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OECOLAMPADIUS (JOHANNES)Annotationes piae ac doctae in Evangelium Joannis, FIRST EDITION, woodcut devices on title and at end, fore-margin of first 2 leaves slightly wormed, contemporary German blind- and gilt-stamped brown calf over bevelled wooden boards, by the Breslau/Wroc?aw binder 'H.B.', the upper cover impressed in gilt with the title and date (1535), a roll-border and an oval panel of St. John the Baptist (patron Saint of Wroc?aw), the lower cover decorated in blind with Johann Hess's heraldic roll and small tools (including rampant lion with 'I.H.' initials), lacking one clasp, neatly refurbished at extremities of spine, preserved in black morocco-backed solander box by James Brockman [Adams O93], 8vo, Basel, Cratander & Bebel, June 1533This lot is subject to the following lot symbols: •

POLISH-LITHUANIAN BINDINGLOPEZ (LODOVICO) Instructorii conscientiae... Prima [-secunda] pars, 2 vol., edited by Pierre Mathieu, woodcut device on titles, woodcut initials and ornaments, light toning to opening leaves, contemporary blind- and gilt-stamped calf over bevelled wooden boards, upper covers with a frame of single fillets and a cable roll enclosing a central large oval arabesque blocked in gilt, with 6 large and 4 smaller ornamental devices, with wording 'Instructorii. Pars I[-II]', the lower covers decorated with repeated impression of a Polish 'Royal Heads' roll [see footnote], brass catches, traces of leather straps fastened to lower covers, spines with 4 compartments within raised bands, blue-green wash edges, neatly restored at spine ends [Adams L1470], preserved in purpose-made morocco-backed book box by James Brockman, 8vo, Lyon, Pierre Landry, 1587-1588This lot is subject to the following lot symbols: •

VIDA (MARCUS HIERONYMUS)The Silkworm: A Poem, engraved frontispiece, 1750; Scacchia, Ludus: A Poem on the Game of Chess, engraved frontispiece, 1750, 2 works bound in 1 vol., translated into English verse by Samuel Pullein, early half calf, joints tender, 8vo, Dublin, S. Powell, for the Author--BEATTIE (JAMES) The Minstrel; or, The Progress of Genius. With Some Other Poems, engraved frontispiece portrait, some spotting towards end, contemporary red blind- and gilt-stamped morocco by L. Staggemeier & Welcher (with ticket), g.e., 4to, Edinburgh, William Creech, Manner and Miller, 1803--MONTGOMERY (JAMES) and others. Poems on the Abolition of the Slave Trade, 13 engraved plates (including additional title) after Robert Smirke, letterpress note to binder bound in at end, light spotting, contemporary half morocco gilt, worn, 4to, R. Bowyer, 1809, FIRST EDITIONS (3)This lot is subject to the following lot symbols: •

