT defective, lacking all before a1, a1 to [b4] repaired, unexamined thereafter, contemporary calf boards repaired and relaid on morocco, traces of blind-tooling and of previous metal mounts, morocco reback with gilt-lettered label, dated foot, crown folio in 6s (32.5cm x 22.5cm), [Herbert 158].

The Dropmore Press. Hassall (W.O., editor), The Holkham Bible Picture Book, copy no. 95/100, signed and numbered by Hassall, London, 1954, printed in 14 point Monotype Walbaum on Arnold & Foster hand-made vellum paper, finely bound in original red niger morocco over boards, the upper-cover blocked in blind with a Medieval Perpendicular Gothic arch, six-compartment spine of raised bands, lettered in gilt in the second, fourth and sixth, top-edge gilt, others uncut, crown folio (36.1cm x 27cm).

Trade and the Law. The Compleat Clark (sic), Containing the best Forms, Of all sorts of Presidents (sic), for Conveyances, and Assurances [...], with Alphabetical Tables of the whole Contents of the said Book, second edition, London: Printed by J.S. for H. Twyford, et al., [1664], black-ruled title a trifle tatty, its head with contemporaneous ink manuscript, all to C3 with marginal crease, the first sixth with marginal worm trails, not affecting, lacking plate, contemporary blind-ruled calf, rubbed and with some light worn losses, 4to.

Travel and Ethnography. Ratzel (Professor Friedrich) & Butler (A.J., translator), The History of Mankind, three-volume set, first English edition, presentation copy (blind-stamp), London: Macmillan and Co. Ltd., 1896, with coloured plates, maps, and illustrations, original publisher's blue cloth gilt, 8vo, miscellaneous others, including Thor Heyerdahl, Polynesia, the Maoris, Easter Islands, Freya Stark, Arctic and Antarctic exploration, Scott and Shackleton, Central and South America, their civilizations too, etc., (approx. 40). A fair-good copy of the Ratzel: some interior splits, but holding; one or two loose plates; the boards with some movement and stable splits; typical toning, some off-setting.

Hampton Court/Early Poems, the Arkwright family's album of manuscript verse, [61]pp, n.d. [mid-19th century], the family explore various subjects through poetry, which sounds as high-minded as the subjects they explore, including the Jesuits, 'On a Victim', 'The death of a favourite', etc., however there is an evident great sense of fun shown, personified by 'On Bed' or 'A Dimple - also George's boat being swamped at Eton', slightly earlier 19th century maroon morocco, blind-rolled anthemion borderes, yellow-stained edges, pale yellow endpapers, 8vo. The poems and album seem to have been an exercise and entertainment for the children of John Arkwright (1785-1858). Born in Bakewell, Derbyshire, a grandson of the great Industrial Revolution entrepreneur Richard Arkwright (1732-1792), he bought Hampton Court Castle, Herefordshire, in 1810.  Provenance: the Arkwright family of Hampton Court Castle, and later Kinsham Court, Herefordshire.

Piety in Augustan England. An early-mid 18th century manuscript, approx. [150]ff of theological questioning and pious introspection, occasional biblical citation and referencing, a few posed questions and a series of answers, contemporary blind-ruled calf (rubbed, a trifle tired), oblong 12mo.

The Chaplins of Blankney Hall, Lincolsnhire. A rental 'roll' of their 'lordships', n.d. [late 18th/early 19th century], [30], 221pp of ink manuscript, prefixed by an index of the tenants, the contents list the tenantry of each south-east Lincolnshire property owned by the Chaplins, arranged alphabetically on a parish-parish or town-town basis, including extensive property in Boston and Spalding, occasional remarks on the tenants, e.g. Charles Butler of Whickham "a Roman Catholic", contemporary calf over boards, blind-rolled fillet borders, the upper-cover blocked in gilt Holland, 4to. Provenance: Charles Chaplin (1786-1859), of Blankney Hall, landowner and politician, his armorial bookplate to recto pastedown. Chaplin sat in the House of Commons twice, for Stamford (1809-12) and later for one of the county seats of Lincolnshire (1818-31), as MP for the latter he voted against the Catholic Relief Act of 1827, thus casting his identification of Butler as a Roman Catholic in an altogether different light.

