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**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A modern gilt wood effect overmantel mirror in late Georgian style, with jutting cornice over blind gothic arched frieze, and cluster columns, 111cm high 157.5cm wide Cond: good overall

LUCIAN FREUD (1922-2011)Encarnacion 'in the Square' 1968 titled and variously inscribedink, pencil and gouache on paper39.7 by 37.8 cm. 15 5/8 by 14 7/8 in. This work was executed in 1968. Footnotes:We are grateful to Annie Freud and Catherine Lampert for their assistance in cataloguing this lot.ProvenanceCollection of the artist, London Raymond Jones Collection, London Acquired directly from the above by the present owner in the 1980sLucian Freud's Encarnacion 'in the Square' tells an intimate and revealing story of the artist's relationship with his daughter, Annie Freud, and those sitters closest to the late master. It is a piece that carefully illustrates the devotion and creative dialogue he shared with the child of his first wife, Kitty Epstein. As a stirring and captivating study from an artist whose demeanour as a cold and fastidious portraitist preceded him, it is a rare and historical insight into the life of one of the greatest painters of the twentieth century.Executed as a poster for a synonymous theatrical performance that Annie performed in 1968, the present work is testament to Freud at his most fatherly and involved, in many respects. Attending Annie's performances, Freud conferred extensive feedback, as analytical as one might expect from the grandson of Sigmund Freud. In conversation with the sitter (Sept 2022), Annie commented of the play: 'It was a monologue, although there was another silent role on the stage. Encarnacion was the name of the blind woman I played. It tells the story of a woman who relives her whole life with her husband, Olo, the moment a car hits her on the Square of the town where she lives. Dad came to every night of the play and gave me detailed comments after each performance.' In Encarnacion 'in the Square', Freud lays bare a wonderfully crisp silhouette, delivered with an economy and sense of the human form that he is so renowned for. Remarkably, the piece was sold by Lucian to another famed sitter, Raymond Jones, who notably appears in Naked Man with Rat (1977-78), now in The State Art Collection of Australia.Over the course of his career Freud's output was consistently defined by the women in his life, and those images of his daughters stand as some of the most accomplished and celebrated works the artist produced. Presented here for sale, Encarnacion 'in the Square' is a unique example of Freud's ink drawing that captures his daughter Annie in a quite extraordinary context, boasting a wonderfully personal origin and significant provenance to complement its elegant execution.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ERNIE BARNES (1938-2009)The Gospel Truth 1985 signedacrylic on canvas 91.4 by 121.9 cm. 36 by 48 in.This work was executed in 1985. Footnotes:We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloguing this lot.ProvenanceCollection of Tim Hauser, California (acquired directly from the artist in 1985)Thence by descent to the present ownerExhibitedRiverside, Riverside Art Museum, Visual Voice, 2016Ernie Barnes' legacy has crystallized as one of the most significant and upstanding careers of a late great American artist. A young, aspiring boy from segregated Durham, North Carolina, who took to the football pitch as a professional player in the NFL before his first solo show in New York in 1966, Barnes' artistic inclinations were a constant throughout his life that he wove seamlessly together with his love of sport, music, and the sense of community and shared experience that underpinned his creative passion. The gospel halls of Barnes have become some of the most iconic and highly sought-after paintings by the artist, and The Gospel Truth is arguably the finest example of which to come to market. Displaying a remarkable attention to detail and almost chiaroscuro sense of space and light – whose hallowed windows descend in golden sunbeams dappled across the congregation – one cannot shake the imagistic power of a canvas that is bursting with a rapturous joy, marking the height of Barnes' career but a year after he was the official artist of the 1984 Olympic Games in Los Angeles. Across the glorious intensity of The Gospel Truth, Barnes revels in a kind of ecstasy that is both unique to his painting and to the American south that he was raised in. His subjects cast their arms aloft, heads raised to the sky, some held between hands, others throw their bodies and twist their faces in uncontrollable adulation. Recalling his childhood trepidation at the volume and fervour of a congregation in the throes of gospel verse, Barnes glimpsed something that remained at the heart of his career throughout his life; a sense of human presence and power that is found in the individual and in the collective consciousness. In the aptly titled The Gospel Truth this essential quality comes to the fore with remarkable force and artistry. In the finest examples by the artist, the light, depth of field and figurative dynamism identifies masterworks from great paintings – this is such a piece. From the halos that cascade amongst the pulsating crowd to the vignette of the lower edges that frames our gaze, the unique hazy glow of Barnes' paintings makes them radiate an inner light, projecting from the wall with a swirling, intensely layered surface that glistens as it catches the hips and shoulders of the dancing congregation. The Gospel Truth boasts a palette that is immaculately refined and delicately shifts between sunbeam and shadow. Like Barnes' night-time dance venues and pool halls that capture after-hours socialising and amusement, the Sunday morning of The Gospel Truth reveals another kind of liberation, one of worship, community and song, that nevertheless spills over into a party of stupendous energy. Purchased from the artist by Tim Hauser, eight-time Grammy winner and founder of The Manhattan Transfer, the present work bespeaks a musical passion shared between two masters of their craft. Introduced by the bassist Kenny Gradney of Little Feat., who also came up with the name 'The Gospel Truth', the painting was acquired fresh off Barnes' easel by Hauser and would be a brightening focal point of his collection amongst friends. It comes to market now as one of the most remarkable gospel canvases to have remained in constant ownership since its making, full of unique details and qualities that make it one of the most inspired paintings by the artist. Barnes' life and career has become refocused since his retrospective at the California African American Museum in summer 2019. If the truly American Renaissance man existed, it was him. He was unquestionably a natural artist, demonstrating a childhood fascination with the language of painting, intrigued by Delacroix, Michelangelo, and Toulouse-Lautrec. He was rarely without his sketchbook that accompanied him to classroom and track and field alike. Barnes' early sporting ability was an enabler for his artistic pursuit. He earned a full scholarship to the North Carolina College at Durham where he majored in art, and in turn was drafted to the Baltimore Colts in 1959, going on to play for the San Diego Chargers and Denver Broncos, before calling time on his professional career in 1965.Nevertheless, it would be a mistake to consider his term in the NFL a segue from his painting. From his early interests, Barnes' athleticism influenced his artistic inclinations in the most beautiful of ways and placed him at the epicentre of an Americana that made him a bona fide voice of a generation. From his high school captaincy of the football team to the biggest teams in the NFL, his appreciation of the body – of form, of strength, of stamina, of limits – was ingrained. Commenting on his relationship to sport and its impact on his practice, Barnes commented that 'being an athlete helped me to formulate an analysis of movement, and movement is what I wanted to capture on canvas more than anything else; I can't stand a static canvas' (the artist in: 'ernie barnes this is my art', YouTube, 28 July 2011). Athletes and artists share this deep connection, recognizing the nature of physicality and the performative translations that are essential to their endeavours. From illustrating his teammates to the dance halls and marching bands of his native Durham, the elongated, mannerist forms of his characters evince an understanding beyond the visual; of a figuration that embodies the mood, the intensity, and the soul of person.The individual, or moreover, the subjective experience, is at the heart of Barnes' artistic design. Throughout The Gospel Truth and his career at large, the closed eyes of Barnes' characters have been a definitive and iconic motif, one that speaks volumes of how he illustrates the plurality of black experience and culture. Barnes appreciated art as the most complete and intense form of expression of the inner life, but undoubtedly recognized the transformative power of representation in his own painting. The drawn eyelids of his characters he regarded as a manifestation of 'how blind we are to one another's humanity,' but he went still further: 'We stop at color quite often [...] We look upon each other and decide immediately: This person is Black, so he must be ... This person lives in poverty, so he must be ...' (the artist in: Kareem Abdul-Jabbar, 'How Athlete-Artist Ernie Barnes Captured Black Culture's 'Joy and Communal Dignity'', hollywoodreporter.com, 10 May 2019). The expressive body became the locus for Barnes' painting that literally embodied the humanity he sought to reproduce.As the golden light pierces the windows and rains upon the choral troupe and seated attendees, one cannot help but feel the ebullience and religiosity that makes The Gospel Truth such a profound celebration of black joy and community. It is an unashamedly hip-shaking vision whose rhythm and noise is tantalisingly close to breaking from the walls of its frame. For Barnes, it represents one of the most genuine and magnificent scenes of the America that he knew and was raised in, and thus one of the most collectible paintings to have come to market by the artist. A richly coloured and highly contrasted palette, it demonstrates the masterly confidence that Ba... This 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

