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A Chippendale style glazed vitrine table, raised on square section legs to block feet, blind fret carved overall, 60 cm wide x 42 cm deep x 74 cm high

Richard Müller1874 Tschirnitz - 1954 Dresden-LoschwitzNach dem Sturm. (1910) Neckerei (1912). Auf Freiersfüßen (1914). Bogenschütze II (1918). Ruhm (1919)Alle Blätter links unten mit Bleistift nummeriert, in der Platte signiert bzw. monogrammiert und datiert. Fünf posthume Drucke (Vier Radierungen und eine Lithografie) auf Velin. Ein Blatt mit Trockenstempel PROF RICHARD MÜLLER DRESDEN. Bis ca. 40 x 29 cm. Blattgröße: Bis ca. 40 x 66 cm. Mit Tesa montiert. Alle gerahmt. Werkverzeichnis: Vgl. Günther 61, 66, 70, 88, 95 Provenienz: Privatbesitz Süddeutschland Richard Müller1874 Tschirnitz - 1954 Dresden-Loschwitz After the storm. (1910) Teasing (1912). On Free Feet (1914). Archer II (1918). Glory (1919)All sheets numbered, signed / monogrammed and dated in the plate, lower left, in pencil. Five posthumous prints (four etchings and one lithograph) on vellum. One sheet with blind stamp PROF RICHARD MÜLLER DRESDEN. Up to approx. 40 x 29 cm. Up to approx. 40 x 66 cm. Mounted with tape. All framed. Catalogue Raisonné: Cf. Günther 61, 66, 70, 88, 95 Provenance: private owner, South Germany

Friedensreich Hundertwasser('Fritz Stowasser')1928 Wien - 2000 Queen Elizabeth 2, Pazifischer OzeanLook at it on a rainy day. 1971/72Mappe mit 10 Blättern. Blatt 5 (Regen auf Regentag) handsigniert und nummeriert 142/300 sowie 1415/3000, die anderen im Druck signiert und nummeriert. Im Innendeckel signiert "Friedensreich". 10 Farbserigrafien mit Metallprägungen auf verschiedenen Papieren, teils mit Trockenstempel. Lose Bogen in O.-Holz-Kassette mit Deckelillustration in Farbserigrafie und Metallprägungen. Im Innendeckel Titelverzeichnis. Ex. 142/300 sowie 0115/3000. Blatt 5 mit abweichender Exemplarnummer 142/300 sowie 1415/3000. Verlegt von Ars Viva, Zürich. Gedruckt bei Dietz Offizin, Lengmoos/Bayern in Zusammenarbeit mit Günter Dietz. Alle mit den Stempeln der Herausgeber. Kassettengröße: 54,5 x 72 cm. Zum Teil etwas fleckig, ein Blatt mit Kratzspuren, sonst farbfrische Drucke. Ein (fehlendes ) Blatt ergänzt (Blatt 5). Werkverzeichnis: Koschatzky 44 - 53. Fürst HWG 44 - 53 Friedensreich Hundertwasser('Fritz Stowasser')1928 Vienna - 2000 Queen Elizabeth 2, Pacific OceanLook at it on a rainy day. 1971/72Portfolio with 10 sheets. Sheet 5 (rain on a rainy day) hand-signed and numbered 142/300 and 1415/3000, the others signed and numbered in the print. Signed "Friedensreich" on the inside cover. 10 colour serigraphs with metal embossings on different papers, partly with a blind stamp. Loose sheets in original wooden box with cover illustration in colour serigraphs and metal embossings. List of titles on the inside cover. Copy 142/300 and 0115/3000. Sheet 5 with different copy number 142/300 and 1415/3000. Published by Ars Viva, Zurich. Printed by Dietz Offizin, Lengmoos/Bavaria in collaboration with Günter Dietz. All with the publisher's stamps. Box size: 54.5 x 72 cm. Partly stained, one sheet with scratch marks, otherwise prints with well-preserved colours. One (missing) sheet was added (sheet 5). Catalogue Raisonné: Koschatzky 44 - 53. Fürst HWG 44 - 53

