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Sombre Binding.- Book of Common Prayer (The), engraved throughout and ruled in red, with decorative borders, illustrations, volvelle on Circular Table and advertisement leaf at end, list of subscribers, contemporary black sombre bidning, rebacked retaining original backstrip, tooled in blind, a little rubbed, expert repairs to corners, 8vo, John Baskett, sold by John Sturt, engraver, 1717.

Presentation copy from a woman author.- Manley (Mrs. Mary de la Riviere) The Power of love: in seven novels, first edition, presentation copy from the author, initial advertisement f., some spotting or light foxing, lightly browned, new endpapers, contemporary blind-stamped panelled calf, rebacked, corners repaired, rubbed, 8vo, Printed for John Barber on Lambeth-Hill, and John Morphew, near Stationers-Hall, 1720.⁂ Provenance: 'Given me by ye Author L.O.' (ink inscription to front free endpaper). Rev. Lewis Owen (1696-1746), son of Sir Robert Owen, of Porkington. He married Elizabeth Lyster (her ink ownership inscription to head of title).

Dickens (Charles) A Christmas Carol, first edition, first issue, second state, with "Stave I" heading, title page printed in red and blue dated 1843 and green endpapers, half-title in blue, 4 hand-coloured etched plates by & after Leech and 4 plain woodcut vignettes by Linton after Leech, ink ownership inscription to title, occasional light spotting or marginal finger soiling, upper hinge broken, back-strip peeling from textblock, lower hinge weak, original first issue brown fine-ribbed cloth, with unbroken 'D' within wreath and minimum 14mm gap between blind border and gilt cartouche, spine defective, lacking upper portion, lower portion almost detached, corners worn, g.e., [Smith II 4], 8vo, Chapman & Hall, 1843.

Gregynog Press.- Milton (John) Four Poems...L'Allegro, Il Penseroso, Arcades, Lycidas, number 61 of 250 copies, original blind-stamped red calf, 1933; Comus, number 179 of 250 copies, original buckram-backed boards, 1931 § Butler (Samuel) Erewhon, number 267 of 300 copies, original sheep, 1932, all with wood-engraved titles, plates and illustrations by Blair Hughes-Stanton, the first with prospectus loosely inserted, first and second slightly rubbed, [Harrop 26, 19 & 23], 8vo & small folio, Newtown, Gregynog Press (3)

Cameron (Julia Margaret, photographer, 1815-79).- Tennyson (Alfred, first Baron Tennyson, poet, 1809-92) Poems, signed presentation copy from Tennyson to Julia Margaret Cameron with his ink inscription on title, later ink inscription recording the gifting of this volume to her son Charles Hay Cameron (in his hand), frontispiece portrait of Tennyson by H. Robinson and illustrations, fly-leaf torn and creased with small loss to tail, B4 outer edge torn and creased, 2K1-2P1 small stain in outer margin, bound in full contemporary blind-stamped red morocco, gilt, small scuff mark on upper cover, gilt spine, slightly dulled, g.e., label on front pastedown of Willis and Sotheran, by Hayday & Mansell, 8vo, 1857.⁂ Charles ('Charlie') Hay Cameron (1849-91), son of Julia Margaret Cameron

Fleming (Ian) Thunderball, first edition, original cloth, spine lettered in gilt, skeletal hand design in blind to upper cover, dust-jacket, short nick to foot of lower joint, a few light marks to upper panel, a few short nicks and some light creasing to head and foot, but a near-fine example generally, housed in custom morocco-backed drop-back box, 8vo, 1961.

Fleming (Ian) The Spy Who Loved Me, first edition variant issue with quad mark on title, original cloth, lettered in silver, dagger design to upper cover blocked in silver and blind, slight bumping to spine tips, dust-jacket, small nick to foot of upper joint, light rubbing to extremities, but a fine copy otherwise, preserved in custom morocco-backed drop-back box, 8vo, 1962.⁂ The scarce variant issue with the quad mark appearing on title due to a printer's error. Gilbert estimates that as few as one copy in ten from the first impression exist in this state.

δ Binding.- Middleton (Bernard C., binder).- Daval (Jean-Luc) History of Abstract Painting, illustrations, some colour, bound in black goatskin, by Bernard C.Middleton, covers ruled with narrow vertical parallel lines partly filled with small stars all in blind and edged in vertical strips of inlaid pale turquoise goatskin tooled with stars in gilt and blind, spine similarly tooled and with onlaid black goatskin label titled in gilt, black suede doublures, beige paper flyleaves, signed and dated with monogram 1990 at rear, g.e., rear joint slightly nibbled by insects at foot, preserved in black goatskin-backed cloth drop-back box, spine with pale turquoise label titled in gilt and very slightly faded, 4to (240 x 190mm.), 1989.⁂ A typical example of the great bookbinder's craftsmanship.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Limited Editions Club.- Homer. The Odyssey, translated by T.E. Shaw (Lawrence of Arabia), wood-engravings by Barry Moser, original cloth, 1981 § Euripides, Medea, Mippolytus, The Bacchae, illustrations by Michael Ayrton, original cloth-backed boards, printed at the Curwen Press, 1967 § Gilgamesh, translated by William Ellery Leonard, colour illustrations by Irving Amen, original cloth, Avon, Ct., 1974 § Book of Ecclesiastes (The), text in English and Hebrew, colour illustrations by Edgard Miller, original sheep decorated in blind, uncut, spine rubbed and faded, 1968 § Quarto-Millenary: The First 250 Publications...1929-1954 of The Limited Editions Club, original morocco-backed cloth, 1959, limited editions, all but the last signed by the artists, plates and illustrations, some colour, the first with prospectus loosely inserted, all with slip-cases, most New York; and 4 others for the club, v.s. (9)