Moulded bindings. HUMPHREYS (H Noel) The Miracles of our Lord, Longman & Co 1848, 8vo, chromolithographed title and Biblical text within illuminated decorative leaf borders, 2 text leaves at end, contents loose in original moulded black binding in papier mache style with lettered spine, a.e.g.; The Parables of our Lord, 1846, 8vo, in similar illuminated style, contents secure, a little marginal staining in places, 2pp. text at end damp stained, in similar moulded covers; The Book of Ruth, 1850, small 8vo, chromolithographed half-title and 31pp. 2pp. publisher`s advertisements at end, contents loose, original blind-stamped calf; (3)

GOLDSMITH (O) The Vicar of Wakefield, 24 coloured plates by Rowlandson, London: Ackermann 1823, 8vo, slight offsetting, original good blind-stamped cloth by Remnant & Edmonds, spine gilt

MARRYAT (Frederick) Masterman Ready or the Wreck of the Pacific, 3 vols., 1st edition, 12mo, 1841-42, frontispieces and illustrations, publisher's catalogue to each vol., original blind stamped cloth; The Children of the New Forest, 2 vols, 12mo, 1st edition, [1847], coloured titles, half titles, one plate loose, slight foxing, original cloth; The Settlers in Canada, 2 vols. 1st edition, 1844, light foxing, original cloth (7)

Chapbooks and similar paper booklets, 19th century, sixteen, including: Lloyd's New Comic Valentine Writer; Cupid's Roundelay - Valentines; Cupid's Annual Charter; Picture of the Coronation of Queen Victoria; Life of John Metcalf - Blind Jack of Knaresbro'; Oakcliffe Hal; four others - 12mo and 8vo including a defective copy of Huish's Memoir of Queen Caroline; with five Miniature or Juvenile Library editions, 16mo; (16)

EDGEWORTH (Maria) Helen, 3 vols., 1st edition, 1834, 12mo, presentation inscription "To the Editor of the Scotsman with Mr Bentley's Compliments", lacking half titles to vols. II and III, 1st text leaf to vol. II torn without loss of text, half calf, rebacked; [FERRIER (Susan)] The Inheritance, in 3 vols. 1st edition 1824, 12mo, half titles, half calf (rubbed); [RICHARDSON (Samuel)] Clarissa, or the History of a Young Lady, in 7 vols, 4th edition, 1751, 8vo, some staining, rebacked calf; The History of Sir Charles Grandison and the Honourable Miss Byron, 2 vols. in one, no date, thick 8vo, Hogg edition, engraved frontis and plates, double column text cropped in places, blind stamped calf gilt; [CUTHBERTSON (C)] Romance of the Pyranees, 3rd edition in 4 vols., 1807, 12mo, cloth; MACKENZIE (H) Julia De roubigne a Tale, 5th edition, in 2 vols., 1795, 8vo, tree calf gilt spines; few others

Geschichte der Eisenbahnen: der Oesterreichisch-Ungarischen Monarchie. 4 Tle. in 5 Bdn. Wien, Teschen, Lpz. 1898-99. Gr.4°. Mit Portr., 17 tls. farb. Tafeln u. Ktn. sowie zahlr. Textabb. Olwdbde. mit Blind- u. Goldpräg. u. Rverg. (3 Bde. mit restaur. Rckn., best., tls. berieb., Gel. tls. angeplatzt). Metzeltin 1404. Slg. Mayer 3213 (ebenfalls nur 4 in 5 Bdn. in der Lwd.-Ausgabe). Erstausgabe. - Prachtvolles, reich illustriertes Werk zur österreichischen Eisenbahngeschichte. - Wie meist ohne die 2 Ergänzungsbände. - Papierbedingt etw. gebräunt, stellenweise schwach fl., tls. gelockert.

Sachs,H.: Zwölf Fastnachtspiele. Mchn., Weber 1922. Mit 6 Holzschn. v. Bruno Goldschmitt. 226 S., 2 Bl. Blauer Maroquin mit Blind- u. etw. Goldpräg. (= 33. Druck für die Hundert). Rodenberg 413, 33. - ╔Dabei: Heine,H.╗ Florentinische Nächte. Ebda. 1923. - ╔Verlaine,P.╗ Chansons pour Elle. Paris, Selbstverlag 1939. Eines von 95 Ex., v. A. Maillol im Druckverm. monogr. (GA 190). - ╔Eichendorff,J.v.╗ Die Glücksritter. Hellerau, Avalun 1924. Mit 12 sign. Orig.-Rad. v. Bruno Goldschmitt. Eines von 170 Ex. - ╔Stifter,A.╗ Nachkommenschaften. Ebda. 1923. Druckverm. v. K.M. Schultheiß sign. - ╔Hauff,W.╗ Phantasien im Bremer Ratskeller. Bremen, Schünemann 1969. Eines von 190 Ex., mit 1 sign. Orig.-Lithogr. v. Otto Bachmann. - ╔Goethe,J.W.v.╗ Der neue Pausias und sein Blumenmädchen. Darmstadt, Ratio-Presse 1921. Num. Ex. - ╔Benet,S.V.╗ Des Bischofs Bettler. Dassel, Hahnemühle 1981. - Zus. 8 Bde. - (23)

Braunroter Ledereinband: im Regency-Stil mit Blind- u. reicher Goldpräg., Rverg., Rtitel, Steh- u. Innenkantenverg., sowie Goldschn. 23 x 14 cm. Innengelenke mit Lwd.-Streifen verstärkt. - Enthält: Shakespeare,W. The Plays. London 1826. Mit Holzst.-Illustr. XX, 960 S.

