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Large mahogany carved dining/library table, the rectangular top with carved moulded edge over a blind fret frieze, upon reeded legs, 72'' wide, 35'' deep, 28'' high

Nest of two mahogany occasional tables, each moulded top with blind fret carved border, raised on turned legs united by stretchers, largest 19.5" wide, 12.5" deep, 23" high; together with a needlework fire screen, within scrolling foliate brass frame, 29" high (2)

Edwardian mahogany vitrine/bijouterie table, the hinged top with blind fret carved border, raised on reeded tapering legs united by stretcher shelf, 21.5" wide, 16" deep, 29" high

A mid-20th century piano accordion with blind fret detail and mother of pearl keys, in carrying case.Additional InformationOne key is missing, general wear throughout, the case is in poor condition - see additional images for further information.

BANKSY (b.1974); aerosol stencil spray paint on cardboard, ‘Wrong War’, featuring the Grim Reaper, 98 x 71cm, unmounted.NB. Obtained by the vendor's partner at the Embankment meet up point on February 15th 2003 ahead of the Anti Iraq War protest march, where several spray painted placards of varying designs were handed out by Banksy and his associates. Additional InformationGenerally good condition with expected wear, there are the blind holes where it was attached to batons, some fraying to the edges. The provenance is clearly stated in the description.

A 3' 7" Victorian mahogany chest with blind drawer to top, three long graduated drawers and flanking half barley twist pillars, set on pommel feet

A 3' 2" early 20th Century oak bureau/bookcase with blind fretwork and astrajal glazed top over a part fitted interior with two long drawers under, set on an open barley twist stretcher base

A 36" Georgian style mahogany chest with blind fretwork low raised back, two short and three long graduated drawers bearing J.E.A.S. locks, set on bracket feet

A 3' 6" Victorian mahogany chest with blind frieze drawer, flanking half barley twist decoration and three long graduated drawers under, set on stepped plinth base

A mahogany cabinet on stand with galleried cornice and blind fret detail above twin astragal glazed doors enclosing two shelves, the stand with two short drawers and shaped undertier featuring further blind fret detail, height 161cm, width 76cm (af).Additional InformationLoss to the carving and foot board, also small area of loss to the beading on the right door. The door is also loose from the hinge, general wear, impact marks and scratches.

An early 20th century mahogany wardrobe with twin central panelled doors enclosing rail and fitted interior of three base drawers flanked by two mirrored doors, with blind fret decoration, raised on bracket feet, height 196cm, width 209cm.Additional InformationGeneral wear, knocks, scratches, marks throughout. 