[Digby (Sir Kenelm)], Two Treatises. In the one of which, The Nature of Bodies; In the other, The Nature of Man’s Soule (sic), is Looked into: In Way of Discovery of the Immortality of Reasonable Soules (sic), second edition, but first edition printed in England, London: Printed for John Williams, and are to be sold at the Crowne in S. Pauls Church-yard, 1645, first treatise: title-page and the next four leaves repaired, ditto signature Ee, lacking portrait frontispiece and final leaf of text, signature K-K2 supplied in facsimile; second treatise: repaired divisional title and A2, unevenly cropped in places throughout with no discernible loss of text, but in places close to the running title, some toning, browning, stains, etc., very occasional and infrequent marginalia, contemporary calf boards, rebacked, 19th century endpapers, 4to, [&]  Smith (John, M.D.), The Pourtract of Old Age. Wherein is contained a Sacred Anatomy Both of Soul, and Body, and A Perfect Account of the Infirmities of Age Incident to them Both […], second edition, London: Printed for J. Macock, et al., 1676, title-page lower-margin cropped, A7 supplied in loosely-inserted ink manuscript, folding table detached and now loosely-inserted, contemporary blind-ruled sheep (cracked, split, chipped and rubbed; spine perished, yet holding), marbled edges, 8vo, (2).

17th & 18th Century Literature. Seven volumes, comprising Cotton (Charles, Esquire), The Wonders of the Peake (sic, i.e. Peak District Derbyshire), second edition, London:  Printed by J. Wallis, for Joanna Brome, 1683, repaired title and dedication leaves, each affected by ink blemish, though not affecting legibility of text, contemporary blind-ruled calf, rebacked in gilt-lettered brown morocco, refreshed endpapers, 8vo, Mottoes of The Spectators, Tatlers, and Guardians. Translated into English, London: Printed for Richard Wellington; et al., 1735, contemporary panelled calf, split and chipped, 12mo, [&] Vaughan (Henry), Silex scintillans/Sacred Poems and Private Ejaculations, first Pickering edition, London: Pickering, 1847, architectural title-page, contemporary Renaissance Revival brown morocco over bevelled boards by Macmillan of Cambridge, signed, blocked and tooled in blind, gilt-lettered recto and verso, all edges gilt, marbled endpapers, 8vo, Butler's Hudibras, 1750, contemporary calf, 12mo in 6s, etc, (7). Provenance: 1st: Thomas Pudsey/His Book/1714; ink manuscript ownership inscription. 2nd: Sir Charles Buck, 4th Baronet (1722-1782), of Hamby Grange Lincolnshire, book label to pastedown.

Arts & Crafts Fine Binding by Frank Garrett. [Westwood (Arthur)], Catalogue of the Books in the Library at the Assay Office Birmingham, [one of 250 copies], [privately printed at the] Chiswick Press: Charles Whittingham and Co., 1914, wood-engraved ornamental title-page, further wood-engraved alphabetical headers A-Z, finely bound in contemporary tan morocco by F. Garrett, Binder, signed dentelle, the covers panelled gilt with a graduating double-fillet border, blind-tooled trefoil foliage, six-compartment spine of raised bands conforming, lettered in the second and third, the last with the city's anchor assay mark and dated 1914, a trifle rubbed in places, all edges gilt, gilt dentelle fillet, green endpapers, 4to.