Limited Editions Club.- Heaney (Seamus) Poems and a Memoir, limited edition signed by the author, artist and editor, relief engravings by Henry Pearson, original calf with design in blind to upper cover, 1982 § Joyce (James) Dubliners, limited edition signed by the editor and artist, photogravures by Robert Ballagh, original morocco-backed cloth, 1986, both with prospectus loosely inserted, uncut, spines slightly faded, slip-cases, New York, Limited Editions Club, small folio & 4to (2)

Limited Editions Club.- Hersey (John) Hiroshima with a New Poem by Robert Penn Warren, one of 1500 copies signed by the authors and artist, 8 original silkscreens by Jacob Lawrence, tissue guards, prospectus loosely inserted, original black calf, titled in blind on upper cover, black edges, spine slightly faded, slip-case (a little mottled), 4to, New York, Limited Editions Club, 1983.

A George III style mahogany serpentine fronted chest, circa 1920s, with thumb moulded edge, above two short and three long cock beaded drawers, blind fret cut stiles, over shaped bracket feet, 113 x 62 x 113cms high.By repute, purchased at the sale of the contents of Belsay Castle, post-WWII.

A George III style mahogany serpentine fronted chest, circa 1920s, with thumb moulded edge, above two short and three long cock beaded drawers, blind fret cut stiles, over shaped bracket feet, 111 x 61 x 115cms high.By repute, purchased at the sale of the contents of Belsay Castle, post-WWII.

Winston S. Churchill, 2 titles: 'Marlborough. His Life and Times.', London, George G. Harrap & Co Ltd, 1934-1938, 4 volumes, volume 1 November 1934, new edition, revised, volumes 2-4 1934-1938, 1st editions, 1st impressions, portrait frontispiece to each volume, 99 additional plates, 14 facsimiles of letters, and 182 maps and plans, several folding, collated complete/as called for, uniform original purple cloth, spines lettered in gilt, Marlborough crest gilt to front covers, top edges gilt, in the "Limited Presentation Edition" dust wrappers (worn, some small part losses/tape repairs). Churchill's biography of the first Duke of Marlborough, his ancestor who led British forces to victory against Louis XIV, "took its place at once among the classics of historical writing. As the story of his ancestor's leadership of a grand alliance to prevent the domination of the continent by a single power, it was also a source of inspiration to Churchill in his campaign against appeasement" (ODNB). Cohen A97.2(I-IV).a; Langworth pp. 166-8; Woods A40(a); together with 'Lord Randolph Churchill', London & New York, Macmillan, 1906, 1st edition, 2 volumes, frontispiece portraits to each volume + 16 plates, collated complete/as called for, ex Wolverhampton Girls' School Library, inkstamps verso of title pages and to half title of volume 2, else no other lib markings to leaves/leaves clean/VGC, original red cloth, spines lettered and ruled in gilt, lib markings removed from spines, ruling continued to boards in blind, front covers lettered in gilt with the Churchill family crest stamped in gilt, edges untrimmed. Churchill's great biography of his father Lord Randolph Churchill (6)

AN EDWARDIAN MAHOGANY STUDENTS BUREAU with three quarter gallery above blind fret carved frieze, fall front enclosing fitted interior, 65cm wide 25cm deep 120cm high Condition Report : good condition, with key Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

An early/mid-20th century oak glazed bookcase with blind fretwork panels, height 130cm, width 91cm, depth 32cm.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.

A 19th century mahogany silver table with overall blind fretwork, the pierced galley above block legs, height 85cm, width 88cm, depth 55cm (alterations).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.

Wendy Reeves, a limited edition coloured print, the fisherman, 574/850, with artist's blind proof stamp lower left, an oil on canvas, a tree study, signed with monogram EAG, and an 18th/19th century Gothic engraving (3), all framed

Various Artists First Great Weston Artist Let Them Hang, 2008 Limited Edition Collaboration Print Signed and A/P in pencil by each artist (apart from Banksy and Nick Walker) Published by Let Them Hang with blind stamp 50 x 70 cm (19.5 x 27.5 in) Artists who participated: Mau Mau, Dicy, (Graham) Paris, Mr Jago, China Mike, Eco, Mudwig, Ziml, Will Barras, Richt, Darren Groucutt, Xenz, Banksy Nick Walker, What Collective?, Sickboy.