[Incunabula] Gutenberg, Johann (printer)Leaf From the Gutenberg Bible(Mainz: Johann Gutenberg, 1450-55). Folio (388 x 287 mm). Leaf 156 from the second volume (New Testament), featuring the full Haggai and the first column of Zechariah. 42 lines, double column. Gothic type (type: 1:140G). Rubricated initial on recto in blue, headlines and chapter numbers in alternating red and blue, capitals accented in red, section title verso in red. Bound with A. Edward Newton's essay "A Noble Fragment, Being a Leaf of the Gutenberg Bible 1450-1455" (New York: Gabriel Wells, 1921). Full black morocco, stamped in blind and in gilt, extremities rubbed, by Stikeman & Co.; inscribed by Jeremiah Zimmerman on front paste-down, newspaper clipping about gift of current volume mounted to same; prelims slightly soiled, edges of same toned; paperclip residue in top edge of six leaves including Gutenberg leaf; some soiling along gutter and edges of leaf; faint crease at bottom corner; marginalia at line 25 second column recto.A leaf from the first printed book in the West. Produced under the partnership of Johann Gutenberg and Johann Fust between the years 1450-55. The first edition consisted of approximately 180 copies (150 on paper, 30 on vellum). Only 49 copies, in varying states of completeness, survive today.This leaf originates from a defective copy once housed in the Munich Royal Library and purchased by English traveler and diplomat Robert Curzon in 1832. The volume was broken up in 1920 by bookseller Gabriel Wells then sold as individual leaves, bound with an accompanying essay by Philadelphia bibliophile A. Edward Newton. The Rev. Dr. Jeremiah Zimmerman, former alumnus and trustee of the Lutheran Theological Seminary, purchased this copy at that time and almost immediately donated it to his alma mater.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] Leonardus de UtinoSermones quadragesimales de legibus dictiUlm: Johann Zainer, 9 Mar. 1478. Folio (352 x 254 mm). 380 leaves, plus additional leaf bound in at front with lengthy inscription. 60 lines, double column. Gothic type. Initials rubricated in red and blue ink, some intials in later text blank. Early twentieth century (1902) full pigskin, stamped in blind and in gilt, rebacked, boards rubbed and scratched, spine ends and raised bands rubbed, extremities lightly worn; first leaf repaired along top and fore-edge; top corner of first three leaves restored with later paper, some loss to text; small circular excision at bottom edge of 13th leaf; scattered soiling and spotting in margins of most leaves; scattered marginalia; repairs along top and fore-edge of final 11 leaves; 3 1/4 in. portion of fore-edge of final leaf excised; book-plate of author Herbert S. Squance (1905) on front-paste-down; ownership signature of Jeremiah Zimmerman on front paste-down. ISTC il00146000; Goff L146; BMC II 525; GW M17922.Leonardus de Utino (1400-70) was a Dominican monk and follower of Thomas Aquinas. During his lifetime he was one of the most popular and influential preachers, teaching in Bologna and throughout Northern Italy. Only one other copy in the auction redcord (1979).PROVENANCE:Herbert S. SquanceRev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] Quentell, Heinrich (printer)Biblia (in West Low German, With Glosses According to Nicolaus de Lyra's Postils)(Cologne: Heinrich Quentell, about 1478-79). Part one (of two) only. Folio (415 x 295 mm). 264 (of 270) leaves, lacking initial blank, leaves 1, 2, 3, 268, and 269 (as compared with copies in Boston Public Library, University and City Library Cologne, and University and State Library of Dusseldorf). 