Browne (Sir Thomas), Certain Miscellany Tracts. Written by Thomas Brown, Kt, and Doctour (sic) of Physick; late of Norwich, first edition, second impression, London: Charles Mearne, and are to be sold by Henry Bonwick, at the Red Lyon, in St. Paul’s Church-Yard, 1684, black-ruled title-page, portrait frontispiece engraved by Peter Vanderbank, pp: [vi], 215, [6] (index), contemporary speckled calf, blind-ruled boards, speckled edges, 8vo, Browne (Sir Tho, Knt., M.D.) & Digby (Sir Kenelm), Religio Medici […], [with] Sir Kenelm Digby’s Observations, London: J. Torbuck, et al., 1736, engraved frontispiece, contemporary calf (tired, upper-cover coming loose), 12mo, (2).  Provenance: 1st: Mary Robinson, of Hendon, Barnet, North-West London; her 19th century book label to recto pastedown. 2nd: The Rev. John Riddell, Moffat United Presbyterian Manse, Dumfriesshire, Scotland; his book label to pastedown, title-page with earlier manuscript inscription: John Riddell, Liverpool/1842.

A 1.82m antique stripped pine dresser base with thick two plank top, three blind frieze drawers, central cupboard and four flanking short drawers, set on turned feet - bearing plaque for Arighi Bianchi, Cabinet Makers, Macclesfield

A gilt framed 19th Century sepia watercolour, depicting a view of the Severn Valley from a hillside - bearing 'Bristol Paper' blind stamp

Gerard Coulson: gilt framed signed limited edition coloured aviation print entitled 'Sunday Morning' - bearing FATG blind stamp

A pair of modern mixed wood bedside chests, each with four blind drawers, set on plinth base

A 19th century ebonised statuary pedestal, square plateau, tapered blind fretwork column, turned socle, square base, 116.5cm high, the top 26.5cm square, c.1890

A 19th century mahogany sofa table, canted rectangular top with fall leaves above a pair of frieze drawers, blind to verso, swan neck supports, sabre legs, brass casters, 70cm high, 92cm opening to 148.5cm wide, 61cm deep

A 19th century rosewood and marquetry serpentine Davenport desk, three quarter gallery above a sloping writing surface enclosing small drawers, small stationery drawer and four further drawers to side, blind to verso, spirally turned supports, plinth base, 86cm high, 61.5cm wide, 57cm deep

A late Victorian walnut and marquetry Davenport desk, hinged rectangular superstructure, sloping writing surface enclosing pigeonholes, the side with four drawers, blind to verso, ceramic casters, 81.5cm high, 53cm wide, 52cm deep, c.1890

A pair of Regency mahogany sofa tables, each with a rounded rectangular top with fall leaves above a pair of frieze drawers, blind to verso, turned column, brass casters, 71cm high, 77.5cm opening to 105cm wide, 60cm deep, c.1820

A Post-Regency mahogany hanging press cupboard, formerly a linen press, possibly Scottish, outswept cornice above a pair of panel doors enclosing a hanging rail, the base with an arrangement of blind drawers and a single long drawer, bracket-form base, 221cm high, 135.5cm wide, 63cm deep, c.1830

A William IV/early Victorian Gothic Revival pollard oak repeating musical bracket clock, 17cm lancet arched painted dial inscribed Barnard, London, Roman numerals, Strike/Silent, triple-winding holes, eight-day fusee movement striking on a gong and chiming on a nest of eight bells, the case with acanthus pinnacles, blind tracery and pendant swags, flanked by pillars, bun feet, 69cm high, c.1840

An early Victorian maple work table, hinged top above a long frieze drawer, blind to verso, basket undertier, spreading rectangular supports, turned stretcher, bun capped casters, 68.5cm high, 56cm wide, 37.5cm deep, c.1840

An 18th century oak longcase clock, 25cm square brass dial with Roman numerals, date aperture, 30 hour movement striking on a bell, the spandrels cast and applied with putti holding aloft a crown, the caddy top case with dentil cornice above a blind fretwork frieze, raised and fielded panel door to waist, skirted base, 208cm high, 47.5cm wide, 27cm deep

A Chippendale Revival mahogany low library bookcase, rectangular top with pierced three-quarter gallery above a blind fretwork frieze, a niche, a pair of glazed doors enclosing two shelves and further open shelves, divided and flanked by twin-columnar pilasters, turned forefeet, 127cm high, 145cm wide, 37cm deep, c.1910