Mudwig (British b. 1980) That’s All Folks, 2008 Giclee print Signed and numbered 16/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures.  His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.

Mudwig (British b. 1980) Pluto's Licking 2008 Giclee print Signed and numbered 35/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures.  His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.

Mudwig (British b. 1980) Dogmatix Best Chum, 2008 Giclee print Signed and numbered 29/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures.  His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.

Inkie (British b.1969) Beauty Is In The Eye Of The Beholder, 2009 Limited edition print on tintoretto paper with 24 carat gold leaf Signed and numbered A/P 2/2 with blind stamp Framed and glazed 75 x 56 cm (29.5 x 22 in) Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC)or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.

A good late 17th century walnut marquetry-inlaid and laburnum oyster-veneered longcase clock with silver-mounted 10 inch dialEdmund Appley, Charing CrossThe rising hood with blind fret raised on ebonised twisted columns over a convex throat moulding and long door inlaid with four panels of bird-and flower-marquetry against an oyster-veneered ground, the sides with long oyster panels framed in crossbanded walnut, on a matching five-panel inlaid base raised on bun feet. The 10inch square brass dial with single line border interrupted at the base by the signature Edmund Appley, Charing Cross, the silver chapter ring with minute band with 5-minute numerals over slender Roman hours flanked by fleur de lys markers, with inner quarter-hour track, matted centre with small subsidiary seconds and matted shutters, all framed by finely cast silver winged cherub spandrels. The eight-day movement with five slender knopped and finned pillars, anchor escapement with bolt and shutter maintaining power, inside countwheel striking (the detent mounted externally and engaging through a slot in the backplate). The backplate mounted with a brass L-shaped bracket locating against a conforming iron bracket set into the backboard. Together with a pendulum and pair of brass-clad weights. 1.96m (6ft 6ins) highFootnotes:Edmund Appley was the son of a weaver and born in Westmoreland in 1656. Loomes notes that he was an apprentice of Jeffrey Bayley and made free of the Clockmakers Company in 1677. He died in Edinburgh whilst on business in 1688, writing in his will 'having come to Scotland about necessary affairs and there falling sick and fearing that my sickness be unto death....'This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A LATE 17TH CENTURY BURR WALNUT VENEERED LONGCASE CLOCK WITH TEN-INCH DIAL AND BOLT-AND-SHUTTER MAINTAINING POWERJOHN EBSWORTH, LONDONThe rising hood with overhanging cornice and blind cut frieze supported on twisted columns, with long side glazed panels over a convex throat moulding and long door with oval lenticle framed by quarter-veneered panels of lively figuring within a D-moulded edge, on a crossbanded base and squat bun feet. The ten-inch square brass dial with single line border framing the winged cherubs' head spandrels and silvered chapter ring, the Arabic five-minute markers set within the minute ring and enclosing the Roman hours, fleur de lys half-hour markers and inner quarter hour track, the finely matted centre with slender subsidiary seconds dial and chamfered date aperture with boldly engraved date numerals, signed along the lower edge in copperplate script John Ebsworth, Londini Fecit. The weight driven eight-day movement with six latched knopped pillars and bolt-and-shutter maintaining power to the going train with anchor escapement, the strike train regulated via an outside countwheel acting on the bell. Ticking and striking, with case key, crank winding key, pendulum and a pair of brass-clad weights. 1.93m (6ft 4ins) high.Footnotes:Provenance:P.A. Oxley, 4 April 1997.John Ebsworth was apprenticed to Richard Aymes (also spelt Ames) in 1657, meaning he was likely born around 1643. Richard Aymes is known to have worked in Holborn, near St. Andrews Church, so it seems likely that this is where Ebsworth served his apprenticeship. A Christopher Ebsworth is also noted as being apprenticed to Aymes in 1662, and he was described as a clockmaker after his apprenticeship. It remains unknown what his relationship to John was, though he has long been assumed to be the younger brother, given his later date of apprenticeship. He was not listed in John's will, but he may simply have died before John. John gained his freedom of the Clockmakers Company in 1665, before moving into a shop 'at the Cross[ed] Keys in Lothbury'. This may have been on the same site as Knifton's former premises which were destroyed in the Great Fire, to the far south-west of Lothbury. When Lothbury was rebuilt, Ebsworth may have chosen to occupy a site well-known for clocks from Knifton's occupancy since 1646. Lothbury was a popular centre for clock workshops from the 1630s onwards; the area had long been associated with metal workers and founders. This association goes back, certainly as far as 1508, with some suggestion of going as far back as 1365, and the establishment of the Founder's Company. Given the easy access to all the raw materials, it is natural that the early clockmakers would be found here too. Interestingly, Richard Aymes was apprenticed to Peter Closon, a famed early lantern clock maker, and when Knifton died in early 1667, Aymes was one of the appraisers of his estate. Closon, Knifton, and Ebsworth all have clocks which used the 'matchstick man' casting mark. This mark has been associated primarily with Lothbury clockmakers, between the 1630's until about 1685. The mark has been variously ascribed as being the mark of the founder, the casting firm, or another specific individual. John Ebsworth is also recorded as working at 'New Cheap Side, however, the uniformity of his style makes it difficult to tell where he worked first, but any work signed from the Cross[ed] Keys is likely to date from the rebuilding of Lothbury by the early 1670s; Ebsworth had an extensive output of products which included lantern, bracket and longcase clocks, pocket watches, and even sundials.He continued to climb the ranks of the Clockmakers Company throughout his career, becoming a warden by 1695; in October of that year, he and another warden, Edward Stanton, were present when the apprentice George Graham gained his freedom of the Company. Two years later, Ebsworth was the Master of the Company. That he was financially secure at this point is seen by his investment in 1694 of £1,000 in the burgeoning Bank of England. This is the largest amount invested by any recorded clockmaker, with the exception of Thomas Tompion, who also invested £1,000. Ebsworth died in 1699, appointing his wife Susanna the sole executor of his will and Edward Stanton as the overseer, as well as instructing Stanton to provide business advice to Susanna. In total, he willed £570 to his three cousins and their children, with the promise of giving them more, should Susanna remarry within two years of his death. He was buried in St.Margaret's, Lothbury, a short walk from his home and workshop, and his memorial may still be seen there.His timepieces remain highly prized; a longcase by Ebsworth is on display at the Victoria and Albert Museum, and one of his table clocks was presented to the Duke of York in 1923 to celebrate his marriage and is still kept running at Clarence House.Nye, J. and Doherty, C. (2020) 'Thomas Knifton, beginnings, middle, ends', Antiquarian Horology, Vol. 41 (1), pgs.76-82.Lloyd, H. A. (1951) 'George Graham Horologist and Astronomer', Horological Journal, Vol 93 (11) pg. 710.Will of John Ebsworth (1699). The National Archives: Public Record Office. Catalogue reference: PROB 11/452/249.The Worshipful Company of Founders (2022) History. Available at: https://www.foundersco.org.uk/historyRoyal Collection Trust (2022) Table clock. Available at: https://www.rct.uk/collection/3000/table-clock Victoria and Albert Museum (2008) Longcase clock. Available at: https://collections.vam.ac.uk/item/O53199/longcase-clock-john-ebsworth/ Loomes, B. (2013) Lantern Clocks of the mid-seventeenth century - an examination of some with 'matchstick man' castings and 'matchstick' flower engraving. Available at: https://www.brianloomes.com/collecting/matchstick/index.html Loomes, B. (2006) 'A Lantern Clock Showing 'Thirds'', Horological Journal, Vol. 148 (3), pg. 107-108. Robey, J. (2012) 'Moorfields And Clock-Brass Founders Part 2: The Mayor Family And Other Founders', Antiquarian Horology, Vol. 148 (3), pg. 622-623.Buick, T. (2020) Orreries, Clocks, and London Society Cham: Springer.Gloag, J. (1976) A Short Dictionary Of Furniture London: Allen & Unwin.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

