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Shoe design.- A collection of shoe designs by the Dunbar Style Service, 320 monochrome printed shoe designs, most with printed collection name, date and style number, 240 with blind stamp of Dunbar Style Service, 80 tipped on to original printed green card with gilt lettering, each approx. 235 x 310mm (9 ¼ x 12 ¼ in.), occasional finger-soiling or marking, some surface dirt, some with pin holes to central upper or lower margins, occasional contemporary pencil or ink annotations but overall clean and bright, loose as issued, housed in 4 black sheepskin buttoned folders with modern inscription to spine in white ink, rather rubbed, 1913-1916.⁂ An excellent collection of early 20th century American shoe designs by the Dunbar Style Service, part of the larger Dunbar Pattern Co., a footwear design and manufacturing company which was located in Boston. The pinholes suggest that the plates were used for display purposes and were likely to have been used by travelling salesmen responsible for promoting forthcoming styles. In this period women would wear boots during the day, and would often change into Oxford, Mary Janes or Louis heels in the evening for dinner, dancing and events. Dunbar's autumn and winter season designs are almost entirely made up of boots, while the spring and summer seasons include boots, pumps, and sandals with more elaborate embellishments, including examples of the Ribbon Tango Boot, The Hesitation Pump, The Baltimore Colonial, The Broadway Pump etc. The Dunbar Style Service also published Footwear Style Trend, a trade magazine of which only one volume is recorded. It notes that "style may be defined as a quality of distinction and correct style, or style in vogue, must possess a pleasing quality of distinction, otherwise it will not find favor with the public and thereby cease to be correct".

Bernardin de Saint-Pierre (J.-H.) Paul & Virginie, engraved portraits, additional vignette title and plates, bound in elaborately inlaid blue morocco with decorations in green, red, brown, tan & cream morocco, spine titled in gilt and with compartments of similar onlays and five raised bands, arabesque doublures of tan morocco lattice design around black morocco lozenges and small onlaid green discs at intersections, both stamped with small gilt stars, gilt dentelles, blind-stamped crimson velvet flyleaves, marbled endpapers, g.e., 8vo (binding c.175 x 110mm.), Paris, 1878.

Meunier (Charles, binder).- [Fleury-Husson (Jules)], "Champfleury". Le Violon de Faïence, number 50 of 150 copies on japon with the etchings in 2 states and initialled by the publisher, from an edition limited to 500, etched illustrations by Jules Adeline, bound in dark purple morocco with pictorial inlays, by Charles Meunier, upper cover with design of bird flying above violin & musical score lying amongst flowers inlaid in russet, green, cream, pink & tan morocco, spine titled in gilt with five raised bands, turn-ins tooled in gilt and blind with ribbons and leaves, marbled paper doublures and flyleaves, original pictorial wrappers bound in, g.e., signed at foot of front turn-in, very slight rubbing to upper joint, 8vo (c.200 x 130mm.), Paris, 1885.⁂ The author was curator of the porcelain collection at the Sèvres museum.

Central Asia.- Abbott (Capt. James) Narrative of a Journey from Heraut to Khiva, Moscow, and St.Petersburgh, during the late Russian invasion of Khiva, 2 vol., first edition, half-titles, lithographed portrait, folding engraved map (lightly offset), occasional spotting, upper hinge of vol.2 reinforced with sticky tape, original blind-stamped cloth, very slightly marked, a good copy, 8vo, 1843.⁂ Great Game account of the diplomatic mission through Central Asia and Russia undertaken by James Abbott, an officer in the Bengal Artillery, to mediate between the threatening Russians and the Khan of Khiva.

Levant.- Thévenot (Jean de) The Travels of Monsieur de Thevenot into the Levant. In Three Parts. viz. Into I. Turkey II. Persia. III. The East-Indies, 3 parts in 1 vol., first edition in English, title within double-rule border, engraved portrait frontispiece and 3 plates, errata leaf, with sheet of 'Malabar Alphabet' and another of 'Malabar Cyphers', 6 ff. with small rust-holes with occasional loss to 1 or 2 letters of text, light dampstaining towards end, the odd spot, library blind-stamp to title, later half calf, rebacked, retaining original backstrip, corners bumped, rubbed, [Atabey 1217; Wing T887; cf. Blackmer 1650 (first edition)], folio, Printed by H. Clark, for H. Faithorne, J. Adamson, C. Skegnes, and T. Newborough, 1687.⁂ "Thevenot's travels mark the beginning of the grand epoch of travel and exploration in the Levant." - Blackmer.