A George III oak housekeeper’s livery or provision cupboard, moulded cornice above a pair of panel doors enclosing a vacant interior, the base with two short blind, two short and one long drawer, bone escutcheons, skirted base, bracket feet, 194cm high, 133cm wide, 55.5cm deep, c.1810

A George III oak housekeeper’s livery or provision cupboard, moulded cornice above a pair of panel doors enclosing hooks, the projecting base with three blind, two short and one long drawer, bracket forefeet, 192cm high, 141cm wide, 52.5cm deep, c.1800

A George III oak housekeeper’s livery or provision cupboard, simulated dentil cornice above a pair of panel doors enclosing hooks, flanked by inset fluted quarter-columns, the projecting base with three blind, two short and one long drawer, skirted base, bracket feet, 193.5cm high, 138.5cm wide, 54cm deep, c.1800

A George IV mahogany sofa table, rosewood crossbanded top with fall leaves above a pair of frieze drawers, blind to verso, turned and reeded legs, brass casters, 74.5cm high, 101cm opening to 157cm wide, 83.5cm deep, c.1825

A George III oak longcase clock, 30cm square brass dial inscribed Robert Pell, Malling, Roman and subsidiary Arabic numerals, subsidiary seconds dial, date aperture, leafy scroll spandrels cast with putti raising aloft crowns, bright-cut border, eight day movement striking on a bell, the case quite plain with blind fretwork frieze, 199cm high, c.1790

A George III Scottish mahogany longcase clock, 31cm arched brass dial inscribed Wm Gilles, St. Ninians, silver chapter ring with Roman and Arabic numerals, subsidiary seconds dial, date aperture, twin winding holes, eight day movement striking on a bell, the case with swan neck pediment and blind fretwork frieze, 224cm high, c.1780

An Edwardian Chinese Chippendale mahogany writing desk by Edwards & Roberts, the top inset with gilt-tooled claret leather above an arrangement of blind fretwork drawers and two slides to sides, raised on cluster column legs, height 76cm, width 122cm, depth 25.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

AURELIE NEMOURS (Paris, 1910-2005).Untitled. ca.1980.Painting on wood.Unsigned.Size: 23,3 x 32,5 cm.Aurelie Nemours managed to make a well-deserved name for herself within the abstract-geometric movement that developed in the sixties, heirs of the interwar avant-garde. Here we show a painting that was probably executed in his mature period, when he had already had numerous exhibitions in France and the USA. Orthogonality, flat, bright colours (in this case seeking a textured but uniform finish) and a desire to avoid interpretation defined her work.Aurelie Nemours was an important abstract painter belonging to the Constructive Art movement. In 1941, she attended André Lhote's studio. After the war, she attended the studio of Fernand Léger, who had reopened his studio in Paris. He began exhibiting at salons in 1944, then in 1949 at the Salon des Réalités nouvelles in Paris, where Auguste Herbin was exhibiting. In 1955, a Parisian publisher printed his first collection of poems "Midi la lune", embellished with his own woodcuts, which received a favourable review. At that time he had begun to work with pastels and created this exceptional series of black and white works, full of contrasts, with compositions strictly based on orthogonality, which he entitled Les Demeures (The Mansions) in reference to the writings of St. Teresa of Avila. In 1953, Gallery Colette Allendy organised Nemours' first solo exhibition in Paris. In 1957, Aurelie Nemours took part in the activities of the Groupe Espace. In 1960 she took part in the exhibition organised by Gallery Denise René in New York and presented at Gallery Chalette, "Construction and Geometry in Painting from Malevitch to Tomorrow", which consecrated her belonging to the current of Geometric Abstract Art. In 1998 he received a public commission for the stained glass windows of the church of the Priory of Notre-Dame de Salagon in Haute-Provence. In 1994, he received the Grand Prix national de peinture in France, although he had stopped painting since 1992, due to macular degeneration affecting his eyes. In 1996, the Grenoble Museum organised an exhibition in homage to Nemours. Two major retrospectives followed, one in Valencia organised in 1998 at the IVAM, the other at the Musée des Beaux-Arts in Rennes the following year. In 2001 she exhibited at the Musée de la Cohue in Vannes. It was not until 2004, when Aurelie Nemours was 94 years old and almost blind, that the Centre Georges Pompidou devoted a retrospective exhibition to her, with 170 works and a major published catalogue, an exhibition that received 150,000 visitors.