57 lines, double column, plus headlines. Gothic type (type: 1:102G). Initials rubricated in red and blue ink, some with extended and elaborately decorated marginal flourishes. Profusely illustrated with 89 black and white in-text woodcuts, as well as one large woodcut at front depicting Eve's creation. Full contemporary calf over wooden boards, elaborately stamped in blind with cross-hatching and fleur de lis pattern, boards worn and blistered, clasps and bosses wanting, calf on rear board partially torn away; spine perished, cords exposed but very much intact; fore-edge margin of leaf 151 cut away, not affecting text; repaired closed tear in bottom edge of leaves 167 and 169; short closed tear in bottom edge of leaf 168; leaves 69v and 70r darkened; scattered soiling and ink staining, mostly affecting margins but occasionally extending into text; some rubricated initials affected by damp and faded; scattered marginalia; old catalogue description of this copy on front paste-down. Book-plate of the Doctor Jeremiah Zimmerman Library, Lutheran Theological Seminary, Gettysburg, Pa., on front paste-down; gift inscription to library from Zimmerman in MS on same. ISTC ib00637000; Goff B637; GW 4308; BMC I 264.In 1478-79, German printer Heinrich Quentell produced one of the most influential bibles of the early hand press period. A monument of early German printing, this work is renowned for its woodcut illustrations (often attributed to the "Master of the Cologne Bibles"), and it would "set the style of Biblical illustration for many years to come" (p. 108. Bland, A History of Book Illustration). The woodcuts would go on to be used in Anton Koberger's Nuremberg Bible in 1493, and influence numerous bibles in Venice, Strasbourg, Lubeck, and finally appearing in the Halberstadt Bible of 1522. In addition to this copy in West Low German dialect, he simultaneously produced one in Low Saxon dialect. Only one other copy of the first part appears in the auction record. Rare.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] (Ripelin, Hugo)(Compendium theologicae veritatis [with table by Thomas Dorniberg])(Ulm: Johann Zainer, ca. 1478-80). Folio (260 x 190 mm). 162 leaves. 40 lines, single column, headlines. Gothic type (type: 4:96G, 5:136G). Many initials rubricated in red, capitals accented in red, and section titles underlined in red. Original red leather over bevelled wooden boards, decoratively stamped in blind with alternating floral and fleur de lis pattern, remnants of original clasps, old paper label on spine, boards and spine heavily rubbed and worn, large chip out of top corner of rear board, lower corner very worn, spine ends chipped, scattered worming; catalogue description on front paste-down; lengthy early description in ink on recto of front blank; title in ink at head of first printed leaf; dampstaining at fore-edge of first 14 leaves; scattered minor dampstaining at bottom edge; minor worming in bottom gutter of leaves 19-27; scattered soiling; front and rear blanks soiled and slightly worn; scattered marginalia; two paper fragments in two different hands laid in at front; armorial book-plate of German doctor and incunabula collector Ferdinand Herscher (15??-1646) on front paste-down, book-plate of Theological Seminary Library, Gettysburg, PA., on same. ISTC ia00233000; Goff A233; GW 599.Johann Zainer (d. ca. 1523) was the second printer based in Ulm. Among others, he is remembered for printing the first German translation of Boccaccio's "De claris mulieribus" in 1473. Only 1.4% of ISTC recorded editions were printed in Ulm. The "Compendium theologicae" has a long history of being misattributed to an array of authors such as Albert Magnus, Thomas Aquinas, Thomas Dorinberg, and Bonaventure, among others, but is now more certainly considered to be by Hugo Ripelin (1205-70), a Dominican theologian from Strasbourg. Apart from the works of Thomas Aquinas, the "Compendium" was the most widely read work of Dominican theology, being used as a textbook for close to 400 years.PROVENANCE:United Lutheran Seminary