Blauer Ledereinband: mit Blind- u. Goldpräg., Rverg. u. Kopfgoldschn. 29 x 21 cm. Tls. leicht berieb. - ╔Enthält:╗ Erben,K.J. Kytice z povesti narodnich (= Ein Strauß böhmischer Volkssagen). Prag, Aventinum 1927. Mit zahlr. Abb. 216 S., 3 Bl. - Num. Ex. auf Japan-Imitat.

Albani-Psalter, Der.: Originalgetreue Faksimile-Edition der Bilderhandschrift HS St. God. 1 der Dombibliothek Hildesheim, Eigentum der Basilika St. Godehard, Hildesheim - sowie des Fragments Inv. Nr. M694 Schnütgen Museum Köln. Faksimile u. Kommentarband von J.Bepler u.a. in 2 Bdn. Simbach am Inn, Müller & Schindler u. Madrid, Eikon Edit. (1007)-2008. 4°. Blindgepr. Oldr. mit Goldschn. u. 2 Schließen u. Olwd. in Oldr.-Kassette mit Gpräg. Facsimile edition of the illuminated manuscript. Blind-stamped original leather with gilt edges and 2 clasps.

Two French 1960s limited edition prints with blind stamps and a lithograph, in strip frames

Peter Cosslett (b.1927), limited edition print 'Winter's Blanket, Cockington, Torquay', signed in pencil lower right and numbered 554/850, blind stamp lower left, 37.5 cm x 56 cm, in slip mount, framed & glazed

Depping. (George Bernhard). L'Angleterre ou Description Historique et Topographique du Royaume-Uni de la Grand-Bretagne, six volumes, 3rd edition, Brussels, 1828, printed title to each volume, additional half-titles, folding contents list, mileage table and 58 engraved maps by Aristide Perrot (including 1 folding), all with contemporary outline colouring, and nineteen uncoloured aquatint engravings, some spotting throughout, contemporary blue blind-stamped paper boards with contrasting morocco gilt labels to spines, rubbed and worn at extremities, foot of spines with old adhesion scaring, 8voQTY: (6)

Leigh (Samuel). Leigh's New Atlas of England & Wales [1820], frontispiece of a table of the price of posting, decorative title, 55 uncoloured engraved maps by Sidney Hall, a general folding map of England & Wales with contemporary outline colouring bound at rear, contemporary calf gilt, re-backed but retaining the original spine, 12mo, together with Mogg (Edward). Mogg's Pocket itinerary of the Direct and Cross Roads of England and Wales with Part of the Roads of Scotland, circa 1833, decorative title, an engraved folding map of England & Wales and publisher's advertisement bound at rear, contemporary calf gilt, re-backed but retaining the original spine, 12mo, with Osbourne (E. C. & W. publisher). Osborne's Guide to the Grand Junction, or Birmingham, Liverpool and Manchester Railway..., 1838, decorative title and a frontispiece of a folding engraved map, near contemporary ownership signatures to the front endpaper, contemporary blind-stamped cloth gilt, small 8vo, with another copy similar, plus Mogg (Edward). Paterson's Roads; Being an Entirely original and Accurate Description of all the Direct and principal Cross Roads in England and Wales..., 16th edition, 1822, frontispiece of a folding engraved map of England & Wales, eight additional regional folding maps, bound at the rear, later endpapers, modern half morocco gilt, 8vo, with another copy similar of the 18th edition (1826), and Grose (Francis). The Antiquities of England and Wales..., volume 7 (only), 1797, engraved frontispiece, decorative title, uncoloured engraved folding map of England & Wales, eleven engraved Welsh county maps, all with sparse contemporary outline colouring, numerous engraved topographical views, marbled endpapers, upper board near detached, contemporary diced calf gilt, 8vo, with Virtue & Co. (publishers). The National Gazetteer..., 3 volumes, circa 1870, additional decorative half-title, 65 double-page colour lithographic maps, contemporary half morocco gilt, re-backed, rubbed and worn, 8vo, and Bartholomew (John). The Survey Atlas of England & Wales..., 2nd edition, 1939, title page with four old ink library stamps, 81 colour lithographic double-page maps, contemporary quarter morocco gilt, worn at extremities, folioQTY: (11)

Fuchs (Leonhart). New Kreüterbuch, 1st edition in German, Basel: Michael Isingrin, 1543, 517 full-page woodcut illustrations, woodcut portrait of Fuchs on verso of title, woodcut portraits of the artists to rear, woodcut printer’s device on title and last leaf, three historiated woodcut initials, early inscriptions to title lower margin 'Presentem monstrat quae liber herba Deum' & 'Erechielis Falckysii et amicorum constrat...', early references in German to rear pastedown, small concomitant wormhole to lower outer margin of last few gatherings, occasional light spotting and dust-soiling (but generally clean), some gatherings with faint old damp-stains to upper margin, a few plates stained, a few leaves with small closed marginal tears, near-contemporary blindstamped pigskin over wooden boards, dated 1578 in blind to front board, brass cornerpieces, faded title in manuscript to spine, lacking brass clasps, lacking headcap, base of spine worn and showing, some wear, folioQTY: (1)NOTE:Adams F1107; Nissen BBI 659; Hunt 48; PMM 69. First edition in German of "Perhaps the most celebrated and most beautiful herbal ever published' (PMM). Only preceded by the Latin edition of 1542, this edition was expanded to include 5 new woodcuts, "Hunerbis," "Spitziger Wegerich," "Klein Schlangen kraut," "Knabenkrautweible, das mittel," and "Kuchenschell.As stated in the preface, Fuchs wished to reach a wider audience with the German edition, believing that the Latin edition had been restricted to purely academic use. He however wanted to make the work accessible to anyone interested in plants and the remedies they produced. In keeping with this, Fuchs took the opportunity to augment this edition with an index of illnesses treatable with herbs. Albert Meyer produced the drawings, mainly based on plants in Fuchs's garden at Tubingen. These were transferred to woodblock by Heinrich Fullmaurer and cut into wood by Viet Rudolph Speckle.

Johnston (W. & A. K. publishers). Dedicated to her Most Gracious Majesty The Queen, The Edinburgh Cabinet Atlas Comprising Maps Illustrating the Modern Geography of every Country of the World..., 1839, decorative calligraphic title, torn and crudely repaired, contents and index, 44 (of 45 engraved maps, lacking Austria) all with contemporary outline colouring, and two uncoloured engraved comparison plate, some staining, dust and finger soiling, but largely confined to the margins, some pencil marginalia, later endpapers, the rear endpaper with a library blind stamp, modern leatherette boards with a facsimile title page pasted to the upper cover, 4toQTY: (1)NOTE:Sold as a collection of maps, not subject to return.

