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PRIMAL SCREAM - COLLECTORS' VINYL PACKAGE (LPs/12"/10"/7"). Superb offering of 26 x releases all things vinyl with LPs/12"/10" and 7" included which will lead you to a Beautiful Future(!). To include Screamadelica (UK original Creation double LP original Damont pressing, CRELP 076 - VG condition records with some surface marks/VG+ some light creasing to the edges of the gatefold sleeve), Evil Heat (2002 original EU double LP, 5089231000 - sharp Ex and Ex+ records/with clean glossy printed inners/Ex neat sleeve), Bobby Gillespie and Jehnny Beth - Utopian Ashes (2021 LP, 2 x black vinyl copies), More Light (2013 double LP, 5060342850034 - Mint and sealed), Riot City Blues Sessions (2021 release, 19439873831 - Mint and sealed), Echo Dek (CREL7224 - 5 x 7" box set), Loaded (7" jukebox, CRE 117D), Dixie-Narco EP (CRE 117T, 12"), Kowalski, If The Move Kill 'Em (CRE 284T), Some Velvet Morning (feat. Kate Moss, promo XPR3730), Higher Than The Sun (7" and 12"), Don't Fight It, Feel It and (I'm Gonna) Cry Myself Blind (10"). Condition is generally VG+ to Ex+ with some (moreover on the sleeves) below.

PRIMAL SCREAM - COLLECTORS' VINYL PACKAGE 'PART TWO'. Movin' On Up Now with 15 x vinyl releases on LP/12"/10" and 7" from Primal Scream and related artists. To include Evil Heat (original EU 2002 double LP, 5089231000 - lovely Ex+ condition records/complete with clean glossy printed inners/VG sleeve a few creases with a small paper tear on the opening edge), More Light (2013 double LP/CD - Mint and sealed), Dixie-Narco EP (inc. original and 2021 reissue still sealed), Velvet Morning (feat. Kate Moss, 12" promo XPR3730), Bobby Gillespie and Jehhny Beth - Utopian Ashes (2021 LP, ltd edition red vinyl), Kowalski, Stuka, Burning Wheel (12" promo plus spare sleeve), Black To Comm (EARS037, sealed) and (I'm Gonna) Cry Myself Blind (10"). Condition is typically VG+ to Ex+.

Y&nbspA FRENCH REGENCE STYLE SMALL BOULLE MANTEL CLOCKUNSIGNED, CIRCA 1880The circular eight-day two train countwheel bell striking movement anchor escapement regulated by disc-bob pendulum incorporating Brocot-type regulation to suspension, the backplate stamped with serial number 13042 to left hand margin over 4 4 to lower edge, the circular gilt brass twelve-piece Roman cartouche numeral dial with rosette cast centre within applied blue-on-white enamel numerals within outer minute track, with steel trefoil pierced hands set behind hinged repeating husk cast brass convex-glazed bezel, the premier parti cut and engraved brass and red shell marquetry veneered case with surmount cast as a tazza loaded with fruit over concave-sided upstand applied with symmetrical foliate panel decorated veneers, the front with grotesque mask centred foliate cast arched crest over symmetrical scroll marquetry decorated panel within a bead cast border and conforming veneered border to front flanked by pendant husk cast mounts to shoulders, the sides with projecting arch sections over flat panels each also veneered with scroll-pierced brass within a mottled red-shell veneered ground, the rear ebonised and with full-height blind panel door, the base with leaf cast mount to the front apron and swollen sections to sides, on scroll cast paw feet.31cm (12.25ins) high, 15cm (6ins) wide, 10cm (4ins) deep. 

A FINE VICTORIAN GILT BRASS GIANT CARRIAGE CLOCK WITH PUSH-BUTTON REPEATCARTER, LONDON, CIRCA 1860The eight-day five columnar pillar twin chain fusee train bell striking movement with Harrison's maintaining power and frosted gilt platform underslung lever escapement regulated by sprung split bimetallic balance with jewelled pivots to the going train, the backplate with central aperture revealing the balance regulation scale to upper margin over winding and hand-setting squares and engraved signature Carter, 61 Cornhill, LONDON to centre, the dial with fine foliate scroll pierced and engraved fretwork overlaid centre within 3.125 inch Roman numeral enamel chapter ring, with blued steel moon hands and set within conforming scroll pierced fret overlaid rectangular gilt mask incorporating shield cartouche signed CARTER, 61 CORNHILL beneath the chapter ring and framed by a canted bezel surround, the heavy thickly bevel-glazed frosted gilt brass case with hinged scroll-shaped handle over rectangular top glass, inverted ogee cornice, and rounded uprights to angles, the right hand side glass with push-repeat button and the rear with lift-out panel secured via a slide-latch and with shuttered winding and hand setting square holes, on cavetto moulded skirt base with rounded angles.21.5cm (8.5ins) high with handle down, 15cm (6ins) wide, 12.5cm (5ins) deep. John Carter is recorded in Betts, Jonathan MARINE CHRONOMETERS AT GREENWICH as born in 1803 and apprenticed to Boys Err Burrill gaining his Freedom of the Clockmakers' Company in 1829. He is listed in directories as working from Tooley Street, London as a watch and chronometer maker with additional premises at 61 Cornhill from 1840. He submitted many chronometers for the trials at Greenwich coming first in 1834 with chronometer number 144, and again the following year with watch number 160. He also became involved with the City of London becoming an Alderman in 1851 and serving as Lord Mayor in 1859. He also served three times as Master of the Clockmakers' Company in 1856, 59 and 64. In 1873 John Carter took his son, John William, into partnership who then continued the business after John Carter's death in May 1878. Condition Report: Movement appears all original and is in fine clean fully working condition. The dial has an extremely feint hairline crack to the enamel adjacent to the XI numeral (can only be seen on very close examination with light reflecting form the surface) otherwise dial is fine condition with exquisite engraved blind fretwork. The case is in fine condition with good strong even frosted gilding showing next to no wear or discolouration. There are a few very slight surface pin-pricks (probably very slight casting defects) to the front right hand upright, and the rear has a few spots of grime which most likely could be wiped-off with a soft cloth moistened with detergent. The right hand glass panel has a tiny shallow corner chip to the upper left hand corner (can only be detected on very close examination). Otherwise faults are very much limited to a couple of tiny/barely noticeable edge bumps.Clock is basically in near 'retail' condition and is complete with a bespoke winding key.Condition Report Disclaimer