AFTER SIR WILLIAM RUSSELL FLINT St Malo, 1939, signed print and blind stamp, 39 x 64cm Condition Report: Available upon request

Good British Military Artillery (?) Troopers Sidearm, First Quarter of the 19th Century, heavy broad straight single edge blade with government inspectors stamp, false edge, S&J.DAWES struck on back edge, brass stirrup hilt with langets, stepped pommel integral with brass backstrap, ribbed leather grip, in its brass mounted leather covered scabbard with blind tooling. Blade 63.5cms, overall 75.5cms. Good untouched condition, some stains to blade and a little worm to grip. Note: this pattern is called ‘Sword, Foot Artillery, Private, c.1820’ . . . . ‘probably a specimen of the so-called Spanish pattern hanger’ by Robson (p.233 No.208) and ‘1st (Prussian) Pattern 1800-1816 – blade length 25in . . . .’ in the J.S.A.H. Research Vol LVI p.119. Fig. 2.

A George III style Chippendale design mahogany dwarf longcase clock, 17cm arched brass dial, silvered chapter ring with Roman and subsidiary Arabic numerals, the spandrels cast and applied with masks, the case with foliate swan neck pediment above a blind fretwork frieze, the door flanked by fluted columns, shaped rectangular door to waist flanked by inset quarter-columns, rusticated angles, ogee bracket feet, 150.5cm high

Engineering and Transport - Clifton, (With The Suspension Bridge.), limited edition print of an original lithograph by Newman & Co. 503/600, reproduced by The Alexander Gallery, Bristol in 1973, bearing Alexander Gallery blind stamp to margin, 36cm x 48cm

A yew veneered campaign inspired coffee table, three frieze drawers, blind to verso, 41cm high, 122cm wide, 57cm deep; a similar box on stand, 48cm high, 84cm wide, 38cm deep and nest of three occasional tables, the largest 52.5cm high, 45.5cm wide, 33cm deep; a similar square occasional table, 43.5cm high, 56cm square (4)

An original unframed printed official Command /Invitation to the 1902 Coronation of Edward VII and Queen Alexandra, inscribed 'Lady Evans,' with Earl Marshall embossed blind stamp, 21x26cm, together with an original gilt-tooled and leather-bound order of service book, printed by Eyre & Spottiswoode, (2)

A pair of early 20th century stained mahogany library tables with blue blind-tooled inset leather tops, raised on square tapering supports, 182.5 x 71cm

Three signed Snaffles prints, "The Timber Merchant" and "The Sparrow Catcher Sort", with blind stamp, in ebonised strip frames, and "A sight to take home and dream about - ", (fugitive colour), in ebonised strip frame

William Russell Flint (Scottish 1891-1963) Ladies Bathing, limited edition print, pencil signature bottom right, measurements 48 x 67 cm, frame 81 x 96 cmCondition report: A limited edition print, framed under glazing, not examined external to the frame. The paper condition looks good, no obvious signs of rips, creases or folds. There is a blind stamp bottom left and a pencil signature bottom right. Slipped in the mount slightly and there has been tape at the top of the sheet to fix to the mount. Some ageing to the mount and minor wear and tear to the frame.

A REPRODUCTION MAHOGANY BREAKFRONT DISPLAY CABINET IN GEORGE III STYLE, C1960, THE CADDY TOP ABOVE A VITRUVIAN BLIND FRET CARVED FRIEZE, THE UPPER SECTION ENCLOSED BY THREE GLAZED DOORS WITH APPLIED MOULDED GLAZING BARS, SHELVED INTERIOR, THE BREAKFRONT BASE ENCLOSED BY THREE PANELLED DOORS, BRACKET FEET, 200CM H X 152CM W  Centre door glass cracked