[Reisch, Gregor. Margarita Philosophica nova cui insunt sequentia ..., Strasbourg: Joannem Grueninger, 1512], numerous woodcut illustrations throughout including some full-page, woodcut initials, many initials with guide letters or blank and many with a simple capital letter in pen or pencil added at a later date, lacks folding world map and folding woodcut plate, also lacks title within woodcut border and 10 leaves from the Margarita (D3-6, Q1,5, e3-6) and 2 leaves from the Appendix (H4 & L1), four of those leaves Q1r, Q5r, H4r & L1v with full-page woodcuts, woodcut on X5r with old yellow and brown hand colouring, scattered old annotations and marginalia, some spotting, soiling and occasional old damp staining, a few paper repairs to first and last leaves slightly affecting text and illustrations, closely trimmed with occasional shaving of side-notes, final leaf verso (blank) relaid, 19th-century blind-stamped morocco gilt, rubbed, 4to (185 x 135 mm) QTY: (1)NOTE:Adams R335; Durling 3850; Sabin 69127 (without Appendix); Smith, Rara 82; V.D. 16, R1038.Originally published in 1508 this is the sixth edition of what is considered the first printed encyclopaedia. Divided into twelve parts in the form of dialogues between a master and scholar, the first part contains a Latin grammar, the remaining parts comprising chapters on Logic, Rhetoric, Arithmetic, Music, Geometry, Astronomy, Astrology, Natural History, the Immortality of the Soul. Leaf b5 shows the oldest printed illustration of the structure of the eye.

Dugdale (William). Monasticon Anglicanum, or, the History of the Ancient Abbies, and other Monasteries, Hospitals, Cathedral and Collegiate Churches, in England and Wales. With divers French, Irish, and Scotch Monasteries formerly relating to England, 3 volumes in one, London: Sam. Keble & Hen. Rhodes, 1693, title in red & black, 15 engraved plates, some browning and scattered spotting, armorial bookplate of James Frampton to upper pastedown, cloth hinge repairs, contemporary speckled calf, rebacked, some wear to board corners, folio, together with:Burnet (Gilbert), The History of the Reformation of the Church of England, 3 volumes including supplement (vol. 2 third edition), Dublin: A. Rhames for R. Gunne, J. Gunne & W. Bruce, 1730-33, imprimatur leaf to first volume, additional engraved titles to volumes 1 & 2, few engraved portrait plates, letterpress titles of volume 1 and supplement in red & black, armorial bookplate of Charles Walford to upper pastedowns, contemporary blind panelled calf, without spine labels, joints cracked and some wear to extremities, folio, plus an incomplete copy of The Works of Joseph Hall Doctor in Divinitie, and Deane of Worcester..., 1625, lacking all before p.381 and all after p.1266, 19th century half morocco, worn, folioQTY: (5)

Defoe (Daniel). A Tour through the Island of Great Britain. Divided into circuits or journies ... interspersed with useful observations particularly fitted for the perusal of such as desire to travel over the island, 4 volumes, 8th edition, London: W. Stahan, J.F. and C. Rivington, J. Buckland [& others], 1778, two folding engraved maps, signature of R. Pettiward to upper blank margins of titles dated 1785, armorial bookplate of Finborough Library to upper pastedowns, contemporary calf, red morocco title labels to spines, some joints cracked and light wear, 12mo, together with:[Grant, Anne MacVicar], Letters from the Mountains; being the real correspondence of a lady, between the years 1773 and 1807, 3 volumes in one, London: Longman, Hurst, Rees, Orme, J. Hatchard & Mrs. Cook, 1807, bookplate of Ellen James to upper pastedown, contemporary calf, gilt decorated spine, 12mo,[Macky, John], A Journey through England. In familiar letters from a gentleman here, to his friend abroad, 3rd edition, London: J. Hooke, 1723, scattered spotting and light dust-soiling, marginal toning mostly to final leaves, later endpapers, armorial bookplate of William John Mercer to upper pastedown, contemporary blind panelled calf, old reback, maroon morocco title label, joints rubbed, 8vo,Pope (Alexander), The Iliad [& Odyssey] of Homer; Translated from the Greek, 4 volumes, new edition, London: J. Johnson, G.G. and J. Robinson [& others], 1801, engraved portrait frontispiece to first volume, some light toning and scattered spotting, contemporary calf gilt, 8vo,Martyn (Thomas), Thirty-Eight Plates, with Explanations; intended to illustrate Linnaeus's System of Vegetables, and particularly adapted to the letters on the elements of botany, London: B. Whaite & Son, 1788, 38 hand-coloured engraved plates, occasional light spotting, edges untrimmed, contemporary marbled boards with later paper spine, worn, 8vo,Milton (Henry), Letters on the Fine Arts, written from Paris, in the year 1815, London: Longman, Hurst, Rees, Orme, & Browne, 1816, light scattered spotting, edges untrimmed, original boards with later vellum spine, worn, 8vo,[Lamb, Charles], Mrs. Leicester's School: or, The history of several young ladies, related by themselves, 4th edition, London: M.J. Godwin, 1814, engraved frontispiece, early signature C.L. Pickttiall at head of title, light dust-soiling, occasional spotting and light damp stains, edges untrimmed, modern endpapers, original boards, modern amateur paper spine, 12mo, plus other miscellaneous 18th & 19th century antiquarianQTY: (29)

Smyth (William Henry). Aedes Hartwellianae, or Notices of the Manor and Mansion of Hartwell, 2 volumes (including Addenda), London: Printed for Private Circulation by John Bowyer Nichols and Son[s], 1851-1864, first volume with thirteen engraved maps, plans & plates (including lithographs and mezzotints & one hand-coloured), wood engraved illustrations, some spotting to title, second volume with eight engraved maps & plates (one map hand-coloured and manuscript note to verso of one plate), occasional light spotting, few minor damp stains to upper margins of few leaves, first volume with the bookplates of Captain William Henry Smyth, John Lee and Edward Chaddock Lowndes of Castle Combe, original blind-stamped cloth gilt, some fraying and light wear, 4toQTY: (2)NOTE:This set appears to be Smyths own copy, with his bookplate and signature to the front pastedown of the first volume. The volume was further presented by Dr Lee- whose inscription, signature and bookplate appear. Smyth (1788-1865) was an important figure in the scientific world and was particularly recognised for his contribution to astronomy. His telescope was erected at Hartwell and was given to Dr Lee. Having completed his observations in 1839, Smyth relocated to Stone, Aylesbury, and his observatory was dismantled, the telescope sold to Dr. Lee and re-erected at Hartwell House in a new observatory designed by Smyth. Smyth still had occasion to use this instrument as his residence at St. John's Lodge was not far away, and again he made a large number of astronomical observations from 1839 to 1859.