A GREEN CHINOISERIE JAPANNED EIGHT-DAY LONGCASE CLOCKTHE MOVEMENT AND DIAL BY MANSELL BENNETT, LONDON, CIRCA 1695, THE CASE CIRCA 1760The five finned and ringed pillar inside countwheel bell striking movement with outside locking detent to the backplate and anchor escapement regulated by 32 inch pendulum, the 11 inch square brass dial with ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and Small Arabic five minutes beyond the narrow minute track, with scroll pierced steel hands and winged cherub mask and scroll cast spandrels to angles, now in a green japanned case with faint foliate scroll painted concave-sided pediment over ogee and cavetto cornice, blind fret frieze and hinged glazed dial aperture painted in gilt with floral trails to frame and applied with three-quarter Doric columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with cavetto throat mouldings gilt painted with generous scrollwork flanked by leaf motifs over rectangular door decorated in raised polychrome and gilt with Oriental Arcadian garden landscape with pavilions and figures within a break-arch surround, complex mouldings and gilt trail decorated surround, on plinth base with cavetto upper moulding over conforming faint decoration to fascia and cavetto moulded skirt, (case finish with wear and losses).210cm (82.5ins) high, 46.5cm (18.25ins) wide, 24cm (9.5ins) deep. Mansell Bennett is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a 'Free Brother' of the Clockmakers' Company in 1688. He married Lydia Wise at St. James's, Duke Place, London in 1690 and lived at Powells Buildings, St. Martin in the Fields. In 1697 Mansell Bennett signed the Clockmakers' Company oath of allegiance. In 1707 a Richard Boyce was trialled for 'Feloniously Stealing' several items form Mansell Bennett including three pendulum watches and three clocks; he was acquitted due a total lack of evidence as to his crime. Bennett attended Court until at least 1711 but was excused of serving as a Steward in 1713 due to being 'out of town'. Notwithstanding this he received payment from the Crown 'for care of the Great Clock at Kensington, £11. 14s.' the same year. He died in 1721 in the Parish of St. Martin in the Fields, Middlesex; there was a subsequent lawsuit relating to his probate (Jones V. Read). 

A GEORGE III PARQUETRY DECORATED OAK EIGHT-DAY LONGCASE CLOCKEDWARD BILBIE, CHEWSTOKE, CIRCA 1760The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum. The 12 inch square brass dial with arched calendar aperture to the centre engraved with scene of a square-rigged ship passing a building over signature EDWARD, BILBIE, CHEW STOKE beneath a delicate scroll border to lower margin, within applied silvered Roman numeral chapter ring with generous Arabic five minutes beyond the minute track, with scroll pierced blued steel hands and rococo scroll and shell cast spandrels to angles, in a case wit swan neck pediment over cavetto cornice, blind fret fronted frieze and hinged glazed dial surround flanked by free-standing columns with brass caps and bases, the sides with rectangular windows and bargeboards to the rear edges, the trunk with concave throat over caddy moulded rectangular door centred with a parquetry star within mahogany crossbanded surround, the plinth base with ogee top mounding over plain fascia and caddy mounded skirt.219cm (86.25ins) high, 49cm (19.25ins) wide, 26.5cm (10.5ins) deep. Edward Bilbie senior is recorded in Moore, A.J THE CLOCKMAKERS OF SOMERSET 1650-1900 (Appendix vii) as born 1666 and probably working from circa 1695 as he is thought to have learnt the clockmaking trade from Edward Webb who died in 1694; by 1698 he had certainly become established in Chew Stoke as a bellfounder. Edward Bilbie had two sons, Edward II (born 1694) who assisted his father but unfortunately died within six months of his father in 1725, and Thomas (born 1702) who inherited his father's business in 1725 and worked until 1768. Edward II had a son who he also named Edward (III - born circa 1715), who is thought to have been brought up by his uncle Thomas, and worked alongside him until around 1768. The present lot would have been made by Edward Bilbie III most likely whilst working alongside his uncle, Thomas. The marine landscape engraved decoration to the centre of the dial of is a textbook example of the style adopted by Bristol and Chew Valley clockmakers during the third quarter of the 18th century, and no doubt reflects the pride of the original owner in the region's maritime mercantile economy. 