A VICTORIAN MAHOGANY DAVENPORT, C1870, WITH SPINDLE GALLERY, WITH SYCAMORE VENEERED INTERIOR, INK DRAWER AND BLIND DRAWERS, SPIRAL UPRIGHTS AND TURNED FEET, 87CM H; 59 X 59CM A well preserved example with some old ink stains on the top, later red and gilt leather inlet writing surface and small repairs to gallery, small chip to veneer near one brass key escutcheon

A REPRODUCTION YEW VENEERED OPEN BOOKCASE, LATE 20TH C, THE TOP WITH DENTIL MOULDED FRIEZE, ADJUSTABLE SHELVES, SHAPED APRON AND BRACKET FEET, A REPRODUCTION MAHOGANY STAINED HANGING WALL CUPBOARD IN DUTCH STYLE WITH ARCHED TOP, GLAZED DOOR AND SIDE PANELS, APPLIED GLAZING BARS, 52CM H X 60CM W AND A MAHOGANY BOW FRONT DISPLAY CABINET, C1930, THE SHAPED UPSTAND CENTRED ON A FLUTED SHELL, THE FRIEZE BLIND FRET CARVED WITH FOLIAGE AND LOZENGES ON A MATTED GROUND, THE DOOR APPLIED THREE VERTICAL GLAZING BARS FOLIATE CARVED TO THE TOPS ON CABRIOLE LEGS WITH CLAW AND BALL FEET, 128CM H X 59CM W Bookcase with stains and scratches, other light wear consistent with age. Wall cabinet - some scuffs and abrasions, other general wear consistent with age. Display cabinet - top heavily scratched, damp stained and ring marked, other wear consistent with age

A REPRODUCTION MAHOGANY SOFA TABLE IN REGENCY STYLE, MID 20TH C, OUTLINED THROUGHOUT WITH SATINWOOD CROSS BANDS, BOX WOOD AND EBONY STRINGING, THE RECTANGULAR TOP INSET TOOLED RED LEATHER WRITING SURFACE, THE FOLDING LEAVES CONFORMING, THE FRIEZE FITTED PAIR OF DRAWERS AND BLIND OPPOSING ON FLUTED TURNED TRESTLE LEGS JOINED BY A PIERCED UNDERTIER CENTRED ON A RECTANGULAR PLATFORM, SWEPT LEGS, FITTED BRASS PAW FEET, 150CM W Satinwood cross banding, box wood and ebony stringing lifting, some veneer losses, writing surface front right corner lifting, other wear abrasions and scratches, some chipping to stretcher and legs and other wear consistent with age

A REPRODUCTION MAHOGANY SERPENTINE FRONTED CHEST IN GEORGE III STYLE, MID 20TH C, THE TOP WITH MOULDED LIP ABOVE BRUSHING SLIDE AND FOUR LONG FIGURED, GRADUATED AND COCKBEADED DRAWERS, THE CANTERED ANGLES BLIND FRET CARVED ON SHAPED BRACKET FEET, BRASS HANDLES, 88CM H; 88 X 53CM Top with some scratches and minor chips to edges, front with minor veneer losses around drawers and to horizontal carcass mouldings, other chips, scratches and wear particularly to bracket feet and apron, other wear generally consistent with age

A GEORGE IV ROSEWOOD SOFA TABLE, C1830, THE TOP FITTED WITH TWO DRAWERS AND OPPOSING BLIND DRAWERS, ON PLAIN TAPERING PILLAR, INCURVED PLATFORM AND PROJECTING FEET, 73CM H; 76 X 149CM Leaves warped, veneers slightly damaged and repaired around platform

CAXTON (WILLIAM)  - THE GAME OF THE CHESSE, FACSIMILE EDITION BY VINCENT FIGGINS, ILLUSTRATED IN THE TEXT WITH LIST OF WORKS SUBSCRIBED TO CAXTON AT END, LATER BROWN MOROCCO BLIND TOOLED IN BLIND, LONDON 1855 AND ANOTHER CAXTON FACSIMILE, MANCHESTER UNIVERSITY PRESS 1909 (2)