Mill (John Stuart). The Subjection of Women, 1st edition, London: Longmans, Green, Reader, and Dyer, 1869, presentation inscription 'From the author' to half-title, probably inscribed by the publishers, signed and dated ownership inscription written adjacent, 'G.J. Holyoake, London: 2 June 1869', with slightly later presentation inscription in Holyoake's handwritten beneath, 'From Father to Eveline E. Praill, June 1876', bookplate of M.C. & N.E. Taylor to front free endpaper, a little spotting, a few scattered marginal and underscoring marks in blue pencil, original blind-stamped light brown cloth, slightly rubbed and soiled, spine a little darkened, 8voQTY: (1)NOTE:George Jacob Holyoake (1817-1906) was an English freethinker, co-operator and newspaper editor. Holyoake founded The Reasoner which ran from 1846 until 1861 and out of which came a new movement which in 1851 he called secularism. His acquaintances included John Stuart Mill, George Henry Lewes, Francis Newman and Harriet Martineau. Ellen (Eveline) Lallah Holyoake (1841-1919) was his second daughter who married Edward Praill.Holyoake was one of the first parliamentary candidates to give a prominent position to the woman question in his manifesto. He urged women like Harriet Martineau to start a woman-movement, even suggesting the title of a paper (Women's Journal) that was adopted later. A nice association item between Mill and Holyake for one of the most important treatments of women's rights in the nineteenth century.

Trade catalogue. Stephenson, Blake & Co. Ltd., Lining Type, Borders, Ornaments, Brass Rules, Printing Material, Machinery, 3rd edition, London: Stephenson, Blake & Co. Ltd., [1923], monochrome illustrations, and specimen leaves of printed type, original dark green cloth gilt, extremities lightly frayed, 4to, together with:Senefelder (Alois). A Complete Course of Lithography, with a new introduction by A. Hyatt Mayor... and supplement of thirty-one plates from the first German and French editions, reprint edition, New York: Da Capo Press, 1968, frontispiece and monochrome plates, original cloth, spine worn, large 8vo,Bland (David), A History of Book Illustration: The illuminated manuscript and the printed book, 1st edition, London: Faber & Faber Ltd., 1958, colour frontispiece, colour and monochrome plates, illustrations, original cloth in slightly frayed price-clipped dust jacket, large 8vo,McMurtrie (Douglas C.), The Book: The story of printing & bookmaking, 7th edition, London, New York & Toronto: Oxford University Press, 1962, illustrations, original cloth, portion of original dust jacket adhered at head of spine, 8vo,Hardie (Martin), English Coloured Books, The Connoisseur's Library, General editor: Cyril Davenport, 1st edition, London: Methuen & Co., 1906, colour frontispiece, colour & monochrome plates, blind stamp at foot of title, top edge gilt, remainder untrimmed, original gilt-blocked red cloth, 8vo,Maggs Bros. catalogue, A Selection of Books, Manuscripts, Bindings and Autograph Letters, remarkable for their interest & rarity, catalogue 555, London: Maggs Bros., 1931, monochrome plates and illustrations, original printed stiff wrappers, spine darkened, folio, plus other printing and bibliography history and reference, approximately 90 volumesQTY: (3 shelves)

Collins Baker (C. H.). Design In Modern Industry The Year-Book of the Design & Industries Association 1922, 1923-4, 2 volumes, London: Benn Brothers, 1922-24, numerous monochrome illustrations, ex-library copies with bookplate to the front pastedowns, blind stamps, minor marginal toning, 1922 volume with new black cloth spine retaining original boards, 1923-4 volume in original boards, slightly rubbed to head & foot, large 8vo, together with:Paulson Townsend (W. G.), Modern Decorative Art In England, Its Development & Characteristics, volume 1, London: B. T. Batsford, 1922, colour & monochrome illustrations, minor marginal toning, original gilt decorated blue cloth, spine lightly rubbed to head & foot, folio, plusHolme (Charles), Modern Design In Jewellery And Fans, London: The Studio, 1902, colour & monochrome illustrations, ex-library copy with associated stamps, some minor toning, original green cloth, lightly rubbed, large 8vo, and other early 20th-century decorative art & design reference, including The Etchings Of Frank Brangwyn, R. A., A Catalogue Raisonné, by W. Gaunt, London: The Studio, 1926, large 8vo, mostly original cloth, G/VG, 8vo/folioQTY: (2 shelves )

Torquemada (Juan de). Primera[-tercera] parte de los veinte i un libros rituales i monarchia indiana, con el origen y guerras, de los indios ocidentales, de sus poblaccones, descubrimiento, conquista, conuersion, y otras cosas marauillosas de la mesma tierra..., 3 volumes, 2nd edition, Madrid: Nicolas Rodriguez Franco, 1723, engraved titles to each volume (verso vol. 1 title discreetly strengthened to lower margin towards gutter, verso of vol. 3 title strengthened to upper outer corner and with early crossed through manuscript note), one folding engraved map, woodcut decorative initials, blind stamp to final leaves in each volume, occasional light damp stains, modern quarter white morocco, white buckram sides, small folio in 4s.QTY: (3)NOTE:Palau, 335033; Sabin, 95212. The second and best edition of this fundamental source of information for the history of California, the southwest, northern Mexico and Texas, was extensively revised by the Spanish historian Andres Gonzalez de Barcia Carballido y Zuniga (1673-1743), who added indexes and his own notes.The first volume contains the history of New Spain, the second volume the religious beliefs and practices of the Indians in Mexico and the third volume the development of the Catholic Church in New Spain. Written by the Franciscan provincial superior of Mexico, this edition was corrected and updated by Barcia Carballido y Zuniga. The text makes particular use of the unpublished manuscript of Gerónimo Mendieta, who reached Mexico in 1554 and spent his life among the Indians.

Snaffles a print "Sandown Asking, The Question", with bit blind stamp, image size 31 x 45 cm, framed, together with Lionel Edwards a signed print of the Linithgow & Sterlingshire Foxhounds, published by Eyre & Spottiswood. 33 x 49 cm, framed and mounted.

John Mould, a signed limited edition print "Did Someone Say Lunch", depicting four polecats. No. 370/850 and with Fine Art Guild blind stamp. 30 x 41 cm, framed and mounted.

Nigel Hemming, a signed limited edition print "Full House", depicting Springer Spaniels. No. 211/600 and with Washington Green blind stamp. 43 x 34 cm, framed and mounted.

AFTER LAURENCE STEPHEN LOWRY; two unsigned prints, ‘Man Taken Ill’, 38 x 26.5cm, bears Artist Guild blind stamp for AEL 050, and ‘Street Scene’, 29.5 x 24cm, bears Artist blind stamp BDC, each framed and glazed.