Whitehead (Alfred North) and Bertrand Russell.Principia Mathematica, vol. 2 and 3 only (of 3), first editions, half-titles, light finger-soiling to margins, Liverpool Library ink library stamps and bookplates with ink Withdrawn over-stamps, light browning to endpapers, hinges starting or weak, original cloth, Liverpool library blind-stamps to covers and lettering to spines, vol. 2 spine chipped at head with loss, spine ends and corners bumped and frayed, [Norman 1868], 8vo, 1912-13.⁂ The rare second and third volumes of Whitehead and Russell's brilliant but failed attempt to place mathematics on a logical basis. The influence of this extraordinarily complex work was nevertheless profound, ultimately transforming the studies of logic, set theory and linguistic analysis. The first volume was printed in a run of 750 copies but sold poorly due largely to its complexity. This led to reduced runs of 500 copies for the two later volumes resulting in their present rarity.

Wild Boy of Aveyron.- Itard (Jean Marc Gaspard) An Historical Account of the Discovery and Education of a Savage Man, or of the first developments, physical and moral, of the Young Savage caught in the woods near Aveyron, in the year 1798, first edition in English, engraved portrait frontispiece, 4pp. advertisements, some light foxing or light soiling, A3&4 with adhesion mark to margin causing light tearing of paper, faint library ink stamp and marking to title verso, Wigan Free Public Library blind-stamps to title and frontispiece, frontispiece with some light damp-staining to head and ink inscription to recto, attractive modern half calf, spine gilt with red morocco label, 8vo, Richard Phillips, 1802.⁂ First English edition of this important study, see also previous lot. "A pupil of Pinel, Itard pioneered in the attempt to educate a young 'wild boy' who had lived since infancy entirely apart from human contact. In adapting the methods of teaching deaf-mutes to his extraordinary pupil, Itard created a new system of pedagogy which has profoundly influenced, modern educational methods." - Garrison-Morton.

Charles II (King of England, Scotland, and Ireland, 1630-85) Royal Commission issued in exile appointing county commissioners to levy soldiers against the Cromwellian regime, Document signed "Charles R", signed at head, manuscript on vellum, 11 lines (spaces left for the names of the commissioners, their county and where issued), written in a small neat hand, blind-stamped paper royal seal, central fold, 90 x 185mm., [?Brussels], [?July], [?1659].⁂ A commission to be filled in by royalist sympathisers "Giving you... power to leavy Souldiers Horse & Foote for ye opposing & destroying those who are in Rebellion against Us. And to appoint Collonells & all inferior Officers to comand ye Souldiers soe raised; And likewise to make choice of any person to be Comander in chief over them for any one particular designe, or as long as you shall thinke fitt, or untill Our pleasure be further signified; And wth those Forces to cause any Fort Castle Towne or Citty so be seized on for Us; And to fight, kill, & destroy all who are in armes against Us, & Our Authority; And We do further give you power & authority to raise Money by an equall & impartiall way of Contribution for ye maintenance of those Forces: and to do all Acts necessary for ye support of ye same: And we require all Our loving Subjects of that our County, to obey all such Orders & directions as you shall make in pursuance of this Our Commission, & for so doing this shall be to you & them sufficient Warrant. Given at Our Court at."

Advice to daughters.- Osgood (Salem) Advice to my daughters...25 March, 1704, manuscript on thick paper in red, blue and black inks, title and 20pp., text within blue single filet border and charming historiated and floral borders, ff. mounted on silk stubs, handsome contemporary black blind-stamped crushed morocco, little rubbed, small 4to, 1704.⁂ A charmingly executed copy of 'an old letter penned at Holfield Grange, Essex' (according to pencilled notes), perhaps by an Emily Barclay, whose name and the date 1859 is found on front endpaper. The values of reading and walking are discussed, alongside 'housewifery', and honest Christian devotion. Osgood was a City of London merchant, who lived at Oldfield Grange, Coggeshall, Essex, and had two daughters (Rebecca and Ann). He had family connections with Virginia, and amongst the terms of his will was 1/200th of New Jersey.