A George III mahogany corner cupboard, with swans neck pediment with carved rose terminals with blind fretwork frieze and panelled door opening to shaped shelves flanked by fluted angles. Width 89 cm, height 125 cm. CONDITION REPORT: The carved rosettes to the swans neck pediment are different. The right hand one which is currently detached is probably a later replacement. The carving is not quite so fine. The swans neck pediment and dentil cornice beneath are in good condition all round as is the blind fretwork frieze. The door closes as it should. The lock is present and we have the key. It does operate. The base moulding to the left and right is detached but we have the pieces. The shelves are original. The backboards are original. We can see no evidence of any woodworm. On the left hand side bottom corner of the cupboard there is a section of mahogany which is detached. We have the piece.

An Edwardian bijouterie table, circular with blind fretwork and raised on tapered legs united by a raised galleried shelf. Height 76 cm, diameter 50 cm.

A Georgian style painted serpentine fronted serving table, with blind carving to the frieze and tapered legs, all raised on spade feet. Height 80 cm, width 210 cm, depth 45 cm (see illustration).

An oak grandmother clock, with moulded cornice above a blind fretwork frieze in turn above a three quarter length trunk door and with brass dial with two train striking movement. Height 169 cm. CONDITION REPORT: The case is in very good order with no issues. The face and movement are both dirty and dusty. We do not have the pendulum and cannot tell if the movement runs or not. When the hands are advanced the crutch does begin to tick. We have not had the clock striking.

A Late Victorian glazed bookcase, with blind fretwork frieze above the glazed doors enclosing adjustable shelves. Height 124 cm, width 96 cm, depth 44 cm.

A LAURENCE STEPHEN LOWRY R.A (1887-1976) 'THE LONELY HOUSE' SIGNED IN PENCIL WITH MAGNUS PRINTS BLIND STAMP, 29CM X 51CM, VERSO OF IMAGES OF THE PRINT BEFORE FRAMING. LIMITED EDITION 253/500

A 19th Century carved oak four poster bed in the Elizabethan taste:, the canopy with moulded lozenge foliate panels centred by a raised panel with marquetry mask, having an oval beaded cornice and blind fret strapwork and foliate frieze, on acanthus decorated bulbous turned front columns and square section blind fret decorated legs, the headboard with twin frieze marquetry panels with stylised lions, between raised grotesque masks, having twin domed marquetry panels below, decorated with flowers and foliage in urns, between pilaster stiles with figures, the central stile enclosing a small cupboard, the wings with mythical bearded figures each playing a serpent, 216cm (7ft 1in) length, 172cm (5ft 7 3/4in) overall width, 226cm (7ft 5 in) height.

Two boxes of mixed items including ceramics, shoes inc Doc Martins, piggy bank, slow cooker, black roller blind 5ft etc.

After Peter Graham (1836-1921), 'Moorland Rovers', early 20th century print of highland cows, Fine arts Publishing Co Ltd 1905, with blind Burlington Proof stamp and signature to margin, 43cm x 58cm, framed and glazed.

A 19thC Chinese ivory fan, with turned handle, pierced and decorated with raised flowers, each spoke with a blind fret of further flowers, 19cm wide.

A 19thC Chinese ivory fan, with shaped pierced spokes decorated with figures, trees and buildings, with a shaped handle and pierced blind fret centre, 19cm high.

A 19thC Chinese ivory fan, heavily carved with figures of sages, on a blind fret back, with central spokes, decorated with figures and flowers, with shaped handle, 20cm wide.

Edwardian satinwood blind panelled carved pot cupboard. (B.P. 21% + VAT) 40 x 36 x 81cm approx. Very worn, scratched, stained and faded to the top. Damage to the lock area (inside).