[Incunabula] Amerbach, Johann (printer)Biblia LatinaBasel: Johann Amerbach, 1481. In two volumes. Folio (288 x 200 mm). 564 (of 572) leaves, lacking eight leaves of signature 10 in second volume. Collation: a-y10, A-D10, plus blank; 2 blanks, E-T10, U12, X-Y10, 1-8(10), 9(8), 11(10), 12-13(12). 47 lines, double column. Gothc type (type: 1:185G, 2:81G, 3:92G). Some initials in each volume rubricated in red, other initial spaces with printed guides, capitals accented in red. Near-contemporary full panelled calf over bevelled wooden boards, elaborately stamped in blind, boards worn and rubbed, front and rear joints split but sound, headcaps perished, catches and other brass hardware present, clasps and straps wanting; title in MS in red ink on fore-edge of each volume; vellum waste paper paste-downs in each volume, now separated from boards; dampstaining at fore-edge of leaf a2 in first volume; old cataloguer's notes on first free leaf in both volumes; old paper repair at recto and verso headline of leaf E1 in second volume, dampstaining at lower fore-edge of 2(2)-2(8) in same; scattered soiling and marginalia in each volume. Ownership signature of Jeremiah Zimmerman on front paste-down of first volume, his gift inscription to Theological Seminary, Gettysburg on front paste-down of second volume; Bundesdenkmalamt ink stamp on front paste-down in each volume. ISTC ib00571000; Goff B571; BMC III 745; GW 4246; VcBA 11002937.Johann Amerbach's second Latin bible, a reprint of his 1479 edition.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] Florentinus, AntoninusPrima pars totius summe AntoniniBasel: Michael Wenssler, 1485. Part one only. Index of Johannes Molitoris at front. Folio (349 x 241 mm). 374 leaves. Collation: A-P8, [2], Q8, [2], a-z8, (?-?8), A-C8, D6, E-F8. 56 lines, double column, headlines. Gothic type (type: 4:190G, 9:90G). Initials rubricated in red and blue ink, with illuminated initials at leaf A2 and a4. Near-contemporary full pigskin over wooden boards, elaborately stamped in blind, rubbed and soiled; tooled brass and pigskin clasps and catches intact and unsophisticated; scattered minor spotting and soiling to text; scattered marginalia; short tide mark at bottom of most leaves (more pronounced from leaves l8 onward); closed tear at top corner of M6; approximately 2 1/2 in. open tear at fore-edge of M8; faint dampstaining on leaf r1; old ownership signature at bottom of E3 at rear and dated 1659, 1 1/4 in. chip at bottom edge of same; dampstaining at top corner of F4-F8 at rear; two small open tears at bottom corner of F8 at rear; old cataloguer's notes on title-page, rubber stamp of seminary on title-page, bottom margin A2, F8v at rear, and rear paste-down; book-plate of Theological Seminary Library, Gettysburg, Pa., as well as donation book-plate of the Rev. Jeremiah Zimmerman on front paste-down. ISTC ia00874000; Goff A874; BMC III 728; GW 2188.Antoninus of Florence (1389-1459) was an Italian Dominican friar who ruled as Archbishop of Florence from 1446 until his death. He was canonized on May 31, 1523 by Pope Adrian VI. Michael Wenssler (14??-1499) was a Basel based printer. Born in Strasbourg, he became a citizen of Basel in 1473 and printed there until 1490. He sold his printing press in 1490 to settle debts, and worked briefly in France, returning to Basel in 1499.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] Gerson, JohannesOperaBasel: Nicolaus Kesler, March 12-21, 1489. Edited by Peter Schott and Johann Geiler von Kaysersberg. Three parts, plus "Inuentarium eorum que in operibus Gersonis continentur" (index), in one volume. Folio (298 x 216 mm). Index: 46 leaves; part one: 188 leaves; part two: 230 leaves; part three: 320; complete with all blanks. 57 lines, double column, headlines. Gothic type (type: 1:180G, 2:82G, 6:64G). Initial spaces blank. Illustrated with three full-page woodcuts on verso of each title-page depicting Gerson as a pilgrim (copied from Johann Prüss' woodcut in the 1488 Strasbourg edition). Contemporary full calf over wooden boards, decoratively stamped in blind, catches and other brass hardware present, clasps and straps wanting, boards worn and blistered, scattered minor worming, upper front board corner starting, upper rear corner repaired, spine worn and blistered; minor soiling and scattered marginalia throughout text; vellum waste paper endpapers, large remnant of paper leaf from an undetermined work pasted to same; old catalogue description on front free endpaper; scattered minor worming throughout index at front; some dampstaining along bottom edge of first 10 leaves and final 20 leaves; repair on part one title-page recto; small repair in bottom corner J2; small loss at top corner kK3 just touching printed foliation; tear at top corner Pp6; minor worming to some leaves at rear. With the book-plate of the Doctor Jeremiah Zimmerman Library, Lutheran Theological Seminary, Gettysburg, Pa., on front paste-down. ISTC ig00187000; Goff G187; BMC III 767; GW 10715.A rare and complete collection of French theologian Johannes Gerson's (1363-1429) works.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Incunabula] Hieronymi (St. Jerome)Epistolarum beati Hieronymi presbyteri omnes partes uno volumine contenteNuremberg, Anton Koberger, 12 Nov. 1495. Folio (322 x 233 mm). 374 leaves. Collation: (6), a-b6, d-z8, A-Y8, Z10. 66 lines, double column, headlines. Gothic type (type: 14:130G, 15:91G, 21:74G, 31:74Gr). Initials rubricated in red, some with extended marginal flourishes, capitals accented in red. Original full calf, decoratively stamped in blind, paper spine label, bosses and clasps wanting, boards rubbed and worn, lower front and rear joint starting, title and author in MS on fore-edge; vellum waste paper paste-downs, front excised, rear separated from board; first few leaves variously darkened and soiled; old ownership signature on recto of title-page, other marginalia in several hands on recto and verso of same; scattered soiling and darkening to text; bottom corner of leaf CCL creased; final leaves variously soiled and worn, scattered worming to same; old MS notes at bottom verso of final leaf. Book-plate of Theological Seminary Library, Gettysburg, Pa. (United Lutheran Seminary), on front paste-down. ISTC ih00174000; Goff H174; BMC II 440; GW 12434.Anton Koberger (1445-1513) was one of the most successful printers and publishers of the fifteenth and sixteenth centuries. Working primarily out of Nuremberg, he also operated presses in Basel, Strasbourg, Lyon, Paris, and other parts of Europe. At the height of his activites he ran over 24 presses and employed over 100 compositers, proof-readers, press-men, illuminators, and binders. During his long career he is credited with publishing over 200 titles, and helped to make Nuremberg one of the most prolific sites in the production of incunabula.PROVENANCE:United Lutheran Seminary