AN IRISH GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCKALEXANDER CHRISTIE, DUBLIN, CIRCA 1770The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13.5 inch square brass dial with vestigial arched calendar aperture and leafy rosette centred subsidiary seconds dial to the rococo scroll engraved centre signed ALEX'R CHRISTIE, DUBLIN to lower margin, within applied Roman numeral chapter ring with Arabic five minutes beyond the outer dot minute track, with scroll pierced steel hands and generous winged cherub mask and scroll cast gilt brass spandrels to angles, the case with swan neck pediment applied with carved rosettes to the scroll terminals over cushion-shaped frieze relief carved with rococo scrolls centred with a grotesque 'green man' mask, the hinged glazed dial aperture applied with carved fluted Corinthian three-quarter columns to angles and the sides with reeded bargeboards to the rear edges, the trunk with blind geometric fret to the lip of the cavetto throat moulding over shallow caddy-moulded break-arch top door flanked by fluted Doric quarter columns to the angles, the plinth with stepped ogee top mouldings over shaped raised panel to fascia flanked by canted angles, on bracket feet.244cm (96ins) high, 53.5cm (21ins) wide, 34.5cm (13.5ins) deep. Provenance:Evelyn Gairdner-nee Handcock, only daughter of Lord Castlemaine (1897-1984) thence by family descent the current vendor. This clock was rescued from Moydrum Castle near Athlone, Ireland before the castle was burned down in July 1921.  Alexander Christie is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Dublin 1758 until his death in 1801. Condition Report: Movement is basically complete and original with the exception of the calendar drive flag (would have originally been fitted to the hour hand tube). There is nothing obvious to indicate that the movement will not run but it will require a service/setting-up. The dial plate is a little distorted behind the chapter ring where the dial feet are fitted to the spokes of the 'cartwheel' cut-outs. The right hand corner is also bent a little backwards and is missing its tip. The dial feet are a little misaligned also so will require adjustment. The calendar disc has been secured tight on its post (does not turn). Hands appear undamaged. The chapter ring has lost its silvering and overall the dial is in neglected condition. The movement is attached to what appears to be its original seatboard however the cheek uprights of the case are applied with various pieces of packing suggesting that the movement and dial are not original to the case. The case is essentially complete and original but requires general moderate attention from a case/furniture restorer. The hood is in good condition with faults essentially limited to repairs to the hood column capitals, a loose rosette to the pediment, general light bumps and nocks to the extremities and carving and slight shrinkage cracks to the sides. The front right hand corner has a scarf repair to the corner infront of the column. The carcass of the rest of the case trunk is in good condition with strong structure. The lower hinge of the trunk door has at some point been 'pulled' causing splitting to the surround into which the hinge was screwed; some re-gluing/making sound this damage has been done. The plinth front panel is warped (front lower edge projects around 7mm) and has a crack, the lower left small quadrant infill panel is also loose; otherwise plinth is in sound condition. Finish is generally somewhat dull/muted and there are relatively minor bumps, scuffs and other blemishes commensurate with age.Clock has pendulum, two weights, a case key and a winder. Condition Report Disclaimer

Y&nbspAN INTERESTING QUEEN ANNE EBONY TABLE/BRACKET CLOCKRICHARD STREET, LONDON, CIRCA 1715The six finned pillar twin fusee inside rack bell striking movement now with anchor escapement for regulation by lenticular bob pendulum incorporating worm gear rise/fall regulation to suspension, the backplate finely engraved with leafy herringbone border enclosing symmetrical foliate scrollwork around a central classical bust resting on a shelf draped with a lambrequin signed RICH. STREET, LONDON, the 6.5 inch brass break-arch dial with false bob and calendar apertures and applied silvered oval plate engraved Rich'd Street, London to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the outer minute track, with fine delicate scroll pierced steel hands and unusual winged cherub mask and scroll cast spandrel mounts to angles with the upper concealing engraved rosettes and spare holes indicating original provision of twin selection rings, the arch with rosette-centred subsidiary dial engraved with Arabic numeral hour chapters flanked by bird inhabited foliate scrollwork, the inverted bell-top case with substantial hinged bras carrying handle and crisp complex waist mouldings to the distinctive ogee-shaped superstructure, with ogee and cavetto top mouldings and hinged front applied with complex raised mouldings to the break-arch glazed dial aperture and upper quadrant panels, the sides with rectangular over break-arch glazed apertures and the rear with break-arch glazed door incorporating blind upper quadrant panels set within the frame of the case, on cavetto moulded skirt base with block feet.44cm (17.25ins) high with handle down, 25.5cm (10ins) wide, 17cm (6.75ins) deep. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street survives in the Collection of the National Trust at Melford Hall, Suffolk.  The engraving to the backplate of the current lot can be broadly compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass within the chapter titled 'Vine engraving 1700-1740' (pages 313-336). However, perhaps the strongest similarities are seen on backplates for clocks by George Graham illustrated earlier in the publication on pages 276-78 (figures 15.14-.16). From this it would be reasonable suggest that the backplate of the present clock was executed by the same engraver - Tompion/Graham's 'graver G.195'. The case of the present clock also demonstrates a high-quality individual approach with regards to detailing. This is most noticeable within the design of the superstructure which, in addition to being fitted with a particularly generous cast brass handle, has bold waist mouldings over individual ogee-profile to the caddy itself. This departs from the usual stepped ogee profile seen on other cases made by Street's contemporaries, including Quare and Graham; and is suggestive of a maker looking to set himself aside from others. Evidence in both the movement and dial of the present clock indicate that it was originally made with pull-quarter repeat and subsidiary selection dials (one most likely for strike/silent selection) to the upper spandrel areas. Although the mechanism has lost some of its original features, there has been minimal alteration to both the movement and dial. Hence the clock presents as a tantalising restoration project which would result in an example of fine specification and full of individual character reflective of one of the most interesting and enigmatic makers of the period. 