A Royal Worcester Vine Harvest pattern part tea service, comprising six cups and saucers, six side plates, cake plate, milk jug, sugar bowl, teapot, two Royal Worcester Blind Earl teacups, and a fine bone china sugar bowl. (1 tray, AF)

A GEORGE III MAHOGANY SERVING TABLE C. 1770 with a blind fretwork frieze above chamfered legs with foliate 'C' scroll brackets, an ivorine label for 'G Parkhurst & Co, Cabinet Makers, Haywards Heath' 88.2cm high, 158cm wide, 45cm deep Provenance Redlynch House, Salisbury, Wiltshire.

A GEORGE III MAHOGANY SERPENTINE COMMODE C.1770-1780 the moulded edge top above four long fiddleback mahogany drawers flanked by blind fret angles, with brass side carrying handles 83.7cm high, 106cm wide, 60cm deep

A FINE QUEEN ANNE EBONISED LONGCASE CLOCK BY JOHN KNIBB, OXFORD, EARLY 18TH CENTURY the brass eight day fully latched movement with five turned and finned pillars and inside countwheel, the anchor escapement striking on a bell, with a separate shaped cock for the pallet arbor and a cut-out on the backplate for the pallets, with a long crutch, the brass 11 3/4inch dial with a silvered chapter ring with Roman and Arabic numerals and fleur-de-lis half hour markers, the matted centre with subsidiary seconds dial and date aperture, with blued steel hands, signed 'John Knibb Oxon' with gilt brass crown and boys spandrels, the hood with a Knibb type button capped giltwood centre finial flanked by conforming brass finials to the domed caddy top above a blind fret friezes, with integral columns with gilt brass caps and plinths, the trunk with a concave moulding and a lenticle to the door, on a plinth base, with two brass cased weights, pendulum and case key 239cm high Catalogue Note John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took-on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Throughout the latter three decades of the 17th century John and Joseph worked in parallel, however when the products from both workshops are examined, it is evident that they had a close working relationship. Joseph Knibb retired in 1697 selling-up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb continued in business until his death in 1722. The movement of the current lot is fully latched and has the feature of separate cock for the pallet arbor (and cut-out for the pallets in the backplate) normally found on earlier clocks by Joseph with butterfly-nut pendulum regulation, however the casting for the pendulum hanging cock differs from those found on earlier clocks and the use of internal countwheel for striking the hours certainly dates it towards the end of the century. From these observations one could speculate that the movement of the current lot may well have been acquired by John from Joseph's stock when he retired in 1697 or even on his death in 1711 before finishing and fitting with a dial. The fine proportions of the case closely echoes London work of the period. Despite being provincially made (probably Oxford) the case does exhibit features such as the distinctive spherical finials with button-shaped caps (which are often seen on other longcase clocks by the Knibb family) which set it aside from other provincial examples of the period.

Reproduction mahogany two door blind panelled cocktail cabinet on cabriole legs. (B.P. 21% + VAT)

19th century mahogany bow fronted cabinet chest, the two blind panelled doors above a bank of six drawers on out swept legs. (B.P. 21% + VAT)Measurements are: 79x57x163cm approx.

Victorian 19th century mahogany inverted breakfront mirror back sideboard. Raised on plinth base with a series of cupboards and blind fronted drawers having a rococo framed edge upright mirror back. 159cm x 183cm x 63cm.