[Incunabula] Paganinis, Hieronymus de (printer)Biblia LatinaVenice: Hieronymus de Paganinis, 7 Sept. 1497. Edited by Petrus Angelus de Monte Ulmi. 8vo (165 x 120 mm). 511 (of 514) leaves. Collation: A10, a8, b7, c-z8, [et]8, [con]8, [rum]8, 2a-2m8, 2n10, 2o8- 2z8, [2et]8, [2con]8, [2rum]8, A-F8, 1-4(8), 5(5); lacking first leaf (title-page), b8, and final leaf (printed title-page supplied). Gabriel Brunus table: 50 lines, double column, headlines; text: 54 lines, double column, headlines (rectos only); "Interpretationes": 54 lines, three columns, headlines (rectos only). Gothic type (type: 7:52G, 8:89G, 9:45G, 10:90R). Headline and first paragraph on leaf a1r printed in red, initial spaces largely blank, a few filled in with faint ink guides; printed side-notes and shoulder-notes. Full brown calf, stamped in blind and in gilt, heavily rubbed, chipping at head and tail of spine, upper rear joint starting; title inscribed on fore-edge; some headlines shaved close; scattered minor worming; scattered marginalia; minor to moderate darkening and spotting in margins; dampstaining at bottom edge of g8-h1r; scattered subtle dampstaining in margins; old inscription on F8r; dampstaining in fore-edge of 1-4(8) and 5(5); final two leaves repaired in upper gutter; last leaf chipped at bottom corner with a few letters lost. Book-plate of the Doctor Jeremiah Zimmerman Library, Lutheran Theological Seminary, Gettysburg, Pa., on front paste-down. ISTC ib00601000; Goff B601; BMC V 459; GW 4278.In 1492 Hieronymus de Paganinis published the second octavo Latin bible, and this reprint was printed five years later.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Early Printing] (Claravellensis, Bernardus, Saint)Fragment of Homilies From "Opuscula divi Bernardi abbatis Clarevallensis..."(Speyer, Germany: Peter Drach, ca. 1501). 8vo. 18 leaves. Collation: A2-A3, A6-A7, E1, E3-E6 (bound out of order), C1-C2, C4-C5, C7-D1, D8. 50 lines, double column. Gothic type. Three-quarter tan calf, stamped in blind and in gilt, over green cloth-covered boards, front board detached, joints and corners rubbed, spine ends chipped; earlier collator's notes on verso of front free endpaper and bottom of leaf A2, blank leaf bound in after leaf A2 with earlier collator's notes. Book-plate of Edmund McClure on front paste-down; Theological Seminary Library, Gettysburg, Pa., book-plate, as well as donation book-plate of the Rev. Jeremiah Zimmerman, on front paste-down; same Seminary Library ink stamp on front free endpaper. OCLC 837267275.Peter Drach pere (d. ca. 1481) established the first printing press in Worms in 1471. Peter Drach fils (1455-1504) took over operations after his father's death, and is known to have served on the city's council from approximately 1481-1504.Saint Bernard of Clairvoux (1090-1153) was a French abbott and leader in the revitalization of Benedictine monasticism through the Order of Cistercians. He was canonized by Alexander III in 1174.PROVENANCE:Edmund McClureRev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Early Printing] (Morgenstern, Georg)Fragment from "Sermones contra omnem mundi perversum statum"(Leipzig: Wolfgang Stöckel, ca. 1502). Small 4to. Fragment: 44 leaves. Collation: A2-B3, B5-C2, C5-D2, D5, F3-F5, G1-H6, I2-I5, L3-L5, *2-*5 (table). 42 lines, double column. Gothic type. Three-quarter tan calf, stamped in blind and in gilt, over green cloth-covered boards, joints and corners rubbed, spine ends chipped; earlier collator's notes on front endpapers; scattered marginalia and underlining; dampstaining at bottom corner of all leaves; scattered spotting. With the Theological Seminary Library, Gettysburg, Pa., book-plate, as well as donation book-plate of the Rev. Jeremiah Zimmerman, on front paste-down; same Seminary Library ink stamp on front free endpaper. OCLC 837220364.Wolfgang Stöckel (ca. 1473-1541) was a Leipzig-based printer who operated numerous printing presses across Central and Eastern Germany, including Wittenberg, Halle, Eilenburg, and Dresden. He briefly served as printer to George the Bearded, Duke of Saxony.Fragment from Georg Morgenstern's only known published work "Sermones contra omnem mundi perversum statum" (Sermons Against the Whole Perverse State of the World). Little is known about Morgenstern, except that he was a doctor of canon law and taught at the Univeristy of Leipzig.PROVENANCE:Rev. Dr. Jeremiah ZimmermanUnited Lutheran Seminary