Early 20th Century oak free standing bookcase having two blind panelled doors.(B.P. 21% + VAT)

19th Century oak single door blind panelled hanging corner cabinet with shaped shelves. (B.P. 21% + VAT)

After Charlie Johnson Payne, 'Snaffles', (1884-1967), Print on paper, 'The Worst view in Europe'Signed in pencil with snaffle bits blind stamp lower left margin, 40cm x 65cm, Framed and glazed (at fault)

A 19th century Chippendale style mahogany chest on chest, the upper chest with a Greek key pattern frieze above two short and three long graduated and cock beaded drawers, enclosed by blind fretwork canted corners, the lower chest with a brushing slide over three conforming drawers, raised upon shaped bracket feet, 188cm H x 110cm W x 55cm D (at fault)

THE COPPER PLATE MAGAZINE OR ELEGANT CABINET OF PICTURESQUE PRINTS CONSISTING OF SUBLIME AND INTERESTING VIEWS IN GREAT BRITAIN AND IRELAND, BEAUTIFULLY ENGRAVED BY THE MOST EMINENT ARTISTS FROM THE PAINTINGS AND DRAWINGS OF THE FIRST MASTERS, five vols, with 250 engraved plates dated between 1792 and 1802, full Morocco with blocked and gilt pictorial vignette of a Gothic entrance to both boards, blind and gilt blocked double borders, gilt page edges, ex-libris bookplate for George Cave, London, J. Walker & H. D. Symonds, No 20 Paternoster Row (5) .

SAMUEL CLARE OF WARRINGTON; a George III oak cased eight day longcase clock, the brass face with silvered dial with Roman and Arabic numeral, with subsidiary dials, the case with single blind fret panel, raised on bracket feet, comes with two associated weights and a pendulum, height 202cm, width 56.5cm, depth 24.5cm.Additional InformationGeneral wear throughout, minor chipping to the corners, split to foot board, small pieces have been chipped away near the locking mechanism. The movement appears clean. Cannot speak as to functionality. Diameter of dial 28cm.

WARING & GILLOW LTD OF LANCASTER; a quartet of mahogany occasional tables with blind fret and beaded detail, the smaller table bearing label and numbered 6[?]069, the largest height 70cm, width 61cm, depth 45cm,Additional InformationSome scratches, scuffs and marks to top; further general wear.

An Edwardian Mahogany Swing Mirror with Blind Carved Bottom Rail, 61cm high

Music Appreciation - Napier Bell Simon 'Ta-Ra-Ra -Boom-De-Ay, The Business of Popular Music'  2014, red blind stamped cloth with gilt titles and decorations, d-j, Rice, Tim "An Autobiography Oh What a Circus", 1944 - 1978'  label signed by the author paste onto title page, black cloth, d-j, Storr, Anthony ' Music and the Mind' Harper Collins 1992, black cloth, d-j, price clipped and other related vols (16)

Modern First EditionsHogan Desmond 'The Ikon Maker' Writers and Readers Cooperative 1976, foxing to the edges, library blind stamp for John Fowles, Lyme Regis, black cloth, d--j. Burns, Anna ' Milkman' Faber and Faber 2018, dark blue cloth, some bruising to bottom of the spine , d-j, Osborne, John 'A Better Class of Person - an Autobiography 1929-1956 ' Faber and Faber 1981, signed on ffep in red pen 'John Osborne', red cloth, dust jacket, Trevor , William ' Love and Summer' Viking 2009, signed by the author on title page, cream cloth, gilt titles, dust -jacket, Faulks, Sebastian ' Birdsong' Hutchinson 1993, dark green boards, dustjacket ( 5)

2 large scale military Regiment photographs, with Gillman & Co Photographers blind stamp, and another military portrait (3)

E Foster - An 18th Century longcase clock, the square brass dial with roman hours and arabic minutes and striking a bell, contained within an oak case with Greek key cornice, blind fret carved frieze, above a shaped trunk door flanked by quarter-turned pilasters, raised on a box base, 199.5cms high.