Laurence Stephen Lowry:  Peel Park, artist signed print, with blind stamp, 40 x 78cm, framed and glazed

After Sir William Russell Flint, (1880-1969), "Variations II" Studies of semi clad young women, limited edition print 348/850 with blind stamp, 53 x 70cm, framed and glazed; After Sir William Russell Flint, (1880-1969) "Carlotta on the Loire" limited edition print, with blind stamp, 166/850 53 x 70cm, framed and glazed

A CARVED AND PARCEL LIMED WOOD SIDE TABLE IN ELIZABETHAN TASTELATE 19TH OR EARLY 20TH CENTURYWith blind frieze drawer77cm high, 122cm wide, 59cm deep

A GEORGE III MAHOGANY SERVING TABLELATE 18TH CENTURY84cm high, 163cm wide, 51cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The top surface has various marks and stains and signs of age and use, there is variation to the polish, there is water damage - overall would benefit from a sympathetic clean and re-polishThe single drawer is blind, the rail below is worn from fingernails repeatedly impactingOverall solid and stableVarious repairs and insetting of timber to repair old losses There are a series of holes to the sides, this appears to have had side carrying handles at some pointPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A quantity of London Transport and bus related memorabilia. Including; 5x Passenger Service Vehicle driver/conductor's badges. 2x Reversing lights with aluminium frames. 20x London Country and Green Line staff label and cap badges by Gaunt, Firmin, etc. A box of London Transport 50th Anniversary badges and 150 years of London Buses badges. 8x aluminium bus garage code stencil plates. 2x aluminium route E Plates; 346B and 344. 16x London Transport staff badges. The definitive book by David Lawrence on 'London Transport Cap Badges' pub. Capital Transport. A selection of Birch Bros. timetables and other original leaflets. A destination blind from Baldock. A box of bus photographs. A quantity of additonal bus related badges. A few other items, etc. QGC-VGC, viewing recommended. £70-100

Six bottles Bodegas Campillo, Gran Reserva 1982, Rioja.Category: Red wine.One of the bottles with the Gold Medal label from Vinexpo 93 Bordeaux, the most important blind tasting in the world.Level: B-C.The Campillo winery maintains its totally family character, backed by four generations of experience. It has 50 hectares of vineyards with Tempranillo grapes surrounding the winery, where its wines are aged using the most traditional Riojan methods.

A George IV or William IV mahogany side or console table, circa 1830; the crossbanded top with rounded front corners, above a blind and ogee moulded frieze drawer; the acanthus carved serpentine front legs descending to a concave fronted undershelf and scrolled feet; 76cm high, 94cm wide, 47cm deep

A Chinese stained hardwood display cabinet, late 19th / early 20th century; with twin glazed doors within a surround of recessed relief carved blind keywork to the front, also glazed to back and sides; with an arrangement of staggered shelves within,; above peripheral stretchers with stylised carved openwork decorative motifs; 155cm high, 99cm wide, 35cm deep

A mahogany kneehole writing table or lowboy in 18th century taste, circa 1900; decorated overall to all surfaces with blind fretwork scrolling; the top with inset faux green leather skiver; the front with an arrangement of five drawers, all with brass lion's mask and ring handles; the back with conforming faux drawers; on straight tapering legs to square block feet; 75cm high, 88cm wide, 51cm deep

A George III mahogany chest on chest, circa 1780; the upper section with dentil and ogee moulded cornice above two short and three graduated long drawers, all with foliate cast ormolu swing handles and cock beaded edges; flanked by canted blind fretwork angles; the lower section with a brushing slide and three further long drawers; on bracket feet; 191cm high, 111cm wide, 57cm deep

Three pairs of English silver folding spectacles, early 19th c, one part marked, London 1835, three pairs of eyeglasses and a  Victorian silver hand seal with blind matrix and agate handle (7) The collection of C. W. Briggs (1906-1971) (lots 1-429) Part marked spectacles - one folding arm detached, another lacking

A George III fruitwood and pine dresser, early 19th c, with reeded cornice and three shelf boarded rack, the lower part with an arrangement of drawers, blind drawers and panelled doors, on stiles, the sides panelled, 202cm h; 48 x 150cm The collection of C. W. Briggs (1906-1971) (lots 1-429) Stripped and stained with old stains and burn marks, shrinkage crack in top, handles replaced