Seven assorted modern 1st editions, all signed by author, including Ronald Kirkbride, 'Yuki', 1967, 1st edition, signed & inscribed on FFEP and dated 1967, orig. cloth, dust wrapper; Charlie Higson: 'Hurricane Gold', 2007, 1st edition, number 1225/1500 copies, signed & numbered on title page, orig. boards, wraparound band; Jeffrey Kelly: 'Tramp Steamer and The Silver Bullet', Boston, 1984, 1st US edition, signed & inscribed on title page, orig. cloth, d/w; Julian Barnes: 'The Only Story', L, Cape, 2018, 1st edition, signed on title page, orig. cloth, d/w; William Boyd: 'Love is Blind', L, Viking, 2018, 1st edition, exclusive signed edition, signed on corresponding leaf at front, orig. cloth, d/w; plus 2 David Mitchell signed first editions, 'Slade House', 2015, and 'Utopia Avenue', 2020, (390/1000) (7)

(Diss, Holy Bible.) A Victorian Bible, printed by Eyre & Spottiswoode, c.1875, presented to Mr Terah Nicholson (1796-1879) "..With a purse of thirty Sovereigns.." by inhabitants of Diss, Norfolk, Easter 1875, for his services as Parish Clerk of Diss for a term of fifty years, gilt ruled and lettered lozenge shaped morocco presentation panel atteched to front pastedown, 1879 In Memoriam funeral card of Terah Nicholson, interred at Diss Cemetery, August 25th 1879, loosely inserted, with contemporary news cutting loosely inserted, large thick 4to (33 x 28cm), original full black leather gilt, blocked in blind to covers, all edges gilt, brass clasp, inner dentelles gilt, generally VGC commensurate with age

Bruce Alexander, 10 titles, all original cloth, all in dust wrappers: 'Murder in Grub Street', London, Little Brown & Co, 1996, 1st UK edition, plus 9 others all US 1st editions published New York, G.P. Putnam's Sons, including 'Blind Justice', 1994, 'Person or Persons Unknown', 1997, 'Murder in Grub Street', 1995, etc (10)

Charles Lyell. 'The Geological Evidences of the Antiquity of Man. With Remarks on Theories of the Origin of Species by Variation' Illustrated by Woodcuts. John Murray, 1863, 1st edition, Half-title. Frontispiece. 32 pp catalogue at end dated January 1863. Original green pebbled cloth with blind-stamp border decoration and gilt illustration to upper board, rebacked retaining original spine, new endpapers. First edition.

Thea von Harbou: 'Metropolis', Berlin, August Scherl, 1926, 1st edition, pp. [1-8] 9-273 [274] [275: blank] [276-280: ads], original decorative green cloth, front cover lettered in gilt, spine with brown cloth title label lettered in gilt and gilt decorated above and below, publisher's monogram stamped in blind on rear cover, all page edges stained yellow. Landmark Science-Fiction and Fantasy story set in 2026 in a technologically advanced city, sustained by the existence of an underground society of labourers. Written in conjunction with the film directed by Von Harbou's husband Fritz Lang.

Three silver trinket boxes. With blind interiors, Birmingham hallmarks. Total weight 574g

OAK LANCASHIRE MULE CHEST circa 1830, crossbanded lift lid top, quarter cut reeded pillar detail, six upper blind drawers, three lower crossbanded drawers, circular pommels, swan neck brass handles, corner bracket feet, 91 (h) x 156 (w) x 53cms (d)Provenance: private collection Ynys Mon

VICTORIAN WALNUT DAVENPORT, lidded top box with inner compartments, inlaid detail repeated to the slope, inset skiver writing surface, interior drawers, four opening side drawers, four blind side drawers, all with turned wooden knobs, carved and corbel front pillars, platform feet, hardwood castors, 83cms (h), 54cms (w), 53cms (d)Provenance: private collection Conwy

SCHALE, Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 (1. Wahl) sowie Blind- und Malermarken. Geschweift godronierte Form "Neubrandenstein" mit Osiermuster / Weidengeflecht im Relief. Polychrome Staffage mit Blumenbukett und Streublüten, darunter Mohn und Aurikeln; Goldrand. H. 3,3 x L. 25,5 x B. 20 cm.