LONDON, SOCIAL HISTORY AND COOKERYTwo volumes of social history, comprising: (i) Journal of a visit to London, kept, seemingly, by an English lady resident in France on her first visit to London, describing the voyage over from Le Havre by steam ship ('...listened to the rumbling of the Paddle wheels which shook us in my bed, and could almost fancy I was going in a railway...') in October 1849, lodging at 3 Gloucester Place, Camden Town; providing a series of sharply observed vignettes of the city: of its traffic ('...The Omnibusses... went much faster and were much better horsed than the french ones. The roads also macademized or paved with wood... We saw a lady driving with great spirit a little low pony-chaise, a little tiger sat behind her. Mr Benner told us it was a very common sight, at which we were not a little astonished. We saw a velocipede also going in the streets, to the great annoyance of omnibusses and other vehicles...'), local costume ('...even Buss coachmen conductors, lamplighters, sweepers etc wore the dress coat & silk hat... '), speculative building ('...We passed through new quarters with rows of charming houses called places or terraces, got up in the newest fashion & called villas or cottages, they however were not yet inhabited... Each of these new streets you would take for a main street in any town, so wide, so long & so clean are they. We had a distant view of the Model Prison & a Gas-factory. I saw four velocipedes going up Park-Street one after the other...'), railways and canals ('...We saw some constructions of viaducts for the Railway and a canal and basin along which several coal-barges, drawn by horses were slowly proceeding...'), shops ('...I saw some very nice cook-shops also supplied with every kind of rich & solid eatables also some very fine wedding-cakes & thick mock turtle soup in large basins. The fishmongers' shops looked very inviting as did the large opened lobsters that lay on the marble, displaying a solid mass of white meat...'), pauper funerals, brightly-lit arcades and shops, a blind man demonstrating braille, sandwich men ('...You will often see a man having a board back and front... walking patiently and monotonously backwards and forwards in the front of a house; sometimes, several men follow one after another with the same affiches...'), shopping expeditions to Oxford Street and environs, the Map Cave ('...16 or 18 views well worth seeing...'), the Soho Bazaar, and Christmas Day in the workhouse ('...On Christmas Day we went to the Workhouse of our Parish (St Pancras) where we saw portions distributed to the inmates (1320) men women and children. We were all offered by the Matron a portly blooming woman in a black silk dress, and attendants large pieces of excellent Plum pudding which was taken from the rest of the Plum puddings that were smoking around on large tables... finally to the Upper Room where about 50 little children from 1 to 6 years old were assembled , some around a very large table in the middle, some using benches as tables and sitting on little low footstools, others again on the ground around a warm blazing fire. A good discipline prevailed among this little Troop who looked healthy and had little ruddy fat cheeks; they seemed much better than the men and women who were very pale and haggard...'), c.34 pages, kept in a pocket account-book, first leaves loose, marbled paper wrappers, torn, 8vo, London, 5 October 1849 to 1 January 1850(ii) Recipe book, largely culinary with some medicinal, kept in several early 19th century hands, one employing phonetic spelling ('...A Costerd Pudden/ for a half pint basen a Quasrter of a pint of milk a lettel nutmeg sinimon an shouger an make it boal a lettel...'), many attributed, c.80 pages, in a contemporary green vellum clasped notebook, 8vo, 1818-1847 where datedThis lot is subject to the following lot symbols: •

SMITH (PHILIP)SMITH (ALI) Hotel World, FIRST EDITION, elaborate painted salmon pink goatskin by Philp Smith (signed and dated 2001 on rear paste-down), covers decorated with maril onlays, upper cover with inlaid turquoise leather square above (stamped 'ore stabit fortis aqui et placet ore stat'), and an inset 2001 penny coin below, lower cover with inlaid shadowy oval female portrait above, open spine painted to match, with triple grey goatskin yoke, central yoke lettered in blind, grey endpapers with salmon pink strips, printed label reading 'The Booker Prize 2001, Finalist, bound by Philip Smith' inserted before title (inscribed 'second copy' on reverse), sheet of 'Maker's Notes' tipped-in on blank endleaf, housed in a felt-lined red cloth solander box, with gilt lettered goatskin title label on front, 8vo (220 x 140mm.), Hamish Hamilton, 2001This lot is subject to the following lot symbols: •

SMITH (PHILIP)SAINT FRANCIS OF ASSISI. Il cantico delle creature di Francesco di Assisi, number 745 of 1,200 copies, facsimile reproduction of calligraphic text in over 100 languages, printed in red and black, bound by Philip Smith in purple goatskin, signed and dated in blind at rear '20 CPSmith 01', each cover decorated with blue, brown and maril onlays outlining a figure, the one on the front cover painted in acrylics with a beach and sea-scape image representing the four elements of earth, water, air and fire (sun) and the symbol of a dove, the lower cover with a similar silhouette containing painted animals, fish, birds and the moon (representing space, the fifth element), spine of grey goatskin with two bands of raised maril onlays and title lettered in blind within leather label, grey endleaves, edges painted blue, the top and lower edges with orange, green, black and grey flames emanating from the multi-coloured headbands, with four glass beaded pins set into the lower edges to form a stand, housed in felt-lined blue buckram box, 8vo (243 x 166mm.), Scuola del Libro di Urbino, for Antonio Toccaceli, 2001This lot is subject to the following lot symbols: •

SMITH (PHILIP)SHAKESPEARE (WILLIAM) Antony & Cleopatra. Designed and Produced by Ronald King with Notes and an Introductory Essay 'The Elusive Absolute' by Keith Please, ONE OF 40 ARTIST'S PROOF COPIES, this marked 'A.P.', from an overall edition of 355 copies, signed by the artist, colour silkscreen prints throughout (some full- or double-page), without the additional print found with some copies, bound in yellow goatskin by Philip Smith (blindstamped '20CPSmith 05' on paste-downs, and inscribed on the colophon 'Special binding by Philip Smith. This Box, Yellow Papers, Geometry, Made by Phlip Smith 2005'), covers and spine with a band of dark blue goatskin at top representing the night sky with star constellations painted in white, and with 3 onlaid pyramids and painted crescent moon (upper cover) and onlaid temple buildings (lower cover), the upper cover with large blind-tooled geometric design of circles incorporating the 'Golden Rectangle' and a straight line extending to the Belt of Orion above, blind-lettered spine, brown endpapers with yellow strips and blue leather joint strenghteners, printed notes for the binding and geometric design tipped-in at end, housed in felt-lined cloth solander box, covered in yellow marbled paper, with the same geometric design in pen and ink on the front, gilt lettered marbled paper label on spine, folio (380 x 290mm.), Guildford, Circle Press Publications, 1979This lot is subject to the following lot symbols: •