[Religion] Nicholls, WilliamA Comment on the Book of Common-Prayer, and Administration of the Sacraments, &c. Together with the Psalter or Psalms of David...London: Printed for R. Bonwicke, W. Freeman, et. al., 1710. First edition. Folio. (viii), xx, (590), 71, (5) pp. Lacking engraved frontispiece portait. Full contemporary panelled calf, rebacked, stamped in blind and in gilt, red morocco spine label, boards rubbed and lightly blistered, light wear to extremities; all edges trimmed; old ownership signature at head of title-page, scattered minor spotting to text, repairs in gutter and bottom edge of pp. (113/114); armorial book-plate of Miles Bland, D.D., F.R.S. on front paste-down. Bound with:Sternhold, ThomasThe Whole Book of Psalms, Collected into Englsh MetreLondon: Printed for James Roberts, 1739. Reprint. (56) pp.Miles Bland (1786-1867) was an English cleric and mathematician, and fellow of the Royal Society, the Society of Antiquities, and the Royal Astronomical Society.

A Regency gothic revival oak breakfront dressing table after a design by George SmithCirca 1810, surmounted by six spherical finials, the top comprising a central bay inset with two gilt-tooled leather inset slides opening to reveal six compartments, flanked by two raised end bays, with a central interlaced gothic blind fretwork facade below, comprising one dummy drawer above one drawer enclosing four pull-out cylindrical compartments encompassing a circular wash basin recess, flanked by two quatrefoil blind fretwork deep drawers, on six stiff-leaf capped spiral reeded tapering legs, 137cm wide, 57cm deep, 98cm high (53 1/2in wide, 22in deep, 38 1/2in high). Footnotes:The offered lot is virtually identical to a design for a dressing table produced by George Smith, dated 1807, which features as plate 74 in Smith's seminal publication Household Furniture (1808). It is also illustrated in the chapter entitled 'The Gothic Taste', M. Jourdain & revised by R. Fastnedge, Regency Furniture, 1795-1830, 1965, London, fig. 49, p. 32. In light of the aforementioned it seems probable that the present dressing table was actually executed by George Smith, although there is no documentation to prove this.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

AnonymousEarly/mid 20th centuryThe right-hand screen of a pair of four-panel screens, ink and colours on gold paper, depicting townsmen gathering to watch probably a performance of Okuni kabuki (Female kabuki founded by Izumo no Okuni [1572-1613]), including a mother and child buying a rice cake from a stall and two blind anma-shi (masseuses) and three wakashu (young men); signed on the lower right Okuni kabuki no zu, Koho/Joho (Picture of Okuni Kabuki, Koho/Joho) with a seal.Overall: 91.5cm x 183cm (36in x 71 13/16in); image: 82.5cm x 174cm (32½in x 68½in).For further information on this lot please visit Bonhams.com

Victorian mahogany side table with two blind drawers and two short drawers with turned ivory handles 28" x 36 1/4" x 21 3/4"Location: STAIRS

A LB&SC R (London Brighton & South Coast Railway) carriage section/ticket office showing, sign reading “Damage to Carriage, £5 Reward will be paid to anyone furnishing information leading to the conviction of any person doing wilful damage to the fittings of the carriages. Information to be given to the station masters or other officials of the company” on wood backing, with LB&SC R blind over drop down window section with glass weighted window, 56cmWx89cmH

Charlie Johnson Payne, 'Snaffles' (British, 1884-1967)The Gent in Ratcatcher signed 'Snaffles' in pencil with snaffle bit blind stamp, hand-coloured print37 x 35cm (14 9/16 x 13 3/4in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charlie Johnson Payne, 'Snaffles' (British, 1884-1967)The Informerssigned 'Snaffles' in pencil, print with snaffle bits blind stamp 47 x 56cm (18 1/2 x 22 1/16in).Together with another unsigned Snaffles hand finished print 'Not Taking Any, published in 1913 by Fores, Picadilly, London, 34 x 40cm (2)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A CAGE OF CURTAIN AND BLIND ITEMS A/F

Russell Flint, ladies on the promenade coloured print, blind stamp and numbered 643/650 48cm x 63cm

An 18th Century mahogany tallboy chest with arrangement of three short and six long drawers flanked by canted sides with blind fret carved decoration on bracket feet, 115cm wide/see illustration CONDITION REPORT: Dental cornice chipped in places. Fretwork decoration contemporary and chipped in places. Drawer handles and escutcheons later. Both sides split and moulding split and repaired. Chest splits into two. Please note: this lot is very badly nicotine stained.

Progressive Rock LPs, seventeen albums with artists comprising Blind Faith, Genesis, Enid, Passport, ELP, Birth Control, Jethro Tull, Mott The Hoople, Electric Light Orchestra, Tomorrow, Ten Years After, Mike McGear, Alan Hawkshaw and The Moody Blues - various years and conditions

Blues CDs, approximately seventy CDs of mainly Blues with artists including John Lee Hooker, Otis Grand, Champion Jack Dupree, Sonny Boy Williamson, Lightnin Hopkins. Taj Mahal, Screaming Jay Hawkins, Tampa Red, Blind Blake, Blues Band and more - various conditions but mainly Excellent

A near pair of Spanish oak armchairs, 17th century and later, the slung leather and studded back and seat over a pierced and blind carved apron, on square section supports united by stretchers,60cm wide approximately 59cm deep105cm high (2)From The Principal Contents of an East Anglian Estate.Condition report: See additional images.Restored to tips of feet, one with a later seat and back, old splits, dents and chips, both sturdy.46cm to seat, 81cm to arm, 44cm deep.