First book printed in Ge'ez.- Bible, Ethiopic.- Psalterium David et Cantica aliqua, edited by Johann Potken, collation: [1-128, 13-146], 108 ff., printed in red and black, Ethiopic and Roman type, first f. recto with a full-page woodcut in red showing a seated King David playing a harp within a decorative border signed 'S.C.', woodcut knotwork head-pieces, headings and initials in red, marginal repair to first and last ff., water-stained (mostly at start), some mostly light spotting and finger-marking, attractive contemporary ?French ornately blind-stamped calf over boards, sympathetically rebacked, remains of ties, corners little worn, rubbed, 4to (225 x 160mm.), [Rome], [Marcello Silber for Johannes Potken], 1513.⁂ Rare copy of the first edition of the first book printed in Ge'ez (or classical Ethiopic), and the first book of the Bible to be printed in an eastern language other than Hebrew. The editor was a German clergyman and papal protonotary, and he 'describes in his preface how he had heard Ethiopian strangers in Rome reciting sacred hymns, in which he recognized the names of the Blessed Virgin, the Apostles and certain Saints. Aroused by curiosity he determined to learn Ethiopic - which he calls lingua Chaldea - and eventually succeeded in mastering enough of the language to enable him to publish this edition in the native character.' (Darlow & Moule). Provenance: 'Questa Cantica è stata mandata da Genoua dal P. Gabriele di Casale Prouinciale de Capucini, anno 1606. mensis Nouemb' (ink inscription to front pastedown).Literature: Adams B1481: Darlow & Moule 3560; Fumagalli, Bibliografia Etiopica, p. 353; Smitskamp III, 233.

Plato. Opera [with commentary by Proclus], edited by Oporinus and Simon Grynaeus, 2 parts in 1 vol., second collected edition in Greek, first edition of the commentaries of Proclus on the Timaeus and the Republic, collation: 18, 2-66, α-ω6, Αα-Ωω6, ΑαΑ-ΗηΗ6 ΘθΘ8; Α-Ω, ΑΑ-ΛΛ6 ΜΜ8, woodcut historiated or decorative initials, final f. of part 1 blank, some light browning, with occasional minor staining or worming, the paper quality on the whole quite strong and clean, ink inscriptions to front endpaper, bookplate and fine 18th century portrait of Socrates in red chalk laid onto pastedown, contemporary blind-stamped pigskin with metal clasps, lettered in ink on spine, some minor rubbing and soiling, folio (335 x 220mm.), Basel, Johann Walder, 1534.⁂ Superb copy of this important and handsomely printed edition of Plato, preceded only by that of the 1513 Aldine. Proclus' extensive work on the Timaeus of Plato is the most important work on ancient physics and the most important commentary on Plato from antiquity. Provenance: J. G. ?Schultheis (ink inscription dated 1766); Eduard Grisebach (1845-1906, German author, scholar and bibliophile, bookplate). Literature: Adams P1437 & P2139; VD 16 P 3275; cf. PMM 27.

Law.- Coke (Sir Edward) The First Part of the Institutes of the Lawes of England, first edition, woodcut title, partially printed in triple column and black letter, lacking initial blank and folding table, a couple of leaves with a sentence inked out, a few ink annotations, ink signature of William Whitaker on title, a lovely clean copy in 19th century blind-stamped pale calf, rebacked, [STC 15784; PMM 126], folio, Printed for the Societie of Stationers, 1628.⁂ "...a disorderly, pedantic, masterful work...the basis of the constitution of the realm" by the prosecutor of Sir Walter Raleigh and the Gunpowder Plot conspirators.

Herbert (George) Herbert's remains. Or, Sundry pieces of that sweet singer of the temple, 2 parts in 1, first edition, title within woodcut typographic border, woodcut head- and tail-pieces and decorative initials, water-stained / stained, mostly in second part, trimmed at head, affecting a few rules, just touching the top of title border and the odd headline, 19th century black blind-stamped morocco, upper joint splitting, area of leather missing from foot of lower cover, rubbed, [Wing H1515; Pforzheimer 464], 12mo, Printed [by Thomas Maxey] for Timothy Garthwait, at the little north door of Saint Paul's, 1652.