CHARLES FREDERICK TUNNICLIFFE; The Memorial Collection, part one and part two, part one a limited edition numbered A-L this one being number J, comprising seven images comprising 'Sitting Hare', 'The Percheron', 'Stallion and Groom', 'The Shorthorn Bull', 'The Shire Stallion', 'The Chartley Bull', and 'Cats and Kittens', part two comprising 'Peregrine', 'Little Owl', 'Tawny Owl', 'The Gander', 'Long Eared Owl', 'Canadas in Cheshire', 'Chinese Geese', 'Goshawk', and 'Cockatoo', each with blind stamp lower left and numbered in pencil, in green folder. (D)Additional InformationImages in good condition, perhaps very slight odd mark or creasing to the edge. The folder with general light wear. The title tab appears to be on the wrong side of the folder.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

An Edwardian mahogany bureau bookcase, the upper section with moulded cornice and blind fret decoration above pair of astragal glazed doors above the fall front enclosing fitted interior above single drawer, with blind fret decoration, height 180cm. 

An early hand painted English porcelain plate decorated with children playing blind man's buff, Dia. 26cm.

An outstanding and well-documented Second War ‘Dunkirk 1940’ Immediate D.C.M. group of ten awarded to Regimental Sergeant-Major W. J. Gilchrist, Irish Guards, later Norfolk Regiment, who served with the Commando ‘Harpoon Force’ which evacuated the Dutch Royal Family just days before the country fell, and then distinguished himself in action against the German advance to Dunkirk which resulted in the knocking out of an enemy tank - despite being wounded by three bullets that tore through his helmet and left him blind for three months he refused to leave his post. Gilchrist saw later action post D-Day with the Irish Guards during their famous stand on the ‘Bridge too Far’ at Nijmegen, and then saw further service with the Royal Norfolk Regiment in Korea, for which he was Mentioned in Despatches Distinguished Conduct Medal, G.VI.R. (2717907 Sgt. W. J. Gilchrist. I.G.); 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45; Korea 1950-53, 1st issue, with M.I.D. oak leaf (2717907 W.O. Cl.1. W. J. Gilchrist. R. Norfolk.) number and unit partially officially corrected; U.N. Korea 1950-54, unnamed as issued; General Service 1918-62, 1 clasp, Cyprus (2717907 W.O. Cl.1. W. J. Gilchrist. D.C.M. R. Norfolk.); Coronation 1953, unnamed as issued; Army L.S. & G.C., E.II.R., 2nd issue, Regular Army (2717907 W.O. Cl.1. W. J. Gilchrist. D.C.M. R. Norfolk.) good very fine (10) £4,000-£5,000 --- D.C.M. London Gazette 22 October 1940. The original Recommendation (for an Immediate award) states: ‘Boulogne 23 May 1940. Sergeant Gilchrist was in personal charge of an anti-tank rifle which protected the rear of the Battalion during its withdrawal into Boulogne on the 23rd May. For two hours this N.C.O., with a few men, succeeded in holding their post at a street corner, thus enabling the remainder of the Battalion to move on unmolested. Although under extremely heavy machine gun fire he showed the greatest contempt of danger and continued to keep his anti-tank gun in action. He was instrumental in hitting and setting on fire an enemy tank, thus blocking a street down which the enemy was trying to move. Later in the action he himself was wounded but refused to leave his anti-tank rifle until it and the Bren supporting it became jammed from over firing. Throughout the whole action Sergeant Gilchrist showed courage and bravery of a very high order and set the finest example to the remainder of his platoon.’ M.I.D. London Gazette 24 April 1953: ‘For gallant and distinguished service out in Korea in the period from 1st July to 31st December 1952.’ William John Gilchrist was born in Castlederg, Co. Tyrone, (Northern) Ireland on 15 August 1915, and attested for the Irish Guards on 16 January 1934. Posted to the 1st Battalion, by family repute he served for sometime at Batman to the future Field Marshal Earl Alexander of Tunis, before proceeding with the Battalion to Egypt in November 1936. Appointed a Lance Corporal, he transferred to the Army Reserve on 14 May 1938. Following the outbreak of the Second World War he was recalled from the Reserve, and posted to the 2nd Battalion. As such he remained on home service initially, but with the German invasion of France and the Low Countries, his battalion was ordered to depart from Dover for the Hook of Holland to cover the evacuation of the Dutch Royal Family and Government in May 1940 as part of what became known as Harpoon Force. Harpoon Force As the German blitzkrieg ravaged across Europe, old Kingdoms were been swept aside with impunity by the German army. The Dutch Royal family were next on the list and by late April 1940 their situation was on the brink. A 'Commando' style withdrawal was required. Major Haydon, Officer Commanding 2nd Battalion, Irish Guards, was called to arms in order to raise a small combined force to bring the Royal Family to Britain so they might rule in exile. Harpoon Force left off from Dover aboard Hereward. The invasion had taken everyone by surprise, so about a quarter of the men were on leave and couldn’t be reached through phone or telegram. With the landing planned for Walcheren the wider aims were: 1. Secure it for use of the Royal Navy; 2. Rescue the Royal family; 3. Evacuate embassy staff and other British citizens; 4. Cover the escape route from The Hague to Walcheren. Besides this the troops already in Holland were to try and secure any gold or diamonds and destroy as much as possible to damage anything the Germans might soon 'inherit'. Harpoon Force reached the Hook of Holland at dawn on 13 May to find the place in flames and had just docked when Stukas began bombing their ship and strafing them for good measure. They also found that it wasn’t just the enemy who were shooting at them. Some of the locals supported the German invasion and began taking potshots at the 2nd Battalion from several houses, forcing them to take cover. The Irish Guards had to get to The Hague to escort the Dutch royal family, but it was hard going even when members of the Dutch resistance came to their aid. The Dutch also warned them not to accept candy or cigarettes from any local because they were likely poisoned by Nazi-sympathizers. Since Haydon was given some leeway in his orders, he chose not to sacrifice anyone to The Hague. Walcheren was under siege, so securing it was hard enough. Besides the ship’s guns, all his battalion had were a few 3-inch mortar guns, the standard issue Bren guns, some anti-tank guns, and two signal trucks. By late morning, trucks began arriving from Amsterdam, but none carried the Royal Family. They instead brought diamond-filled crates which the sailors loaded onto the Hereward. To make room for more, they began unloading the ship’s stores for the use of the resistance. With the Germans still strafing them and still not a Dutch Royal in sight, Haydon finally gave the order to secure the roads between Walcheren and the docks. They hoped that some British nationals might make it out. Shortly after noon, a fleet of cars finally made it to the docks – the Royals were fashionably late! Haydon thus passed the work to Captain Thomas Halsey, of the Malcolm, but he came back with bad news: 'Nonsense! She left yesterday!’ Crossed wires meant that Queen Wilhelmina and her party were left standing on the dock, barred from boarding. It finally transpired that Princess Juliana had been evacuated the previous evening, so they eventually were given a berth. The problem was the Queen simply refused to let the ship leave. She was not going to leave her people without the Government, who finally arrived at six o’clock that evening. The Germans had spent the afternoon taking pot-shots and bombing the docks to keep themselves amused. Harpoon Force finally weighed anchor and took their precious cargo off, but at the cost of some 36 Guardsmen. Boulogne - Immediate D.C.M. With Holland falling just two days after they returned home, the 2nd Battalion were soon sent off to France to attempt to stem the tide. Posted to Boulogne, Gilchrist, by then a Sergeant, was part of an important 6-man team that attempted to hold off the German attack at Boulogne on 23 May 1940. It was at this stage that he earned an ‘immediate’ award of the Distinguished Conduct Medal. In gaining the D.C.M. Gilchrist had suffered when three bullets ripped through his helmet. Having stayed at his post until the very last, Gilchrist was pulled from his gun and evacuated home. By the time he reached England, he had gone blind and spent some three months in a blind hospital learning braille, before waking one day to find his vision restored. Gilchrist was then posted to the 3rd Battalion, Irish Guards, and shortly after his recovery found hi...