AN 18TH CENTURY WALNUT STRIKING LONGCASE CLOCK OF ONE MONTH DURATIONGeorge Graham, London, No. 590 The case with stepped caddy top flanked by twin finials over a blind cut fret, the stepped and moulded cornice over a further fret set on brass mounted Doric columns, both sides with rectangular glazed panels, the long trunk door with lively burr figuring enclosed by a D-moulded edge, the sides inlaid with two long feather-banded panels to a matching base and apron. The leading edge of the door punch numbered 590. The 12-inch square brass dial framed by Indian mask spandrels interspersed with foliate engraving, the bolt-and-shutter maintaining power lever set to the edge at IX, wide silvered chapter ring with outer Arabic five-minute numerals enclosing the bold Roman hours with typical floating lozenge half-hour marks and an inner quarter-hour track, the finely matted centre with subsidiary seconds dial over the applied oval signature cartouche and chamfered date aperture with pin-hole date adjustment, good blued steel hands and latched dial feet. The substantial movement set on built-up cheeks, (as is occasionally seen on Graham's work) and united by five heavy knopped and latched pillars, secured to the backboard via a brass L-shaped bracket, the five-wheel going-train terminating in an anchor escapement with long steel crutch to a pendulum with robust circular-section brass rod terminating in a brass-faced lenticular bob with engraved silvered rating nut: the rack striking train set in a partially skeletonised frontplate sounding the hours via a shaped brass-headed hammer and bell. The backplate numbered to the rear lower edge 590. Ticking and striking, together with the pendulum, brass-clad weights, crank winding key and door key. 2.31m (7ft 7ins) high.Footnotes:Provenance: Purchased Asprey, 14 May 1987.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