ZYLINDERBUREAUDirectoire, Frankreich, Anfang 19. Jh.Mahagoni und Vogelaugenmahagoni eingelegt mit Messing in rechteckigen Reserven sowie Filets. Rechteckiger Korpus auf gerader Zarge, mit Knieaussparung und Pyramidenbeinen mit Bronzefüssen. Front oben mit drei zurückversetzten Schubladen über Zylinderverschluss, ausziehbarem Schreibblatt sowie unten fünf Schubladen. Die beiden auf der rechten Seite zusammengefasst, innen mit abschliessbarem Fach sowie herausnehmbaren Fächern für Tintenzeug. Der Zylinderverschluss öffnend auf drei Fächer und sechs Schubladen, drei davon blind. Das Schreibblatt mit grünem, goldgeprägtem Leder bezogen. Seitliche ausziehbare Tablare mit grünem Leder bezogen. Bronzefilets und vergoldete Beschläge. Weiss gesprenkelte Marmorplatte in dreiseitiger durchbrochener Messinggalerie. 1 Schlüssel.162(264) × 77(111) × 129 cm.Leicht ausgebleicht, kleine Risse. Griffe der Seitentablare sowie des Auszugblatts später.Aufgrund seiner Schlichtheit ist dieses Schreibmöbel schwer näher zuschreibbar. Trotz der beträchtlichen Dimensionen strahlt es grosse Eleganz aus, was ebenso wie die schöne und hochwertige Ausführung auf einen sehr guten Pariser Ebenisten vermuten lässt. CYLINDER DESKDirectory, France, beginning of the 19th century.Mahogany and bird's eye mahogany, inlaid with brass in rectangular reserves and fillets. The upper part with three drawers over the cylinder closure. The lower part with five drawers, the right drawer with lockable compartment and some removable compartments for inkwell and blotter. Cylinder closure opens up into three compartments and six drawers, three of which are sham drawers. Retractable writing surface, lined with green, gold-impressed leather. Lateral, retractable shelves, lined with green leather. Bronze fillets and gilt mounts. White speckled marble top, with pierced brass gallery on three sides. 1 key.162(264) × 77(111) × 129 cm.Slightly bleached, small cracks. Handles of the lateral shelves and of the pull-out writing surface, later.Due to its simplicity, this writing desk is difficult to attribute. Despite its considerable dimensions, the desk looks very elegant, with a high-quality finish, which suggests that it was made by a highly skilled Parisian craftsman.

Victor Pasmore, colour print, abstract, signed with pencil monogram and blind stamp, 9" x 8", framedGood condition

After George Morland (British 1763-1804): 'Blind Man's Buff', colour mezzotint by Clifford R James signed in pencil with Print Sellers Association blindstamp 42cm x 53cm; 'Canterbury Cathedral', 19th century hand-coloured engraving 35cm x 52cm (2) - Condition Report

A 75cm retro A.H. McIntosh & Co. Ltd. teak effect bureau with fall, blind drawer and pair of cupboard doors under, set on moulded square legs

* English School. Portrait miniature of a bewigged gentleman, 1695, oval oil on copper, head & shoulders portrait of a young gentleman, wearing a curled brown wig, dark purple coat, and white lace cravat, dated and indistinctly initialled lower right, paint surface slightly chipped to lower edge, 56 x 47mm (2.25 x 1.75ins), contained in a later oval blind-tooled red morocco case (hinge partly detached)Qty: (1)

ARR * Fini (Leonor, 1907-1996). Les Fruits de la Passion, XI, 1979, lithograph, numbered 136/250, signed in pencil lower right, blind stamp lower left, 43 x 36cm (17 x 14ins), sheet size 63.5 x 49.5cm (25 x 19.5ins), framed and glazedQty: (1)NOTESFrom the 1979 series Les Fruits de la Passion 12th series, catalogue raisonné, Cecile Reims by Lauren Laz, ref 772, refers

Half Plate W. Butcher & Sons 'The National Camera' English, c.1900, stamped on a brass plate to the lens panel 'The National Camera' of typical half plate field camera construction with polished mahogany and all brass lacquered metal work, with black bellows, with double rack and pinion extension, with roller blind shutter, ALDIS brass bound lens, with single DDS

A Stainsby Wayne Braille Writer etc., A Stainsby Wayne Braille Writer, a brass braille writer and a frame from The British and Foreign Blind Association, Stainsby 35cm

A George III style, mahogany two flap sofa table with faux and actual frieze drawers. On end, stile supports with inverted, blind fret decorated sabre legs with brass lions pat castors. 95 cm long (closed) x 152 cm long (open) x 61 cm wide x 77 cm high to the top, 63 cm to the underside of the frieze.Condition report: A crack forming on the joints of the top, general marks consistent with age.