SCHALE UND 6 SCHÄLCHEN, Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 sowie Blind- und Malermarken und weitere Manufakturmarken im Dekor. Blaue Staffage, Dekor "Zwiebelmuster". Geschweifte und kannelierte Schale, 1. Wahl, H. 4,6 cm; D. 22 cm. Schälchen in geschweifter Form "neuer Ausschnitt", davon 3 Stück 1. Wahl und 3 Exemplare zweifach geschliffen / 3. Wahl. H. 3 cm; D. 12,5 cm.

MEISSEN SCHALE / PLATTE, Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 (1. Wahl), Blind- und Malermarken sowie weitere Manufakturmarke im Dekor. Geschweifte Form, blaue Staffage, Dekor "Zwiebelmuster". H. 2,5 x L. 28,5 x 23,5 cm.

KÖNIGSKUCHENPLATTE "Zwiebelmuster", Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 (2. Wahl) sowie Blind- und Malermarken und weitere Manufakturmarke im Dekor. L. 38,5 cm.

KARREESCHALE "Zwiebelmuster", Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 (zweifach geschliffen / 3. Wahl) sowie Blind- und Malermarken und weitere Manufakturmarke im Dekor. Geschweifte Karreeform mit blauer Staffage, Dekor "Zwiebelmuster". H. 3 x L. 17,5 x B. 17,5 cm.

GROSSE SCHALE / PLATTE, Porzellan, Manufaktur Meissen, unterglasurblaue Schwertermarke, Marke seit 1934 (1. Wahl) sowie Blind- und Malermarken. Geschweift godronierte Form "Neubrandenstein" mit Osiermuster / Weidengeflecht im Relief. Polychrome Staffage mit Blumenbukett, Streublüten und Insekten, darunter Rosen, Federmohn, Vergissmeinnicht, Schmetterlinge und Käfer; Goldrand. H. 5,5 x L. 46 x B. 35,5 cm.

Ivon Hitchens (1893-1979), Three Boats, offset lithograph numbered 78/100 in black ink with blind stamp and 1 of 100 pencil signed by the artist, published by Adam Cavendish Collection Ltd., sheet 79.5 x 47.5m, framed & glazed Provenance _ see lot 1001

Ivon Hitchens (1893-1979), Daffodils, offset lithograph numbered 38/375 in black ink with blind stamp and 1 of 100 pencil signed by the artist, published by Adam Collection Ltd., sheet 66.5 x 58cm, framed & glazed Provenance _ see lot 1001

SITWELL, Osbert. Four signed & inscribed presentation copies for Sitwell's close friend and treasured physiotherapist, Leonard Green, all first editions, [The Autobiography], comprising: Left Hand, Right Hand!, The Scarlet Tree, Great Morning, and Laughter in the Next Room. Octavo, worn dust-jackets, London: Macmillan, 1945-49. Internally good & bright, jackets worn with loss, sold as one collection with all faults (4) Provenance: By descent of Leonard Green, Chesterfield - a physiotherapist and member of the Blind Masseurs

A 19th-century scrapbook, 1838-1849, featuring seven mounted Valentines (embossed & pierced paper-lace by Dobbs and similar), three of which include a central watercolour illustration, plus three smaller greetings cards from the same era; ten original sketches, including pencil portraits/topographical views/animals, watercolour botanical studies, and an ink sketch poking fun of a "Grand Historical" painter with delusions of becoming President of the Royal Academy, "poor devil", inscribed & signed, Thomas Harrington Wilson [draughtsman illustrator for Punch, fl. 1842-1886]; lots of poetry and romantic verse, much of it quoted from well-known writers such as Percy Bysshe Shelley; a small quantity of pasted Baxter prints; manuscript musical notation, including "A Christmas Melody" (musical quotation) signed Alfred Mellon. Quarto, 29.5cm, elaborately blind-embossed morocco, chequered blue & green endpapers, all edges gilt, 97 pages used across 69 leaves