A Biedermeier mahogany commode, with a grey-veined marble top, blind frieze drawer and three further drawers, gilt brass handles and escutcheon, on a plinth base,129cm wide57cm deep89cm highCondition report: A small sliver of border moulding has come away from the top right edge of the chest, (present in the drawer) just below the marble. There is a bruise to the front right side corner approximately half way up, a timber shrinkage crack to the side panel and a small section of veneer missing from the plinth base on the right hand side.

A George III mahogany secretaire chest on chest, dentil cornice over a blind fretwork frieze, the upper section with two short and three long drawers, secretaire drawer, drawers, pigeon-holes and a central cupboard, with two further drawers, bracket feet, width 116cm, depth 56cm, height 184cm.

A George III style mahogany linen-press, mid19th Century, moulded cornice, blind fretwork frieze, two panelled doors enclosing six slides, the base with two short and two long drawers, ogee bracket feet, width 123cm, depth 63cm, height 197cm.

Mackenzie Thorpe, 'Land of Love', 2003, photo lithograph on Consular Feltmark paper, signed, titled and numbered 332/850 in pencil to lower margin, with Washington Green Certificate of Authenticity verso and blind stamp to front.

Mackenzie Thorpe, 'Its a Drying Day', 2002, photo lithograph on Consular Feltmark paper, signed, titled and numbered 104/850 in pencil to lower margin, with Washington Green Certificate of Authenticity verso and blind stamp to front. 75x64cm

A framed George Cunningham signed limited edition print, Norfolk Street, with blind stamp, along with a framed signed limited edition Peter Owen Jones print, Wet Night.

Three framed signed E R Sturgeon prints, two larger ones being limited edition with blind stamp.

A quantity of wall paper and a blind

James Alphege Brewer (1882-1938) _ Venice The Bridge of the Rialto, colour etching, pencil signed with blind stamp, 61x38cm, framed & glazed

A Quality 18th century George III mahogany long case clock with a brass dial and silver chapter ring maker Mathew Holland London eight day going with strike silent dial arch top with blind fretwork. with pendulum. With brass weights

Tennyson, Alfred Lord - Maud, and Other Poems, 1st edition, 8vo, original green, blind-blocked cloth, front hinge split, Edward Moxon, London 1855 and In Memoriam, 5th edition, 8vo, original blind stamped brown cloth, Edward Moxon, London 1851 (2)

Allen, Thomas - The Picturesque Beauties of Great Britain- A Series of Views from original drawings, 8vo, half calf with marbled boards, with fold out map, frontis of Canterbury Cathedral (foxed) and 52 plates, George Virtue, London, 1833; Greenwood, C - An Epitome of County History - Vol 1 - Kent, (all published), folio, blind stamped green cloth with gilt titling, with double-page hand -coloured map of Kent and 82 litho plates, London, !838 (2)

JOSEPH PRAED AFTER ROSA BONHEUR, The Dual, a monochrome engraving, signed in pencil by both to lower margin (Bonheur's signature smudged), Print Sellers Association blind stamp lower left, framed and glazed, approximately 61cm x 86cm, together with a set of four engravings after H. Alken 'The First Steeple-Chase on Record', plates I-IV, hand tinted, framed and glazed, approximately 43cm x 52cm (5)

Montague Dawson signed print "Pieces of Eight" with gallery blind stamp, framed and glazed, 75 x 60 cm. Not available for in-house P&P.

Beryl Cook - Framed Limited Edition Print signed in pencil with blind stamp ' Shall we dance '

Early 19th century Mahogany Inlaid Bookcase, the upper section with break swan neck pediment and twin astragal glazed doors, over a deep drawer opening and dropping down to reveal a fitted bureau interior with writing area (lacking surface), over a further two drawers, the lower section with blind fretwork carved canted corners, 249cms high x 113cms wide

An Oak Chiming Small Longcase Clock, circa 1920, arch pediment, side sound frets, front door with a presentation plaque, trunk door and plinth with recessed panels, 8-inch arch brass dial, arch with Tempus Fugit disc, triple barrel movement chiming on eight gong rods, 169cm high 14.08.20 Case is faded in parts, blind fret work with small pieces missing, trunk door is locked, no door keys, front door with a presentation plaque, dial is discoloured, movement is dirty.