§ Laurence Stephen Lowry RBA RA (British, 1887-1976). 'St. Luke's Church, Old Street, London, EC'. Offset lithograph printed in colours, from the edition of 850 published by G.R Mellor, 1973. Signed 'L.S Lowry' lower right and numbered 850/402 in pencil lower left. With blind-stamp lower left margin. Image size 61.5 x 46cm. Sheet size: 75.5 x 58.5cm. Provenance: Purchased in the 1970s by the vendor. Please note that Artists Resale Right maybe additionally payable on top of the hammer price for this lot, where above the threshold, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information. Condition Report: § A little light wear to edges of paper.Signed after printing.

19th century painting of the devil playing chess against a prisoner with both being aided by archangels and an angel, monogrammed lower left, blind-stamped Reynolds Bristol Board lower right, 38cm x 30cm,Provenance: hand written note verso stating that it was painted by a prisoner for the owners great great grandfather when he was warder on Bermuda when it was a penal colony and that the paper came from official sources and the colouring was extracted from the plant life which grew on the island. Condition Report: Some undulations in paper. Some oxidisation/degradation of the paint.

Banksy (British 1974-), 'Banksquiat (Grey)', 2019, screenprint on board, signed and numbered from an edition of 300, bearing the Banksy Heavy Weaponry Blind Stamp, published by the Artist; sheet: 70 x 70cm (Framed) ARR

Banksy (British 1974-), 'Visit Historic Palestine', 2018, offset lithograph in colours on paper, bearing the Walled Off Hotel blind stamp and rubber stamp verso; sheet: 70 x 50cm ARR

ZOOLOGIE -Gessner, Conrad.Fischbuch. Das ist ein kurtze, doch vollkommne beschreybung aller Fischen so in dem Meer und süssen wasseren, Seen, Flüssen, oder anderen Bächen ir wonung habend. Mit zahlr. teils ganzs. Holzschnitten.Zürich, Chr. Froschauer, 1563. Folio. [6] Bll., CCII Bll. Schweinslederband d. Z. über Holzdeckeln mit reicher Blind- und Rollenprägung sowie 2 Messingschliessen (sauber restauriert, kl. Fehlstellen an den Bünden mit Leder ergänzt).VD16 G 1741 - Adams G 536 - BM STC German 358 - Vischer G Rudolphi 7 - Nissen ZBI 1555 - Erste deutsche Ausgabe. - Aufwendig restauriertes Exemplar. Blattweise gereinigt und hinterlegt, dabei zahlreiche Fehlstellen sauber ergänzt. Teils mit kleineren Bild- oder Textverlusten. - Spiegel und Vorsätze erneuert, dort montiert alter hs. Besitzvermerk eines "Christoffel Egli der Jüngere".

A SILVER LIMITED EDITION (85/673) SILVER GOBLET by Aurum, London 1973, the cylindrical bowl with applied mermaid figure, the conical base with blind fretwork decoration representing the sea, inscribed on the base "To commemorate the 13th Centenary of the foundation of Ely Cathedral in 673ad, 16.5cm high, weighted Condition Report: Available upon request

•LAURENCE STEPHEN LOWRY RBA, RA (BRITISH 1877-1976) VIEW OF A TOWN Offset lithograph, signed, blind stamp, 43 x 54.5cm (17 x 21 1/2") Condition Report: Some sreas of very light foxing around the margins and two tiny dot marks lower margin at centre.

A Regency mahogany Pembroke table, rounded rectangular top with fall leaves and reeded edge above a frieze drawer, blind to verso, reeded spherical column, reeded sabre legs, brass capped casters, 70.5cm high, opening to 114.5cm wide, 104.5cm deep, c.1820

Florence Nightingale OM, RRC, DStJ (1820-1910) - a three-page ink manuscript autograph letter, addressed from Scutari [Hospital, Turkey], and sent to one of the Miss Hurts of Alderwasley Hall, Derbyshire, thanking her for her letter and the things which she, Mrs Arkwright, Mrs Clarke, & Mrs Radford kindly sent to her while she was stationed at the Castle Hospital, Balaclava, where they have remained as they "will be particularly acceptable", etc., signed Florence Nightingale, the notepaper with a blind-stamped crown within a shield to the upper-left margin, 18cm x 11.2cm, later envelope inscribed in pencil: From Florence Nightingale, [1]