SITWELL, Edith. An archive of autograph letters and cards signed by Edith Sitwell, addressed to her close friend and treasured physiotherapist, Leonard Green. [Sitwell had lifelong joint problems now thought to be caused by Marfan syndrome]. Comprising: 1. Renishaw Hall, Derbyshire, 28 May 1941, apologising for not sending any chocolates from Charbonnel & Walker due to the wartime restrictions on amounts that can be purchased by one household, and explaining that her brother Osbert had already sent some to Queen Mary, and so she must wait. She also states that she misses visiting them, but will no doubt return as she's 'creaking like a door that is off its hinges', she thanks them for all their help and says, 'I am so grateful for what you & Mr. Green have done for me, I am really a different person, and am certainly, at the moment, on my hinges'. 2. Renishaw Hall, Derbyshire, 1 Jun 1949, conveying her deepest sympathy on the death of Mrs. Green's mother, 'In your grief, there is only one thing to say which can be of comfort, and that is, that nobody can ever have been a better daughter to her mother than you were - you were wonderful with her and to her, and must have made such an infinite difference to her during these last years after the loss of your father...My brother is in London, and so does not know. You will have his deep sympathy.' 3. Castello di Montegufoni, Florence, 18 Sep 1954, 'My hands are (D.V.) all right again, thank you so much. I should have written before, I had a most stupid accident, the light in the hotel where I was is very old-fashioned, and sometimes stops halfway between two floors. I was in a great hurry, because I could get no answer to a telephone, and I fell three feet into the lift, injuring my shoulder and two ribs! Have your ears burned lately? You should just hear what my brother says about the miracles Mr. Green worked with him.' 4. Durrants Hotel, London, 18 Aug 1954, 'My dear Mr. and Mrs. Green, Do please forgive me for bothering you. But only you understand the bones and nerves of hands. I am having sudden burning, shooting pains in my fingers (especially my thumbs and little fingers.) Oh, if only I were at Renishaw and could come for treatment to you. But alas, I am here, far away. Please, is there anything you can suggest for me to do? I should be so grateful...It isn't fair to waste your time, my dears. So I consider this as an appointment and enclose 10s.' 5. Durrants Hotel, undated, 'My dear Mr. and Mrs. Green, all my most grateful thanks to you. Mr. Berry telephoned to me this morning, and I am going to him for treatment tomorrow afternoon, - that is, if I haven't been drowned, and he hasn't been drowned before then - which is possible, if the rain goes on like this!! The cold is piercing. My love and gratitude to you both. Yours ever, Edith Sitwell', complete with envelope. 6. Castello di Montegufoni, 12 Dec 1958, on hearing of Mr. and Mrs. Green's retirement, 'We shall miss you most terribly. It has been a friendship of so many years, now, and so much valued by us. We looked forward, always, so much to seeing you both, to our talks, to your warm goodness & kindness. And of course, nothing could exceed our gratitude to you for what you did for our health,' she goes on to explain the delay in writing, 'as a result of having to sign my name literally 9,800 times (!!) when I arrived here (deprived of Mr. Green,) I could hardly write at all - certainly not legibly...the servants all started sneezing at each other, and went down like ninepins. As soon as they were up again, they sneezed again, and down they went again. In the midst of it all, I had to correct urgent proofs,' and shares news of an earthquake that lasted twenty minutes, 'The rooms heaved up and down and all the furniture flew about, I was terrified,' complete with envelope. 7. An engraved Renishaw Hall letterhead giving her best wishes, signed, undated, with envelope. 8. Two greetings cards bearing printed message from Edith Sitwell at Renishaw Hall, Osbert's name added by hand, Christmas 1948. 9. A calling card inscribed with compliments from Edith Sitwell. 10. Two Post Office Telegrams with season's greetings from Edith Sitwell, 1945 & 1948, and a newspaper cutting of Osbert Sitwell and John Piper at Graves Art Gallery, Sheffield. A unique insight into Sitwell's personal relationships and warmth towards valued friends, the whole housed in one envelope Provenance: By descent of Leonard Green, Chesterfield - a physiotherapist and member of the Blind Masseurs

David Hockney RA (English, b. 1937). Untitled, No. 346, from A Bigger Book: Art Edition B, iPad drawing in colours, 2010/2016, signed & dated in pencil by the artist at lower-right margin, numbered by the artist at lower-left margin (130/250), printed on archival paper bearing "DH" blind-stamp, 43.9 x 33cm (image), 56 x 43.3cm (sheet), housed in protective paper wrappers within the original quarter-cloth portfolio in yellow & blue. Together with the publication itself, A Bigger Book [SUMO monograph], limited edition numbered 0380 of 1000 [Nos. 1001-10,000 were released as a Collector's Edition], Elephant folio (70 x 50cm), Taschen, 2016, plus a companion chronology book, and an adjustable bookstand designed by Marc Newson from Apple, the whole housed in the original packing box with labels and locks. This has been kept by one private owner from new with the original packaging, and is therefore well-preserved and vibrant; the signed print appears pristine recto (front), but the verso (back) has light toning to margins and tape residue at top edge; the dust-jacket of A Bigger Book has some wear to corners; the dust-jacket of chronology book has slight bumping to edges; the protective packaging has some trivial marks & wear NB. This lot is subject to Artist's Resale Right (ARR)

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) 'STREET SCENE', a depiction of figures going about their daily life in a Northern industrial landscape, signed in pencil to lower margin with Fine Art Trade Guild blind stamp to lower left corner, numbered 241 from an edition of 850, approximate size 29.5cm x 22cm including visible margins, frame size 63cm x 54cm, Published by The Adam Collection in 1972, Condition Report: the print colours are still strong, some mount burn evident to the top and side margins, the print has not been removed from the frame for assessment, the frame has some damage (artist resale rights apply)

An Edwardian blind fretwork brass carriage timepiece, 12cm, in cloth covered case