CHURCHILL (WINSTON)Seven letters, including five by Churchill and one to him, concerning the Oxfordshire Yeomanry and Churchill's service in the regiment, comprising:(i) 'Confidential' typed letter signed by General Sir Noel Birch, to Lieutenant-Colonel the Hon Charles Coventry, concerning the re-establishment of the regiment, 1 page, remains of adhesive paper mounting at head and foot, 4to, War Office, 19 July 1922(ii) Typed letter signed ('Winston S. Churchill'), with autograph salutation and subscription, to 'Dear Coventry', assuring Coventry how glad he is that he has room for him in his artillery brigade ('...I have every expectation of being able to come to camp this year... I will do my best to take charge of one of your batteries, either Oxford or Banbury – but Oxford preferred – as you may decide...'); and asking his adjutant to write with details of each unit ('...How many men, horses, guns, etc., they have, and who are the officers?...'), 1 page, on a bifolium, blind-stamped address, tape-stain at head, off-set below, some dust-staining, etc., 4to, Villa Rêve D'Or, Cannes, 6 March 1923(iii) Four typed letters signed ('Winston S. Churchill'), with autograph salutations and subscriptions, to 'Dear Drummond', arranging meetings, discussing expenditure and asking about his mount ('...Are there any regulations about the size of the horse that can be ridden? Would a large polo poney do?...'), 4 pages, one tape-stain at head, other minor stains or traces of mounting, 4to, Villa Rêve D'Or, Cannes, and 2 Sussex Square, 25 March, 2 and 14 May, 15 October 1923(iv) Typed letter signed by General Sir Noel Birch, to 'Dear Mr Churchill' and subscribed 'The Rt. Hon. W.L.S. Churchill, C.H., 2, Sussex Square, W.2.', informing him that 'the General Staff here are writing down to Congreve at Salisbury asking him to try and arrange for your Brigade to practice from May 31st to June 14th'; adding that when he next sees Coventry 'I shall rub it in' and that he is always delighted to help in any way he can, 1 page, trace of mounting on reverse, 4to, War Office, November 1923

WATSON (JOHN)Memoirs of the ancient Earls of Warren and Surrey, and their Descendants to the Present Time, 2 vol., first published edition, engraved frontispiece portrait, 53 engraved plates (several folding or double-page, one printed in sepia), engraved head- and tail-pieces, occasional light off-setting, contemporary 'Etruscan' binding of panelled calf, tooled in gilt and blind, g.e., Warrington, W. Eyres, 1782--FOXE (CHARLES JAMES) A History of the Early Part of the Reign of James the Second; with an Introductory Chapter, 2 vol., engraved frontispiece, 2 plates, contemporary blue straight-grained morocco gilt, sides with Greek key, floral and pointillé corner-pieces, g.e., W. Miller, 1808--PENNANT (THOMAS) The History of the Parishes of Whiteford, and Holywell, engraved vignette on title and divisional title, 22 plates (one double-page), B. & J. White, 1796; The Literary Life of the late Thomas Pennant Esq. By Himself, 4 engraved plates (one folding, hand-coloured), B. & J. White, and R. Faulder, 1793, 2 works bound in 1 vol., fine contemporary red straight-grained morocco gilt, g.e., 4to (4)This lot is subject to the following lot symbols: •

John Piper - Harlaxton Hall, limited edition print 70/90, signed in pencil along with blind backstamps to lower right margin, 25 1/2" x 34 3/4", framed