A George III Mahogany Chest on Chest, late 18th century, the dentil cornice above a blind fret carved frieze and two short over three long drawers, all between fluted column supports, the base of three deep drawers, on bracket feet, 112cm by 56cm by 173cm see illustration

A Pair of George III Mahogany Gainsborough Style Library Armchairs, late 18th century, recovered in green and floral needlework fabric, the outswept arms with acanthus carved scrolled hand grips and curved supports, the overstuffed seats above blind fret carved forelegs joined by a pierced H stretcher, one chair on castors, 64cm by 53cm by 97cm . Chair 1 - upholster good. Slight movement in arms. Left arm grip with old repair at the scrolled arm support section, to a good standard. Various scuffs and small losses to carved decoration around legs consistent with age. Underside of framework with later seat blocks added. Some old upholstery nail marks visible throughout the frame, with some small old worm holes. Chair 2 - split/repair on right arm support. Upholstery good. Various bruises and losses around blind fret decoration. Underside of chair with various old nail marks. Back seat rail with some old decay. Webbing rather loose. Please note this chair is without castors. 100220

An Oak Thirty Hour Longcase Clock, signed Henry Watson, circa 1770, swan neck pediment and a central carved shell motif, mahogany crossbanded trunk door, 13-inch brass dial, scroll engraved dial centre with dummy winding holes, date aperture and signed, four pillar movement with an anchor escapement and outside countwheel striking on a bell, 227cm high 13.08.20 Top pediment is damaged to the front left corner, frieze moulding is missing in parts, some blind fret work is missing in parts, plinth with two corner mouldings missing, some losses to the feet, dial is discoloured, minute hand has been repaired, movement needs cleaning, with pendulum and one weight.

Govinder Nazran (British 1964-2008), Limited edition print on paper, 'Solitaire', Signed, titled, blind stamped and numbered 94/600 to lower margin, 40cm x 23cm, Framed and glazed, With Denise Huddleck (contemporary British), Print on paper, 'Foxes', Signed, titled and dated '2013' to mount, 29.5cm x 29.5cm, Framed and glazed, And Gerald Scarfe (b1936), Limited edition print on paper, 'By Appointment To The British Tourist Board' (a cartoon depicting the marriage of the Duke and Duchess of Cambridge), Signed and numbered 2/100 to lower margin, 41cm x 29cm, Framed and glazed, And three works from the Royal Cambrian Academy Summer Exhibition Postcard Sale by Gilly Thomas, Elaine Preece-Stanley and Sonja Benskin Mescher (6)

After Nadia Benois (Russian, 1896-1975), Signed print on paper, still life with flowers in jug, Signed lower right, blind stamp lower left, 61.5cm x 50cm, Framed and glazedBiographical note: Nadezhda Leontievna Ustinova, née Benois, known as Nadia Benois, was a painter and stage designer, and the mother of Sir Peter Ustinov.

After Maud Earl (1864-1943), Signed print on paper, A bulldog standing on the Union Jack, an iteration of the work 'Champion Dimboola', Signed in pencil, blind stamped and vignette of a warship left lower margin, vignette of a gun carriage right lower margin, published by Henry Graves & Co 1896,60cm x 74cm, Framed and glazed

Tom Maxwell (Scottish, 1874-1937), Etching on paper, The Clyde Trust building seen from the deck of a ship, Signed lower margin, 18cm x 25.5cm, Framed and glazed, With C. Martyn (British, 20th century), Two etchings on paper (framed together), 'The Tower Bridge, London' and 'St Paul's Cathedral From Bankside', Each signed and titled lower margin, gallery labels verso, 32.5cm x 41.5cm overall, Framed and glazed, And a further etching on paper, Bridge over a river (probably the Stirling bridge), Indistinctly signed and blind stamped lower margin, 17cm x 26cm, Framed and glazed (3) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

EDWARDIAN MAHOGANY SHERATON REVIVAL MIRROR BACK SIDEBOARD, the raised arched back with shield shaped central bevelled mirror, with blind fluted frieze below, the break front base with frieze drawer above a central open recess, flanked by two cupboard doors, on square tapered legs with spade feet, 200cm high, 183cm wide