A superb early 19th C rosewood occasional table with two drawers on one side and two blind drawers on the other, 141cm x 70 x 75cm.

A George III mahogany chest on chestThe dental moulded cornice above a blind fret carved frieze and two short and three long drawers flanked by fluted quadrant pilasters, the base fitted with a further three long drawers on ogee bracket feet, 124cm wide x 55cm deep x 176cm high, (48 1/2in wide x 21 1/2in deep x 69in high)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

BACON (FRANCIS)Sylva Sylvarum: or A Naturall Historie... [edited] by William Rawley, 2 parts in 1 vol., FIRST EDITION, second issue (with printed title dated 1627), fine engraved portrait and additional pictorial title, a2 a cancel with stub, blanks L3, 2A1, 2D4, 2M1 and g4 present, signatures I-L working loose, contemporary blind-ruled speckled calf, gilt panelled spine (stamped 'G:I 29'), tears at head and foot of spine and joints, folio, Printed by I[ohn] H[aviland and Augustine Mathewes] for William Lee at the the Turks Head in Fleet-street, next to the Miter, 1627This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

CONDER (JOSIAH)Landscape Gardening in Japan, 2 vol. including Supplement, FIRST EDITION, volume 1 with 37 plates (12 tinted lithographs) and illustrations, Supplement with 40 collotype plates by Ogawa Kazumasa, publisher's pictorial green cloth, upper covers blocked in gilt, lower in blind, extremities rubbed, Tokyo, 1893; The Floral Art of Japan: Being a second and revised Edition of The Flowers of Japan and the Art of Floral Arrangement, 69 plates including 14 coloured woodblocks, publisher's decorative cloth gilt, slight soiling, Tokyo, Kelly and Walsh, 1899, folio (3)Footnotes:Provenance: William Arkwright, ownership signatures dated 1908.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

LAURENCE (JOHN)The Clergy-man's Recreation: Shewing the Pleasure and Profit of the Art of Gardening, sixth edition, Bernard Lintot, 1726; The Gentleman's Recreation: or the Second Part of the Art of Gardening improved, third edition, Bernard Lintot, 1723, 2 parts in 1 vol., engraved portrait frontispiece to part 1, frontispiece to part 2, and 4 folding plates, a few woodcut illustrations, ownership inscriptions of Joseph & henry Brock, blind-stamps of 'IHA', contemporary calf, paper spine labels, worn [Henrey 938, 944 & 939]--[RAPIN (RENE)] Of Gardens. A Latin Poem... translated by James Gardiner, second edition, engraved portrait and 3 (of 4) folding plates, contemporary panelled calf [Henrey 1254], W. Bowyer, [1718], 8vo; and 2 others (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MILLER (PHILLIP)Figures of the Most Beautiful, Useful and Uncommon Plants Described in The Gardeners Dictionary, 2 vol., second edition, 300 hand-coloured engraved plates (2 folding in volume 2) after Georg Dionysius Ehret, Richard Lancake, John Miller, William Houstoun and John Bartram jr. by Miller, J. Jefferys and J. Mynde, dedication to the Duke of Bedford with elaborate engraved head-piece, index of plates at the end of volume 2, untrimmed, p.7 in vol. 1 repaired, diagonal crease to title-page of volume 2 repaired on verso, occasional toning, spotting and damp-staining, a few marginal tears (not affecting text or plates), recent half calf, spines in 7 compartments with raised bands, gilt and blind-stamped decoration and red and brown gilt morocco labels, corners slightly bumped [Dunthorne 209; Great Flower Books p.121; Henrey 1097; Hunt 566; Nissen BBI 1378], folio (405 x 275mm.), for the Author by Rivingdon, Whiston, Hinton and others, 1771For further information on this lot please visit Bonhams.com

John Wood (British, 1801-1870)A portrait of John Arkwright, aged 58, standing, three-quarter-length, within the woodland of Hampton Court, and another of Sarah Arkwright, aged 35 on a terrace before woods and a stream, a pairBoth signed and dated 'JOHN WOOD PINXT/1843' (lower right and lower centre) Oil on canvas 142 x 111.5cm (55 7/8 x 43 7/8in). (2)Footnotes:These are the wedding portraits of John Arkwright and Sarah Hoskyns, who were married in 1830. Sarah was twenty-three years younger than John which, wrote the wife of the vicar of Bodenham, some thought 'unfortunate; persons who know her say her manners are artificial & that she has a very high spirit... but love is blind they say, & Miss H is young & pretty looking.' These portraits were the gift of John's father, Richard Arkwright, who died in 1843.With thanks to Catherine Beale for her historical guidance and research with this lot.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 Italian 19th century carved white statuary marble bust, believed to be of Sarah Hoskins, wife of John ArkwrightFacing to sinister, her hair in ringlets, wearing a pleated dress, 38cm wide, 20cm deep, 49cm high (14.5in wide, 7.5in deep, 19in high) Footnotes:Sarah Hoskyns married John Arkwright in 1830. Sarah was twenty-three years younger than John which, wrote the wife of the vicar of Bodenham, some thought 'unfortunate; persons who know her say her manners are artificial & that she has a very high spirit... but love is blind they say, & Miss H is young & pretty looking.' Sarah died in 1869.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com

After Terence Cuneo (1907-1996) D'Artagnan & the Three Mouseketeers, pencil signed limited edition print, no.72/850, blind stamped, 47cm x 60cm

William Russell Flint (Scottish, 1880-1969) three women in a courtyard, signed print with Fine Art Guild Blind Stamp, 54cm x 69cm and another "The Two Models" 38cm x 28cm, framed and glazed

William Russell Flint (Scottish, 1880-1969) Spanish ladies in interiors, 151/850, with blind stamps, framed and glazed, together with two similar prints, 241/850 and 464/850 (3)

William Russell Flint (Scottish, 1880-1969) "Reclining Nude I" and "Reclining Nude II" signed prints with blind stamp, Frost & Reed, 36cm x 60cm framed and glazed

London Underground destination blind, Central Line. Provenance: The vendor worked on the London Underground.