A William IV rosewood work table, square top above a frieze drawer, blind to sides and verso, basket undertier, cylindrical column, octagonal socle, incurve base, 75cm high, 50cm square, c.1835

A 'George III' mahogany corner washstand, tall two-third gallery with small shelf, open undertier with small central frieze drawer, flanked by two blind, splayed forelegs, 105.5cm high, 57cm wide, 40cm deep

A Victorian walnut Davenport desk, hinged sloping top with three-quarter spindle gallery enclosing a maple-lined interior with small drawers, the side with hinged scribe's drawer above four further drawers, blind to verso, bun feet, 99cm high, 53cm wide, 54cm deep, c.1860

An early Victorian mahogany wardrobe, moulded outswept cornice above three panel doors, the left and centre each incorporating two blind drawers and enclosing a hanging rail, the right enclosing a shelf and further panel door, above two short drawers and a row of three further short drawers, plinth base, 212.5cm high, 182cm wide, 55.5cm deep, c.1840

A George III mahogany tray top night cupboard, tambour door above a pair of blind drawers, opening to reveal the pot, 76cm high, 51.5cm wide, 46.5cm deep

A George III Revival mahogany bow fronted corner display cabinet, moulded cornice above a glazed door, the slightly projecting base with a further glazed compartment and a frieze drawer flanked by a pair of blind conforming, outlined throughout with barber pole stringing, shaped undertier, outswept legs, 195cm high, 67cm wide, 48.5cm deep, c.1900

A George III mahogany bureau, in the Chippendale taste, fall front enclosing a small marquetry door inlaid with Britannia, pigeonholes and small drawers, above four long graduated drawers, applied throughout with blind fretwork, serpentine apron, bracket feet, 114.5cm high, 107cm wide, 49.5cm deep, c.1810

A Sheraton Revival satinwood and marquetry triple wardrobe, outswept cornice above a central mirrored door flanked by bowed doors, each inlaid with trailing bell husks, scrolling acanthus and an oval batwing patera, above two blind drawers, the base with three deep drawers, brass ring handles, the locks stamped Hobbs & Co, London, bracket feet, 216.5cm high, 231cm wide, 75cm deep, c.1900

A Chinese Chippendale design mahogany square card table, four-fold hinged top enclosing a playing surface and four copper counter wells, above a blind fretwork frieze drawer, serpentine legs, shaped and pierced X-stretcher centred by an urnular finial, ceramic casters, 75.5cm high, 56cm square (closed), opening to 77cm, c.1900

A Regency mahogany work table, rounded rectangular top with fall leaves above a frieze drawer, blind to verso, semi-cylinder undertier, ring-turned supports and stretcher, outswept feet carved with acanthus, brass casters, 78.5cm high, opening to 91.5cm wide, 49cm deep, c.1820

A near pair of William IV mahogany washstands, each rectangular top with a differing gallery, above a pair of frieze drawers, centred by a further blind drawer, vasular end supports, turned stretchers, shallow turnip feet, the largest 96.5cm high, 121.5cm wide, 54cm deep, the other 83cm high, 121.5cm wide, 54cm deep, c.1835 (2)

A George III mahogany work table, rounded rectangular top with fall leaves, above a frieze drawer, blind to verso, basket undertier, turned cylindrical legs, X-stretcher, casters, 72.5cm high, opening to 73cm wide, 45.5cm deep, c.1810

A French fruitwood armoire, arched moulded cornice above a pair of doors with substantial pierced brass lock and blind lock escutcheons centered by a stop fluted panel of three drawers with a shaped apron, 165cm wide, 230cm high, c.1850

A Victorian mahogany library table, rounded rectangular top with inset tooled leather writing surface, above a pair of frieze drawers, blind to verso, turned supports and stretcher, cabriole legs, acanthus scroll feet, ceramic casters, 74.5cm high, 107cm wide, 56cm deep, c.1860

A substantial George III mahogany longcase clock, 34cm arched enamel dial inscribed Whitehurst, Derby, rolling moon phase to arch, painted with a ship of the line, Roman and subsidiary Arabic numerals, twin winding holes, eight day movement striking on a bell, the imposing Lancashire architectural case with arched pediment carved with acanthus, above a pair of gilt brass mounted Corinthian pillars, arched rectangular door to waist with circular butler's mirror, flanked by quarter-columns and blind tracery, canted base with rusticated angles, 243cm high, c.1800The maker of the movement is John Whitehurst II (1761-1834) who succeeded his uncle John Whitehurst FRS in the firm he founded in Derby in 1737 on his death in 1788, running it until his death. In 1809 he took his son, John Whitehurst III as partner, simultaneously beginning a number sequence which only ended in 1861. The firm?s workshop was behind No. 24 Iron Gate (the building is still extant) and only moved to Cherry Street in 1832.