-- Erstdruck der Pariser Offizin Rembolts in einem Londoner Prachtband des Meisters "KL-LK"-- Bruno Cartusianus. Expositio admodum peculiaris in omnes divi Pauli epistolas ... Epistola ipsius apostoli ad Laodicenses nunc primum in lucem prodit. Pauli apostoli laudes eximie per Johannem Chrisostomum varijs homelijs comprehense ... Novum hoc opus venale colperitur. 4 nn., 202 num., 4 nn. Bl. Mit 6-teiliger Metallschnitt-Titelbordüre, verso Titel wiederholt, großer Metallschnitt-Druckermarke auf dem Titel sowie verso Titel Wappenholzschnitt sowie zahlreichen bis zu 14-zeiligen Criblé-Initialen, Titel und teils auch Text in Rot und Schwarz gedruckt. 25,2 x 17,6 cm. Dunkelbraunes blindgeprägtes Kalbsleder d. Z. (sauber und fachmännisch restauriert, Fehlstellen sorgsam ergänzt, Rücken restaurierend erneuert, neu aufgebunden) über schweren Holzdeckeln mit 2 Schließbeschlägen mit Ösen auf dem RDeckel sowie 4 Rundkopfnägeln auf dem VDeckel (ohne die Schließen). (Paris, Berthold Rembolt, 16.II.1509). Adams B 1836. - Erste Ausgabe der exegetischen Homilien und Predigten des Heiligen Bruno von Köln (1027-1101) zu den Episteln Pauli. Bruno war Kirchenlehrer und Gründer des Kartäuserordens. Der Druck des Berthold Rembolt gehört zu den sorgfältigsten, prachtvollsten Drucken einer Pariser Offizin um die Jahrhundertwende. Der Druckvermerk lautet: "Parrhisijs Per Magistrum Bertholdum Rembolt. Anno millesimo quingentesimo nono xvj. Februarij". - Vorsätze alt erneuert (fliegender hinterer fehlt), Titel mit blassem, alten Stempelchen der Jesuiten in Lyon: "Domus prob. prov. Lugdun. S. J.", wenige winzige Wurmlöchlein, kaum fleckig, kaum Marginalien, im Block nahezu durchgehend sauber und bemerkenswert frisch. Letzte weiße Seite mit zeitgenössischem Eintrag in englischer Bastarda, demnach das Buch wohl schon direkt aus Paris nach London kam, wo es gebunden wurde. So ist der hübsche Einband in typisch englischem Stil ornamentiert: jeweils zwei breite Rollenbänder, flankiert mit Dreifachfileten überkreuzen sich auf den Deckeln. Die charakteristische insulare Stilform der Bänder zeigt Symbole wie Wappenschild, steigender Löwe, Lilie, Granatapfel, aber auch die Initialen "KL-LK". Siehe dazu: Oldham, Englisch Blind-Stamped Bindings, 1953, Seite 57, SV a (6)929 und Tafel LV, wo der Monogrammist genannt ist, der mit seinen beiden Initialenpaaren von 1516 bis 1526 nachweisbar ist. Unser Einband für einen Druck mit dem Datum 1509 wäre damit der früheste bekannte, der diesem Meister zuzuschreiben ist. Ein identisch verzierter Einband auf einem Theodosius (Basel 1528) wird beschrieben und abgebildet bei Martin Breslauer, Catalogue 104/II, Nr. 147: "an intersting early sixteenth century London blind-stamped binding". Vorsatz mit zwei englischen Exlibris: "Rev. J. Jonmes - W. Wilds" und "Society of the Holy Child Jesus".