British Army in India and Afghanistan Vetch, Maj. George The Gong: or, Reminiscences in India. Edinburgh: James Hogg, 1852. 8vo, org. blind decorated cloth; 4 plates. Hobday, Maj. E.A.P. Sketches on Service during the Indian Frontier Campaigns of 1897. 8vo, org. cloth; 71 plates after drawings and photographs. First ed. Army HQ India The Third Afghan War 1919 Official Account. Calcutta:Govt. of India Central Publications Branch.1925. 8vo, org. boards; lacking first map, all others as called for, w.a.f. Turner, W. A Soldier's Guide to India. Karachi: the Educational Publishing Company, 1942. 12mo, org. wrappers; b/w photo illus. With three others. [7]

Catholic Liturgy Breviarium Romanum ex Decreto Sacrosancti Concilii Tridenti restitutum. Venice: Apud Cieras, 1674. 4to (in 8s), full early tree calf, sometime sympathetically rebacked retaining original spine, spine decorated in gilt, contrasting morocco lettering-piece, two metal clasps (one detached but present), a.e.g.; printed in red and black, 11 full page eng. illus; provenance: Nashdom Abbey, Burnham (blind stamp to ffep). Occasional signs of restoration with slight affect to text. Bound with Officium de Septem Doloribus B. Mariae Virginis and Officium S. Caietani Confessoris (both same imprint) and with Officia Propria Sanctorum (seemingly from an unknown smaller work, mounted on larger paper to fit the binding). Horae Diurnae Breviarii Romani ex Decreto Sacrosancti Concilii Tridenti restituti...Venice: Sumptibus Pauli Balleonii, 1707. 8vo, full black leather,sometime rebacked, boards ruled in gilt with two metal clasps, marbled endpapers, a.e.g.; printed in red and black, eng. vignette to title, 4 eng. plates. Bound with a 54-page MSS Festa Sanctorum, dated 1709 at head of p.1. Missale Romanum Ex Decreto Sacro-Sancti Concilii Tridentini Restitutum. Lugduni: Petrus Valfray, 1730. 4to, full later leather, later fabric place holders to margins; printed in red and black, vignette to title, 3 full-page engravings, decorative woodcut tailpieces in red, plainsong to text. Bound with Supplementum Speciale ad Missale Romanum. J. Booker, 1811 and Missae Propriae Sanctorum Ordinis S. Benedicti. James Marmaduke, 1758. Some signs of restoration throughout. The Liturgy of the Hours New York: Catholic Book Publishing Corporation, 1975. 8vo (4 vols). Full limp leather (different colour for each vol), upper boards with central cross in blind, spines lettered directly in gilt, coloured markers, with loosely inserted bookmarks in each, also with Supplement in org. wrappers, all in black slipcase decorated with gilt cross as boards. Ordinis Fratrum Servorum Beatae Mariae Virginis Proprium Missarum. Curia Generalis O.S.M., 1965. 4to, red cloth, place markers to page edges, three coloured markers; printed in red and black. [5]

Faithfull Fleet, Emily (illus.); St. Nicetas, Bishop of Remesiana (text) Te Deum laudamus. London: Emily Faithfull at the Victoria Press, 1868. 8vo, org. blue cloth over beveled boards (corners restored with tape), boards with gilt fillet borders enclosing central crowned titles, in gilt on upper and blind on lower, a.e.g.; 29 chromolithograph plates and 9 pages of explanatory text. Second ed. Esther Faithfull Fleet was a book illustrator whose children included John Faithfull Fleet, a historian and Indologist; George Rutland Fleet, a successful actor; and Herbert Cecil Fleet, a Vice-Admiral. Her sister Emily was a driven advocate for women's advancement. She founded the Society for Promoting the Employment of Women in 1859 and followed this by setting up the Victoria Press in 1860. The Press only employed women as compositors (though with men to teach the process and carry out manual labour). Surprisingly, this did not sit well with the print union, who engaged in sabotage. The Press flourished, however, and its success led to Faithfull being appointed Printer-in-Ordinary to Queen Victoria. Te Deum Laudamus was dedicated to Victoria, with her permission. This is one of two books published by the Press that used chromolithography. Both were illuminated by Fleet, the other being 38 Texts. M. & N. Hanhart printed 38 Texts as well and were known early on for their chromolithography, having done the plates for Pugin's Glossary of Ecclesiastical Ornament. The book is a masterpiece of Victorian design, comparable to that of Jones and Humphreys. As with other 19th century arts, it sees art history as a broad palette, a visual dictionary to use as the text inspired. The result is a swirl of colours and symbols, merging Egyptian, Flemish, Celtic, Spanish and English medieval styles with contemporary ideas about colour. The book is simultaneously a proto-Arts and Crafts expression of Victorian Christian celebration and a potent symbol of women's struggle for elevation against Victorian society - ultimately recognised by the highest woman in the country.