AN IMPORTANT LATE 17TH CENTURY EBONY VENEERED LONGCASE CLOCK OF THREE MONTH DURATION WITH ROMAN-STRIKING AND ONE-AND-A-QUARTER SECOND PENDULUMJoseph Knibb, LondonThe rising hood with shallow caddy top surmounted by three gilt brass flattened-ball finials over a blind fret supported by brass-mounted multi-piece Corinthian columns, centred by a cast gilt brass foliate swag terminating in tied ribbons, each side with pierced wood sound fret, the trunk with internal spoon lock and set with a mask to the centre of the upper cross-piece, the long door set with three panels, two long and one short, the sides matching, raised on a plain base and brass ball feet. The 10.5-inch square brass dial signed along the lower edge, Joseph Knibb, London between winged cherub head spandrels interspersed by engraved foliate boughs to the sides and a symmetrical foliate motif above, all framing the large expanse of very fine matting acting as the perfect foil to the silvered skeletonised Roman chapter ring with each minute engraved on the minute band. The quarter-hour track with small leaf-shaped half-hour markers, and finely fettled blued steel hands. (In typical fashion for a Roman striking clock, the numeral four is marked by IV rather than IIII.) The weight driven movement secured to the backboard with a brass L-shaped bracket, with arched and slightly shouldered plates united by substantial knopped and ringed pillars latched to the frontplate, both trains with large diameter barrels and finely shaped collets to the wheels, the going train terminating in an anchor escapement, the rear pivot of which is supported on a single-footed cock mounted on the backplate with a long crutch to the two-piece pendulum which hooks on to a spring suspension hung from a shaped bracket at the top of the backplate, with butterfly suspension. The backplate with semi-circular cut-out for the anchor pallets. The strike train using the Roman notation system of sounding the hours on a pair of hammers and bells – one large and straight-sided to represent the numeral '5' and a smaller, lighter example to represent the numeral '1', controlled via a small-diameter outside countwheel with four crossings and external detent. Ticking and striking, together with the pendulum and a pair of very large brass-covered weights. 2.135m (7ft) high.Footnotes:The foregoing is a list of the seven Roman striking, three-month going, longcase clocks by Joseph Knibb that are known to exist. It is immediately apparent that the current clock is in a very select group of Golden Age clocks. Perhaps even more telling is that of the seven listed, only one matches the current lot in benefitting from the additional refinement of a skeletonised chapter ring. The other skeletonised example is illustrated in the standard reference work 'The Knibb Family Clockmakers' by R.A. Lee, in figures 32 and 48. At that time, the images had been supplied by Messrs. F. Partridge & Sons Ltd, one of the great Antique dealing dynasties of the modern period. It has not been seen in public since its publication in 1964 and its current whereabout is not known to us. The current clock, therefore, offers a remarkable opportunity to acquire an iconic clock from one of the world's most revered makers. Garnier & Hollis (2018): Innovation and Collaboration; 'The early development of the pendulum clock in England. Catalogue of the Exhibition held at Bonhams, 101 New Bond Street', London 3-14 September 2018, Exhibit number 100. (three-month duration, ebony case, 10.5-inch dial, solid chapter ring)R.A.Lee; The Knibb Family Clockmakers, The Manor House Press, 1964, plates 31 and 47 (three-month going, ebony case, un-recorded dial size, solid chapter ring)R.A.Lee; The Knibb Family Clockmakers, The Manor House Press, 1964, plates 32 and 48 (three-month going, ebony case, un-recorded dial size, skeletonised chapter ring)Roberts, D. (1990) British Longcase Clocks. Pennsylvania: Schiffer Publishing, Figs. 96 A and B (three-month going, ebony case, un-known dial size, solid chapter ring). J. Darken (ed.) (2003) Horological Masterworks: English 17th Century clocks from Private Collections, AHS, Exhibit 25 (three-month going, ebony case, 10.5inch dial, solid chapter ring)H. van den Ende (ed.) (2004), Huygen's Legacy, The Golden Age of the Pendulum Clock, Castletown, pp156-157 (three-month going, ebony case, 10.5inch dial, solid chapter ring)The Time Museum sale of Clocks and Watches, Sotheby's New York, 13 October 2004, lot 532 sold for $540,000. (three-month going, ebony case, 10.5-inch dial, solid chapter ring)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

To be sold without reserve 12 volumes H. G. Wells The Complete Works of H.G. Wells London Odhams Press 1930 Kipps / The Research Magnificent; Joan and Peter / The Country of the Blind; The History of Mr. Polly / The War in the Air; Tono-Bungay / A Modern Utopia; The Wife of Sir Isaac Harman / The Dream; Mr. Britling Sees it Through / In the Days of the Comet; Collected Short Stories; The New Machiavelli / The Food of the Gods; The Sleeper Awakes / Men Like Gods; The Invisible Man / Secret Places of the Heart / God the Invisible King; Love and Mr Lewisham / Marriage; The First Men in the Moon / The World Set Free Dimensions: 7.75 in. (H) x 5.25 in. (W)

Herbert Thomas Dicksee (1862-1942) British, A crouching tiger, etching, signed in pencil, with blind stamp, 18.75" x 28.75" (48 x 73cm).

Andy Warhol (1928-1987) 'Uncle Sam', lithograph on Arches paper numbered 81/100 and signed, published by Georges Israel Editeur, Paris, publishers blind stamp with Leo Castelli, New York verso, 22.5" x 15", (57x38cm) (unframed).