An Edwardian carriage timepiece with blind fretwork decoration, 16.5cm

Alan B. Hayman (b.1947, Scottish), coloured print, Stags on the hill, 'Glen Lyon', Scotland, signed to the lower left, limited edition 137/200, blind stamped, framed, mounted, and under glass, measuring 62cm x 89cm, & 82cm x 107cm overall

Strange Tales 108 (1963) Cents copy. High cover gloss with half-inch blind tear to RH edge and light pencil arrival date. Cream pages [vfn-]. No Reserve

Drittes Reich - umfangreiches Konvolut aus dem Erbnachlass des Obergefreiten Erwin Ensslin. Darunter: 1 x Album "Meine Dienstzeit" mit diversen militärischen Fotografien aus dem Alltag, Örtlichkeiten und formelle Fotografien; 1 x Album mit weiteren Fotografien zu Städteansichten und Örtlichkeiten während der Ostseefahrt von 1938, darunter Danzig, Berlin, Rügen, Lübeck, Hamburg. Weiterhin ungezählte Sammlung an Fotografien, Drucken, Postkarten und Sammelbilder aus dem Dritten Reich bis nach dem Zweiten Weltkrieg. Sowie 1 x Interims-Mitgliedskarte Nr. 620 des Verbands der Körperbeschädigten, Arbeitsinvaliden und Hinterbliebenen - Abteilung blinder Versehrter von 1946 und 1 x Schwerkriegsbeschädigtenausweis I im Auftrage des Landeswohlfahrtsverband Württemberg-Hohenzollern von 1966. Weiterhin auch Dokumente, darunter Auszeichnungsurkunden jedoch ohne dazugehörigem Orden oder Ehrenzeichen. In einer Holzkiste folgende Auszeichnungen: 1 x Ordensspange mit: 1 x Eisernes Kreuz 2. Klasse 1914; 1 x Württemberg - Silberne Militärverdienstmedaille 1892; 1 x Ehrenkreuz für Frontkämpfer mit Schwertern (1914-18). Dazu Bandspange und diverse Feldschnallen und 1 x Deutsches Kaiserreich - Verwundetenabzeichen, Goldstufe, durchbrochen, an Nadel, Metall vergoldet. Erhaltungen verschieden, Besichtigung wird empfohlen.| Third Reich - extensive bundle from the estate of lance corporal Erwin Ensslin. Including: 1 x album " My period of service" with various military photographs from everyday life, locations and formal photographs; 1 x album with further photographs of city views and locations during the Baltic Sea voyage of 1938, including Danzig, Berlin, Ruegen, Luebeck, Hamburg. Also an uncounted collection of photographs, prints, postcards and collector's pictures from the Third Reich until after the Second World War. As well as 1 x interim membership card no. 620 of the Association of Physically Disabled, Work Invalids and Survivors - Department of Blind Invalids from 1946 and 1 x severe war invalid ID card I on behalf of the Wuerttemberg-Hohenzollern State Welfare Association from 1966. Also documents, including award certificates but without associated medals or decorations. In a wooden box the following awards: 1 x medal clasp with: 1 x Iron Cross 2nd Class 1914; 1 x Wuerttemberg - Silver Military Merit Medal 1892; 1 x Cross of Honor for Frontline Combatants with Swords (1914-18), plus ribbon clasp and various field buckles and 1 x German Empire - Wounded Badge, gold level, openwork, on pin, metal gilded. Condition varies, inspection is recommended.

1966 Manchester Corporation DESTINATION BLIND for the lower, ultimate box. Dated July 1966, a complete, linen blind in very good, ex-use condition. [1]

Cambridge area bus DESTINATION BLIND, possibly Eastern Counties. Includes panels for the Chivers and Pye factories. A complete, linen blind in very good, ex-use condition. [1]

Aldershot & District DESTINATION BLIND. A complete, linen blind, mostly in very good condition, a few panels are heavily used. [1]

Leeds Corporation 1950s TRAM DESTINATION BLIND from an ex-London Feltham car. A complete, linen blind in very good, ex-use condition. [1]

1962 London Transport DESTINATION BLIND for an RT type at Enfield (E) garage coded 'S' for the side or rear box and dated 20.10.62. Many panels still employ upper-case lettering. A complete, linen blind, Aldenham-manufactured, and in very good ex-use condition indeed. [1]

London Transport TROLLEYBUS DESTINATION BLIND from Fulwell depôt dated 19.1.58 and for the front and rear boxes. A linen blind, Aldenham-manufactured, and in very good, ex-use condition, complete except for the bottom leader panel. [1]

Trio of tramway items comprising two single-sided, enamel TRAM STOP signs: 'Tramway Fare Stage' (21"x 11.5" - 4cm x 29cm) in very worn condition with corrosion, small edge-losses, and 'Tram Stop' (14.5" x 7.25" (37cm x 18cm) in good, ex-use condition, plus a framed BLIND PANEL from Liverpool reading 'Pier Head' (28" x 9" - 71cm x 23cm) in very good condition. [3]