19th century mahogany bowfront hanging corner cupboard, with blind fret carved frieze and pair of panelled doors, H109 W70 cm

Early 20th century pine two door blind panel cupboard, the interior revealing four fitted shelves. (B.P. 21% + VAT)

Late Victorian pine single door blind panelled free standing cupboard, now converted to a wardrobe with hanging rail. (B.P. 21% + VAT)

Pine two door blind panelled cupboard, the interior revealing one adjustable shelf on a projecting platform base. (B.P. 21% + VAT) The cupboard has one shelf and measures 84x46x82cm approx.

Small stained pine hanging blind panelled cabinet together with another mahogany glazed wall cabinet. (2) (B.P. 21% + VAT)

Early 20th century pine farmhouse blind panelled two door press type cupboard, the interior revealing three fitted drawers. 129x49x110cm approx. (B.P. 21% + VAT)

BLUES - LP COLLECTION. Another superb collection of 40 blues LPs. Artists/ titles include VA - Lonesome Road Blues (L-1038, record is Ex), VA - Rural Blues Vol2 (LBL 83214E), Howlin Wolf - inc Chester Burnett Aka, The Collection: 20 Blues Greats, Canned Heat & John Lee Hooker - Crawling King Snake Blues, The Best Of The Pilgrim Travelers, Elmore James - Come With Me, VA - Okeh: Chicago Blues, VA - Ain't Times Hard, Combination Blues. Rockin' Sidney - Boogie Blues N Zydeco, Blues For Big Town, Southern Soul Belles, St Louis Blues - The Depression, Bo Diddley, The Coasters, Louis Jordan, Clifford Gibson, Sleepy John Estes, Barefoot Bill, T Bone Walker, Ed Bell, Bessie Smith, The Original Five Blind Boys Of Alabama, Flaco Jimenez. Condition is generally VG+ to Ex+.

BLUES/ JAZZ/ FOLK - 7" PACK. A fantastic pack of 20 7"/ EPs. Mostly 60s releases. Artists/ titles include Jazz Collector: The Male Blues Vols 1: Walter Roland And Georgia Slim (JEL2), 2: Tampa Red And Georgia Tom (JEL3), 3: Blind Blake And Ramblin' Thomas (JEL4), 4: Tall Tom And Pinewood Tom (JEL5), 5: Blind Lemon Jefferson inc And Buddy Boy Hawkins (JEL8), And Ed Bell (JEL13) & Huddie Leadbetter (JEL24). The Female Blues Vols 1: Ma Rainey And Ida Cox (JEL12) & 3: Ma Rainey & Trixie Smith (JEL22). Louis Armstrong (BBW12076), Sam Garyinc Sings (EP129), Go Down Moses (EP159), Sings Spirituals (EP189). Mahalia Jackson inc (EPV1199), (BBE12069) & (BBE12518). George Lewis (EXA15) & Woody Guthrie inc (EPM 7-84), (EPM 7-85) & (EPM 7-91). Condition is generally VG+ to Ex+.

COUNTRY/ FOLK - BLUES LPs. A superb pack of 12 blues LPs. Many contain a booklet/ insert. Artists/ titles include Blind Willie Johnson inc 1927-1930 (RBF10), His Story Told, Annotates And Documented By Samuel B Charters (FG3585). Charlie Patton inc The Immortal Number 1 (OJL1), The Immortal Number 2 (OJL-7), Sleep John Estes - 1929-1940 (RBF8), Ella Jenkins - Along Time (AHS 850), Barbara Dane - Sings The Blues (FA2471), John Jackson - Blues And Country Dance Tunes From Virginia (F1025)Mance Lipscomb - Vol5 (Arhoolie 1049), VA - Barrel House Blues And Boogie Woogie (SLP155), VA - The Blues From The Film by Samuel Charters (Asch Records 101), The Country Blues (RF1). Condition is generally VG+ to Ex+.

BLIND BLUESMAN - LP PACK. A superb pack of 10 blues LPs. Artists/ titles include Blind Gary Davis inc Harlem Street Singer (688 303 ZL, Record Ex/ sleeve Ex), Say No To The Devil (XTRA 5014, Ex/ Ex), The Legendary Reverend Gary Davis (BMLP 1.040). Blind Boy Fuller - On Down Vol 1 (SDR 143), Blind Blake - S/T (JFL 2001, 10"), Blind Willie McTell inc 1940: The Legendary Library Of Congress Session (670 186), King Of The Georgia Blues Singers 1929-1935 (ROOTS RL-324), 1927-1933 The Each Years (Yazoo L-1005) & Blind Lemon Jefferson inc The Immortal (CBS 63738) & Early Blues (Olympic 7134). Condition is generally VG+ to Ex+.

JAZZ & BLUES - LPs (PLUS 10"/7"/EPs/78s). Lovely eclectic mix of around 57 x LPs plus around 50 x 10"/78s and 26 x EPs/7" (around 130+ releases total). Artists/titles include Jimmy Reed - At Carnegie Hall, Jimmy McGriff - Black And Blues, Big Joe Turner - Turns On The Blues (KST 542), Billie Holiday, Bob Davenport And The Rakes (UK Columbia 33SX 1786), Reverend Gary Davis, Sonny Terry/Brownie McGhee, Big Bill Broonzy, Ray Bryant, Arthur 'Big Boy' Crudup, Groove Holmes, Ma Rainey inc. Classic Blues Performances (early UK Riverside 12-108), Blind Lemon Jefferson, Jimmy Yancey, Otille Patterson, Woodie Guthrie, Al Casey - Buck Jumpin' (early US Prestige Swingville, green label, SVLP 2007), BB King and Ella Fitzgerald. Condition is often neat VG+ to Ex+ with some earlier titles as VG.

A collection of silver items, to include a silver repoussé dish, marked 900, 15cm diameter, a German silver desk seal with blind matrix marked 800, two sterling silver compacts with mirrored interiors, one with a guilloche enamel lid, a sterling silver napkin ring, a Norwegian silver teaspoon, marked 835, and similar items,10.2ozt totalCondition ReportSurface marks/scratches/tarnish to all.Some pieces are silver components from larger items.Sterling silver napkin ring cracked and split.Mirrors to the compacts chipped.Seal, pepper pot, compacts and other hollow items dented.