A Regency mahogany work table, rectangular top with fall leaves, above a single frieze drawer, blind to verso, beaded borders, basket undertier, U-shaped support, quadform base, sabre legs, brass lion paw feet, brass casters, 74cm high, 40.5cm opening to 69.5cm wide, 42cm deep, c.1820

A Chippendale Revival mahogany library bookcase, moulded outswept cornice above a blind fretwork frieze, and a pair of astragal glazed doors enclosing three adjustable shelves, the projecting base with conforming frieze above a pair of panel doors enclosing a further shelf, skirted base, bracket feet, 232.5cm high, 129cm wide, 48cm deep

A French Provincial brass mounted mahogany and fruitwood centre table, rectangular top with two panels of matched veneers above a deep frieze with small central drawer flanked by a pair of blind drawers, the verso conforming, deep drawers to ends, the escucheons cast as triumphal regalia, turned legs, H-stretcher, 76cm high, 98cm wide, 62cm deep

A William IV/early Victorian mahogany side table, slightly oversailing rounded rectangular top above a long frieze drawer, blind to verso, bun handles, lotus capped turned tapered cylindrical legs, brass casters, 75.5cm high, 71.5cm wide, 51.5cm deep, c.1835

A FRAMED AND GLAZED LIMITED EDITION PICASSO ABSTRACT PORTRAIT STUDY PRINT 71/200 WITH BLIND STAMP LOWER LEFT SIZE - 37CM X 46.5CM

A FRAMED AND GLAZED LIMITED EDITION PICASSO ABSTRACT FIGURE STUDY PRINT 200/200 WITH BLIND STAMP LOWER LEFT SIZE - 32CM X 47.5CM

A FRAMED AND GLAZED LIMITED EDITION PICASSO ABSTRACT PORTRAIT STUDY PRINT 141/200 WITH BLIND STAMP LOWER LEFT SIZE - 35CM X 42.5CM

A FRAMED AND GLAZED LIMITED EDITION PICASSO ABSTRACT PORTRAIT STUDY PRINT 130/200 WITH BLIND STAMP LOWER LEFT SIZE - 36CM X 45.5CM

A FRAMED AND GLAZED LIMITED EDITION GUSTAV KLIMT PRINT OF A WOMAN WRAPPED IN A BLANKET 38/200 WITH CERTIFICATE AND TREC BLIND STAMP LOWER LEFT SIZE - 35CM X 34.5CM

A FRAMED AND GLAZED LIMITED EDITION GUSTAV KLIMT MODERNIST PRINT OF NUDE FIGURES 15/200 WITH CERTIFICATE AND TREC BLIND STAMP LOWER LEFT SIZE - 35CM X 49CM

A FRAMED AND GLAZED LIMITED EDITION GUSTAV KLIMT MODERNIST PRINT OF A LADY 3/200 WITH CERTIFICATE AND TREC BLIND STAMP LOWER LEFT SIZE - 30CM X 44CM

A FRAMED AND GLAZED LIMITED EDITION GUSTAV KLIMT PRINT OF A LADY 59/200 WITH CERTIFICATE AND TREC BLIND STAMP LOWER LEFT SIZE - 20CM X 45CM

A FRAMED AND GLAZED LIMITED EDITION GUSTAV KLIMT SKETCH PRINT OF A LADY 56/200 WITH CERTIFICATE AND TREC BLIND STAMP LOWER LEFT SIZE - 28CM X 53CM

A FRAMED AND GLAZED LIMITED EDITION EGON SCHIELE ABSTRACT PRINT OF A SEMI NUDE FIGURE WITH CERTIFICATE AND S.P.A.D.E.M BLIND STAMP LOWER LEFT SIZE - 27CM X 42.5CM