A FRENCH AMBOYNA AND ORMOLU MOUNTED CENTRE TABLEBY HENRY DASSON, CIRCA 1881The underside stamped twice 'HENRY DASSON, 1881', the ormolu to one side of the under tier inscribed 'Henry Dasson. 1881', with Granito verde top and chinoiserie decorated lacquer panels, the blind frieze drawer released by a button to the underside78.5cm high, 109.5cm wide, 65cm deepFor two tables by Henry Dasson, that are near identical to the example shown here, see Christie's, London, 500 Years: Decorative Arts Europe, 23rd September 2010, Lot 329 (£12,500), and Christie's, Paris, The Decorative Arts Sale, 1st July 2010, Lot 725 (€20,000).  Condition Report: There are marks and abrasions consistent with age and use.Restorations and observations include: the marble cracked and repaired, difficult to distinguish the crack from the top of the marble; stains to the oak carcase, a metal button release to spring the frieze drawer; some rubbing and ageing to the finish of the ormolu; some wear to the lacquered panel; some veneer chips and small repairs; the lacquered panel of the under tier has craquelure.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

Taxidermy: A Large Perruque European Roebuck (Capreolus capreolus), modern, by Paul Taylor, Taxidermy, Dorchester, a superb high quality adult Perruque Roebuck shoulder mount with head looking straight ahead, the antlers still in felt phase, from the wall 41cm, height 62cm overall, mounted upon a shaped oak shield.Male deer grow antlers every year, during the early stages of antler development the antlers are soft and covered in fine velvety hair referred to as ‘velvet’. In fact this velvet tissue is the means by which nutrients are carried to the antler in order to promote growth. If allowed to develop further the antler hardens and calcifies into the sharp bony structures known as antlers which the deer use as weapons. Deer antlers in velvet grow surprisingly fast and can develop up to 20mm each day. This process of annual regeneration is unique to deer and in humans might be the equivalent to growing an arm every year ! However on occasion, during the antler growing process, things can go wrong and it is from these incidents that many of the years malformed heads appear. Antlers in velvet are more flexible than fully developed antlers, however, half-fractures during the growing phase can result in some rare and bizarre trophies that are often highly sought after, especially by those trophy hunters from the continent who will often be prepared to spend strong money for a rare and unusual Roebuck trophy. However, the most significant effect on antler growth comes about through the interruption, even temporary interruption, of the hormonal balance. If the supply of male hormone is cut off temporarily the antler will take longer to harden and will probably show exaggerated pearling as a result of the extended growing period. These type of heads are referred to as ‘Mossed Heads’ and in such examples the antler will eventually harden, albeit in a malformed and unusual manner. What is more rare is the situation in which the male hormone testosterone is cut off completely, as might be explained through accidental castration whilst crossing a barbed wire fence, or involvement in a collision with a car. Incidences resulting in a lack of testosterone are not always so easily explained and may also develop as a result of rare internal anomalies in the deer’s physiology. Whatever the cause, the effect will be a continuous growth of the antler in the velvet stage that increases rapidly with time, and gives the effect of a mass of velvety tissue on the head that has the appearance of a wig also known as a ‘Perruque’. Sadly the wig, or perruque will in almost all incidences, eventually be responsible for the buck's demise, as it grows rapidly in the later stages and will either become fly blown and infected or blind the animal as it gradually obscures the eyes. Perruque’s are extremely rare and because of their effect on the animal, bucks suffering from this condition can rightly be described as both the ultimate cull buck and the ultimate trophy.

Antlers/Horns: A Group of Bronze Medal Class European Roebuck Trophies, a set of large adult Bronze medal class antlers on cut upper skull, with accompanying CIC measurement certificate, scoring 105.1, this specimen was naturally blind in the left eye showing affected eye socket, mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.53 mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.57 mounted upon a shaped oak shield with attached Bronze medal, together with two further large sets of adult Roebuck antlers on cut upper skulls, each mounted upon shaped oak shields, (5).

A Georgian inlaid mahogany wash stand, double hinged top with interior compartments for wash bowl etc, blind drawer above twin cupboard doors and two drawers, brass side-carrying handles, on square legs, 86.5cm x 41cm x 51.5cm Location:

Extremely large bus destination blind, with a large selection of destinations to include Piccadilly, East Didsbury, Sale Moor, Chorlton, Old Trafford, by Norbury & Co., with wooden and metal rollers, approx. 29ft long

A fine Worcester coffee cup and saucer, circa 1758-60Thinly potted and painted in vibrant enamels with scattered flowers, smaller sprigs and butterflies, with puce monochrome rococo scrolled borders containing finely painted 'sunburst' motifs, 11.5cm diam (2)Footnotes:ProvenanceBarbara Leake Collection, Bonhams, 12 March 2008, lot 171Gerald Moore CollectionA 'Blind Earl' dish with similar decoration is illustrated by Simon Spero, Worcester Porcelain: The Klepser Collection (1984), p.53, no.49. H Rissik Marshall illustrates a teabowl and saucer of the same attractive pattern, with the 'half a sun in splendour' border, Coloured Worcester Porcelain (1954), pl.6 no.86.For further information on this lot please visit Bonhams.com