-- Friedrich der Große über Gott, Glück und Schicksal-- Friedrich II., der Große, König von Preußen (1712-1786). Eigh. Brief m. U. "Federic". 12/3 S. 4to. Torgau 7.XI. (1760). Sehr bedeutender Brief an seine jüngste Schwester Amalie, Äbtissin des Stifts Quedlinburg, begabte Komponistin. In der Spätphase des Siebenjährigen Krieges, 4 Tage nach Friedrichs Sieg bei Torgau über die Österreicher unter Daun, antwortet der König eigenhändig auf einen Brief seiner Schwester, in dem diese ihm wohl empfohlen hatte, Gott für diese glückliche Wendung in bedrängter Situation zu danken und sich wieder mehr dem christlichen Glauben zuzuwenden. Friedrich antwortet ausführlich in seinem charakteristischen, leicht spöttischen Ton und erläutert ihr sein grundsätzliches Verhältnis zu Gott, dem Glück und dem Schicksal. Gott nennt er "Votre Beaupère Eternel", Amalie "Epouse de Jesucrist" und sich selbst "tout heretique ... qui ne conois pas un chien du Paradis". Doch habe er einen großen Respekt vor der unergründlichen göttlichen Weisheit und freue sich oder füge sich geduldig ihrer Launen. "Ma chère Soeur, je suis bien persuadé de la part que Vous prenéz a nos heureux Succès et à la Victoire que mon frere vient de ramportér sur Les Enemis, cela venoit très apropos Dans Les Circonstances pressentes ou il sagit de reduire nos Enemis sil est possible a faire une paix honorable pour nous et raissonable. Vous qui avéz des aboutissons au Ciel que je n’ai pas, vous pouvez Savoir Combien Votre Beaupere Eternel nous favorise ou nous Contrecare, moy pauvre mortel qui ne conois pas un chien du Paradis je Vis sur cela dans La plus grande Ignorance, je resois Le bien qui m’arive avec plaisir et je Suporte Le mal avec passience, cependant Soufréz qu’un pauvre profane vous exsplique quelque Dificultez qui se forment au fond des Entrailles de votre sublime Doctrine ...". Das Glück werde als blind bezeichnet, weil es in aller Regel ungerecht sei. "... elle avoit Les atributs d’être Caprisieusse et inconstante parce qu’elle L’est en Effet, or si vous substituéz la providence a La Fortune, il faut nécessairement que vous chargiez cette Provideance des Minces Injures dont L’accablaient Les payens, ce qui celon moy est Blasseniér dans Les formes, moy donc qui ai un très profond respect pour L’Essence Divine je me Garde bien de Luy atribuér une Conduite Injuste variable et Condomnable dans le moindre des Mortels, par cette raisson ma chère Soeur j’aime mieux ne point Croire que L’ Etre tout puissant et bon se melle du mince detail des affaires humaines j’atribue tout ce qui arive aux êtres Crées aux efets Nessessaires des Cosses Secondes et je m’humilie en Silence devant cet Etre adorable en Confessant mon Ignorance sur ces Voyes quil n’a pas plu a Sa Divine Sagesse de me revellér; adieu chere Epouse de Jesucrist, si vous ne me trouvéz pas ortodocz aumoins ne Vous avisez pas de me faire brullér, et soyez persuadeé que tout heretique que vous me Croyéz je Vous aime avec une veritable tendresse ...". - Kleine Randschäden; sonst schöner Bekenntnisbrief des "Philosophen auf dem Thron"; in der von Preuss edierten Ausgabe sämtlicher Werke nicht gedruckt.

Catacombae romanae. Taschenalbum zur Bilddokumentation der römischen Katakomben-Inschriften und Zeichnungen. 24 nn. Bl. Mit 128 montierten Original-Fotografien zwischen 1 x 2 und 10 x 6 cm. Reich blind- und reliefgeprägtes Halblederalbum in Leinenschuber. Rom um 1890.Hilfsbüchlein für die Arbeit eines Adepten der frühchristlichen Archäologie mit frühen Originalfotos vor allem zur Kunst in den römischen Katakomen. Neben Ansichten des Pantheons und des "Colosseums zu Rom" finden sich vor allem Fotos von Arcosoliengräbern mit hübschen Fresken und zahlreiche Fotos von griechischen und römischen Inschriftentafeln der Katakomben, oft mit frühchristlichen Symbolen wie "XP" mit Kreuz, Herzen, Swastika, Anker und vielem mehr. Auch einige Abbildungen früher Sarkophage, der Cestius-Pyramide etc. Mit einigen Beischriften in Sepia. - Wohlerhalten.