1980s London Transport DESTINATION BLIND for an LS class Leyland National at Holloway (HT) garage. A complete, Tyvek blind, manufactured by McKenna Bros and in very good, ex-use condition. [1]

Dundee Corporation Tram DESTINATION BOX, complete with original blind. The complete glazed, wooden unit with winding handles and in working order. The last Dundee tram ran in 1956 and none have survived. Measures 30" x 7" x 3" deep (77cm x 18cm x 8cm). [1]

1968 London Transport DESTINATION BLIND for an RT type at Sutton (A) garage coded 'S' for the side or rear box and dated 1.1.68. A complete, linen blind, Aldenham-manufactured, and in excellent ex-use condition indeed. [1]

1952 London Transport DESTINATION BLIND from South Croydon (TC) garage dated 3.1.52 and coded 'W' and 'Group 72' for a reduced-display box and which would have been used by RTs still having a restricted blind box and any remaining STLs. An amazing survivor. Generally in very good, ex-use condition, the top leader panel is missing. [1]

1978 London Transport Routemaster DESTINATION BLIND from Bromley (TB) garage dated 9.10.78 and coded LL for the side and rear boxes. A complete, linen blind, Aldenham-manufactured, and in very good, ex-use condition. [1]

1970 London Transport DESTINATION BLIND for an RT type at Merton (AL) garage dated 10.2.70 and coded 'V' for the rear, ultimate box. A lengthy and complete, linen blind, Aldenham-manufactured and in very good, ex-use condition. [1]

1954 London Transport TROLLEYBUS DESTINATION BLIND from Edmonton (EM) depôt for the side box and dated 22.3.54. A note on the end states that it was removed from trolleybus K2 1183 at Colindale in August 1961. A linen blind made at Chiswick Works. In heavily-used condition, one of the 649 panels has been repaired with tape on the reverse. [1]

1975 London Country DESTINATION BLIND for an RF or RP Green Line coach at Guildford (GF) or Hertford (HG) garages and dated 5/75. Shows Green Line routes 715/715A as well as local bus routes for early morning positioning journeys at both ends. A complete, linen blind, King & Flack-manufactured, in very good, ex-use condition. [1]

1975 London Country DESTINATION BLIND for an RF at Grays (GY) garage dated 2/75 and coded 'L' for the front box. A complete, linen blind, King & Flack-manufactured and in very good, ex-use condition. [1]

1930s LMS DESTINATION BLIND for the ex-LNWR 'Oerlikon' electric multiple units used on the North London Line and the Euston-Watford services. Undated but includes 'Earls Court' and that section was closed in 1939 on the outbreak of WW2. An amazing survivor and one that we have not seen at auction before. In very good, ex-use condition, the top leader panel is incomplete from when removed from the unit. [1]

Birmingham Corporation/City Transport tram DESTINATION BOX, complete with original blind. The complete glazed, wooden unit in working order (requires a budget key to operate). The last Birmingham tram ran in 1953 and just one of the 843 cars has survived. Measures 38" x 11 x 3" deep (97cm x 28cm x 8cm). [1]

London Transport TROLLEYBUS ROUTE STENCIL PLATE for the 625 which ran from Woodford to Winchmore Hill. These plates were used on the nearside of the vehicles until c1949/50 after which the route number was incorporated into the side destination blind. An amazing survivor. In very good condition, repainted. [1]

Lytham St Annes Corporation bus or tram DESTINATION BLIND. A complete, linen blind in well-used but still good condition. [1]

1980 London Transport DESTINATION BLIND for a Metrobus at Alperton (ON) garage coded 'KM' for the front intermediate/number box and dated 24.6.80. Includes a blue panel for the Wembley Stadium express service. A complete, linen blind, Aldenham-manufactured, and in very good, ex-use condition. [1]

1980 London Transport DESTINATION BLIND for a BL type at Kingston (K) garage dated 8.9.80 and coded K for the front box. Includes a yellow panel for anti-clockwise journeys on the 215. A complete, linen blind, Aldenham-manufactured, and in very good, ex-use condition. [1]

Large quantity (c50) of 1930s onwards mainly London Transport POSTERS & STICKERS. A wide-ranging assortment including Green Line, destination blind inserts, excursion destinations etc. Almost all are different. Condition mostly very good, some have storage marks & nicks. [approx 50]

1974 London Country DESTINATION BLIND for an RT type at Hemel Hempstead (HH) and Tring (TG) garages dated 8/74 and coded 'S' for the side and rear boxes. Includes panels for Green Line 706 and 708 Relief journeys. A complete, linen blind, King & Flack-manufactured, in excellent, ex-use condition. It is unusual to find an RT blind from this manufacturer. [1]

London Transport TROLLEYBUS ROUTE STENCIL PLATE for the 521 which ran from North Finchley to Holborn Circus, using Farringdon Road round the Holborn loop. These plates were used on the nearside of the vehicles until c1949/50 after which the route number was incorporated into the side destination blind. An amazing survivor. In very good condition, repainted. [1]

1948 London Transport TRAM DESTINATION BLIND from Norwood depôt dated June 30, 1948 and marked 'Standard'. A complete, linen blind, well-used in places but in good overall condition. [1]