A Worcester 'Blind Earl' spoon tray, circa 1770Of lobed, oval form, with fine twig handles, the upper surface moulded with leaves and flower buds, painted with colourful floral garlands, suspended from the gilt-edged deep blue border, with a gilt dentil rim, 16.8cm wide across the handles, 'W' markFootnotes:ProvenanceGerald Moore CollectionThe design has been painted without regard for the 'Blind Earl' moulding underneath, carefully executed so as not to allow the moulded buds on the handle terminals to spoil the line of the border.For further information on this lot please visit Bonhams.com

A George III Revival mahogany bookcase or display cabinet, astragal glazed doors, blind fretwork frieze, ball and claw feet, 137cm high, 136cm wide, 43cm deep, retailed by Lee, Longland & Co, c.1920

A Chippendale Revival mahogany display side cabinet, blind fretwork frieze, ball and claw feet, 125.5cm high, 139.5cm wide, 41cm deep, c.1925

A Worcester 'Blind Earl' plate, circa 1770Decorated in the Giles workshop, the embossed rose leaves and buds picked out in green and yellow enamels, a variety of fanciful insects painted in between, the scalloped rim edged with a gold line, 19.2cm diamThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An antique oak wardrobe, with moulded cornice above a pair of three panelled doors, the top panel with blind fretwork and all raised on bracket feet. Height 164 cm, width 122 cm, depth 55 cm.

A George III style mahogany chest of drawers, with rear upstand and moulded edge with canted angles with slide above, four long graduated drawers with brass drop handles flanked by canted angles with blind fretwork carving and raised on ogee moulded bracket feet. Height excluding upstand 84 cm, width 84 cm, depth 53 cm.

Alan Davie RA, British 1920-2014, I, from Zurich Improvisation, 1965; lithograph in colours on Rives BFK watermarked wove, signed, dated, and numbered 37/75, published by Editions Alecto, London, with blind stamp, image: 60 x 87.5 cm, (framed) (ARR) Please refer to department for condition report

Bob Dylan, American b. 1941- Drawn Blank Series, 14 prints in two portfolios: Dad's Restaurant, 2018; Woman In Red Lion Pub, 2018; Sidewalk Cafe, 2018; Rose On A Hillside, 2018; Sunflowers, 2018; Motel Pool, 2018; Sunday Afternoon, 2018; Bell Tower In Stockholm, 2018; Bicycle, 2018; Man On A Bridge, 2018; Train Tracks, 2018 (pink); Train Tracks, 2018 (blue-grey); Train Tracks, 2018 (blue sky); Train Tracks, 2018 (purple); giclee in colours on 350gsm Magnani 1404 QuaForte TM wove, signed and numbered 22/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, with blind stamp, in association with Black Buffalo Artworks, sheet: 70 x 56 cm, (unframed) Notes: together with a COA issued by Washington Green Fine Art. Please refer to department for condition report

After Andy Warhol, American 1928–1987, Muhammad Ali; lithograph on Arches wove, stamp signed within print, numbered 28/100 in pencil, bearing Georges Israel Editeur blind stamp, visible image: 49.5 x 37.5 cm, (framed)Please refer to department for condition report

Richard Hamilton, British 1922-2011, Kent State, 1970; screenprint in colours on wove, signed and numbered 3430/5000 in pencil, with Schoeller Turm blind stamp, printed by Dietz Offizin, Lengmoos, Bavaria, published by Dorothea Leonhart , Munich, image: 73 x 102 cm, (framed) (ARR) Please refer to department for condition report

Mimmo Paladino, Italian b. 1947-8- Terra Tonda, Africana, 1986; complete portfolio of six linocuts on wove, each signed and numbered 15/38 in pencil, each bearing artist's blind stamp, each: 37.7 x 51 cm, (unframed) (ARR) (6) Please refer to department for condition report

Fanakapan, British, Piz man; giclée print, hand-finished with spray paint, signed and embossed with blind stamp, numbered 2/3 pp in pencil, sheet: 42 x 29.8 cm, (unframed) (ARR) Note: together with COA issued by Enter Gallery Please refer to department for condition report

Martin Whatson, Norwegian b. 1984- Sneak peak, 2021; giclee with 7 Colour Screen Print On 300 Gsm Somerset satin wove, paper embossed around the curtain edge for a 3D effect with the graffiti in the background, blind-stamped by Martin Whatson & Graffitiprints, 62 x 25 cm, (unframed) (ARR) Note: together with COA issued by Graffiti PrintsPlease refer to department for condition report

Martin Whatson, Norwegian b. 1984- The Crack, 2021; giclee with 7 Colour screenprinton 300 Gsm Somerset satin wove, paper embossed around the crack for a 3D effect with the graffiti in the background, blind-stamped by Martin Whatson & Graffitiprints, 50 x 25 cm, (unframed) (ARR) Note: together with COA issued by Graffiti PrintsPlease refer to department for condition report

ANTIQUE MIRROR BACK HANGING WALL SHELVES, attractive fretwork gallery and blind fretwork sides, 78cm height 39cm width

A rolled gold seal fob/watch key, with a blind foil backed matrix, suspended on a chased split ringCondition ReportSplit ring slightly open.Wear to rolled gold seal. Some wear to the key - slightly rounded.