-- FAKSIMILES-- Book of Kells. Ms. 58 Trinity College Library Dublin. Faksimile. 35 x 25 cm. Weißer OSaffianband über schweren Holzdeckeln in schwarzer OLeder-Kassette mit 5 versilberten Lederbeschlägen sowie Blind- und Goldprägung. Luzern, Faksimile-Verlag, 1990. Eines von 1480 arabisch nummerierten Ganzleder-Exemplaren (Gesamtauflage 1560). Mit dem dazugehörigen Kommentarband, herausgegeben von Anton von Euw und Peter Fox (Halbleder in OLeinenschuber). - Tadelloses Exemplar im Originalkarton.

Oak bedsite table with Ventian blind doors, Dutch about 1800, h. 71, w. 56, d. 45 cm.Eiken Louis XVI pottenkastje met jaloezie deurtjes en uitschuiflade, Holland ca. 1800, h. 71, br. 56, d. 45 cm.

Bernard McMullen Limited Edition Double Blind Stamp, Signed in Pencil 'Street Party' 58/850 - 45cm h x 55cm h

Bernard McMullen Limited Edition Double Blind Stamp, Signed in Pencil 'Burnley Fair' 17/500- 45cm h x 55cm h

A late Victorian mahogany blind fret folding tea table, width 50cm, depth 38cm, height 65cm

METALWARES ETC, to include a wooden cased Longford family sewing machine, brass desk cannon on wooden plinth, Chinese brass bowl, brass candlesticks, brass jar with cover, cast metal blind stamp punch for Kingsley Rectory Cheadle, Staffordshire, two walking sticks and two hand fans

James McIntosh Patrick "Highland Lane" Signed Print, Signed in Pencil, With Blind Stamp, 40cm x 49cm

Sammlung Gerhard Wanner: Stahlrohrlanze 1890 aus dem Großherzoglich Mecklenburgisches Dragoner-Regt. Nr. 17. Stahlrohrlanze 1890, Abnahme W91. Truppenstempel: 17.D.2.20.(1. Großherzoglich Mecklenburgisches Dragoner-Regt. Nr. 17, 2. Eskadron, Waffe Nr. 20). Mit Revisionsstempel RC. 3,20 m lang. Erste Ausführung mit ursprünglich 6 Messingdraht-Ösen. Nach 1893 abgeändert: Die 2. und 5. Öse wurde blind gemacht und die anderen durch massive Messingösen ersetzt. Die Lanzenflagge wurde mit den entsprechenden asymmetrischen Befestigungslöchern angepasst. Die Waffe stammt aus den deutschen Verlusten in der Schlacht von Haelen in Belgien am 12.8.1914. Dabei hatte die Mecklenburgische Kavalleriebrigade bedeutende Verluste an Menschen und Material. Literatur: Das Dragoner-Regiment 18, 1914-1918, Erinnerungsblätter deutscher Regimenter.

Two porcelain baby plates and a Three Blind Mice mug. The latter 11 cm high.

Norman Wilkinson limited edition print Gipsy Moth iv Rounding The Cape 218/500 signed in pencil with blind stamp togetehr with a Roland Hilder print of a fly fisherman signed in pencil.

An 18th century joined oak livery cupboard, having twin blind carved panelled doors, opening to reveal unfitted interior, the base having an arrangement of five drawers, each with blind carving, the whole raised on ogee bracket feet (with some repairs), w.154cm, d.59cm, h.201cm

A Victorian mahogany round cornered and green leather inset writing table, having blind frieze drawer, width 101cm

A circa 1700 joined oak coffer, the three-panel top on loop hinges and opening to reveal candle-box fitted interior, over a two-panel front with blind carved frieze, w.114cm, d.55cm, h.66cmCondition report: Colour is excellent.Top has a small loss to right hand side.Back right leg has a loss to the top and has been shaved at the bottom.