AFTER LIONEL EDWARDS "Beaufort Hunt" signed in pencil and with blind studio stamp, bears label verso inscribed "Coloured Artist's Proof by Lionel Edwards, The Beaufort Hunt" 36 cm x 52 cm together with four further LIONEL EDWARDS prints to include "The Old Surrey and Barstow" and "Mendip above Wells", all signed in pencil with blind studio stamp and a further LIONEL EDWARDS coloured print and AFTER JOHN KING "Study of horsemen jumping stone wall" coloured print

A Victorian Irish burr walnut loo table with amboyna banded and marquetry inlaid decoration, raised on a four column fluted and blind fretwork decorated base to splayed moulded supports and scroll feet, 130 cm wide x 98 cm deep x 70 cm high

HADWEN, LIVERPOOL. A GEORGE III FIGURED MAHOGANY 8 DAY MOON DIAL LONGCASE CLOCK No. 315 the 13" arched brass dial with cherub's head Rococo spandrels enclosing a signed silvered chapter ring with Roman hours and Arabic minute markings, scrolled leaf engraved matted centre, subsidiary seconds dial and date aperture beneath a revolving painted moon dial fronting a numbered 8-day movement with anchor escapement and bell strike. The flame veneered figured Mahogany case with swan neck pediment above a blind fretwork frieze and reeded side columns, long shaped-top trunk door with side quarter columns and Gothic blind fretwork frieze over, the canted shaped panelled base raised on ogee bracket feet.240.5cm highThe case has been re-polished in the past and is in good undamaged condition. The seatboard is original and sits nicely on the cheeks of the case, the dial is clean and original to movement, the movement is complete and looks to have been serviced in recent years, it does run and strike but we can't guarantee mechanical parts. Extra images have been uploaded.

WILLIAM WINSTANLEY, WIGAN. A GEORGE III FLAME MAHOGANY EIGHT-DAY MOON ROLLER LONGCASE CLOCK the 13" brass arched dial with rococo style cast brass spandrels enclosing a silvered chapter ring with Roman numerals and outer minute markers, the matted and engraved centre fitted with seconds dial and date aperture beneath a rolling moon and signed arch fronting an eight-day weight driven movement with anchor escapement and striking the hours on a bell. The Chippendale style case with blind fretted panel to the base, canted corners and long shaped trunk door, the hood with swan-neck pediment fitted with glass painted panels.240cm high

JOHN COPLEY RA (British 1875 - 1950) Three lithograph prints in six colours on laid paper signed in pencil with blind stamp titled 'The Lavatory' 1909 37 cm x 50 cm, Two Actors 1911 and a music Hall Artist 1910

[MUSSOLINI BENITO]: (1883-1945) Italian Fascist Dictator of World War II. CARELL GHITTA (1899-1972) Hungarian-born Italian photographer of Jewish heritage, a favoured photographer among the aristocracy who helped build the imagery used in Fascist propaganda. A fine original vintage 9 x 11.5 portrait photograph by Carell, the soft-focus image depicting Benito Mussolini in a semi-profile head and shoulders pose wearing a light suit with two lapel pins and a dark tie. With the copyright blind stamp of Carell to the lower left corner, dated 20th January 1934, and also signed ('Ghitta Carell') by her in dark fountain pen ink to the lower right corner, adding the place, Rome, and words 'Reprod. violata' in her hand. Some very light, extremely minor traces of former mounting to the verso and a couple of small, minor corner creases, VG 

[HITLER ADOLF]: (1889-1945) Fuhrer of the Third Reich 1933-45 & [MEISSNER OTTO] (1880-1953) German civil servant, head of the Office of the President of Germany 1920-45. D.S. in facsimile by both Hitler and Meissner, one page, folio, Berlin, 22nd May 1939, in German. The partially printed document, completed in typescript, awards the Order of Merit of the German Eagle Third Class with Swords to Juan A. Ponte Chinchilla. The blue printed facsimile signatures of Hitler and Meissner appear at the foot of the document alongside a circular blind embossed seal featuring the Nazi eagle and swastika. Contained in the original presentation folder and accompanied by the original envelope. VG

GURTNER FRANZ: (1881-1941) German politician of World War II who served as Reich Minister of Justice 1932-41. D.S., Dr. Gurtner, one page, 4to, Berlin, 31st July 1936, in German. The partially printed document, completed in typescript, confirms the retirement of Viktor Slowik, a senior ministry assistant, after having reached the age limit to retire from service in the Reich, and expresses gratitude to him for his loyal service to the Reich. With blind embossed seal featuring the Nazi eagle and swastika and blank integral leaf. VG