19th Century Bibles KJV bound with The Psalms of David in Metre. KJV: Cambridge: Stereotyped and Printed by R. Watts for the British and Foreign Bible Society, n.d. but ?1806; Psalms: Edinburgh: Sir D. Hunter Blair and J. Bruce, 1809. 8vo, later leather. Cambridge Stereotype Edition. The 1806 edition was likely the first English Bible to bear the Society's name on its title. Agrees generally with Herbert 1488 KJV bound after BCP and before Brady and Tate Psalms. All: Oxford: Printed at the University Press, 1853. 8vo, contemporary leather, sometime rebacked, gift details in blind and gilt, two metal clasps. A gift of the Lord Wharton Trust. Wycliffe, John (trans); Tyndale, William (trans) The Gothic and Anglo-Saxon Gospels in Parallel Columns. John Russell Smith, 1874. 8vo, later leather. KJV with Henry & Scott commentaries. Birmingham: Eld & Blackham, [c.1899]. Folio, full leather, sometime rebacked, boards decorated in blind, upper board with gilt titles, metal corner-pieces and clasps; illus with chromolithograph plates. KJV. Glasgow: Printed by William Collins for The Scottish Bible Society Edinburgh, [c.1906]. 8vo, later leather; 96 coloured plates and 17 coloured maps. Emerald Teacher's Bible. [5]

The New Testament Five examples of the New Testament, being: Beza, Theodoro (ed.). Novum Testamentum, Amsterdam: Apud Iohannem Ianssonium, 1650. 16mo, full vellum; eng title. Greek New Testament. Samuel Bagster, nd. 8vo, full crushed morocco, boards elaborately panelled in blind, spine likewise, gilt roll-tooled turn-ins, marbled endpapers, gauffered edges. Latin New Testament. Lipsiae: Avenarius et Mendelssohn, 1850. 4to, later brown-leather backed red leather boards. Shaw, Henry (designer). The New Testament...with engravings on wodd from designs of Fra Angelico, Pietro Perugino...and others. Longman, Green, Longman, Roberts, and Green, 1865. 4to, full red leather by Riviere, boards ruled in gilt with gilt foliate borders enclosing central blind panel with gilt roundel, spine gilt in compartments, lettered directly in gilt in one, board edges and turn-ins ruled in gilt, a.e.g.; lavishly illustrated with borders to text, vignettes, full-page illustrations and devices. With another identical copy in black leather by Riviere. Herbert 1951 [Herbert is 1864] [5]

Book of Common Prayer [BCP] Queen Elizabeth's Prayer Book. William Pickering [and the Chiswick Press], 1853. 8vo, full plum morocco, boards with blind panelling, upper board lettered directly in gilt, spine lettered directly in gilt and panelled in blind in compartments, chocolate endpapers, all edges gilt over red; title printed in red and black, port. frontis., decorative borders by Mary Byfield after Durer, Holbein, Tory and others. Byfield was a life-long employee of the Chiswick Press and this Pickering edition of Elizabeth's prayer book is widely considered her masterpiece. It weaves old and new designs into a harmonious and attractive setting for the Caslon type, which simultaneously illuminates and contextualises the words it encloses. With the Folio Society edition of the same (2013 reprint of the 2004 first Folio edition). 8vo, quarter bound in green leather gilt over marbled boards, green endpapers, top edges gilt, others green, green marker, in slipcase decorated in gilt; illustrated after the Pickering edition. [2]

Book of Common Prayer [BCP] Oxford: Printed at the Theater at Oxford, and are to be sold by William Leake at the Crown between the two Templegates in Fleet-Street, 16?8(?)[vide infra]. 4to, later red leatherette; unpaginated, signed: A4, B2, A4-L4, M2 [lacking K3-4]. Although the date on the title has an MSS correction to 1688, the prayer for the King's Majesty names Charles as monarch. The prayer for the Royal Family uses the form ''Queen Catherine, James Duke of York''. As such the text at least must date from between 1669 (when Queen Mary died) and 1685 (when James ascended the throne). Unfortunately, the book is closely shaved at the bottom edge, so it is difficult to be sure of the final digit in the date, however it would seem to be 168?. This does not fit the seller's name in the imprint however. According to Plomer's Dictionaries, William Leake died in 1681 and his name last appears in the Term Catalogue in 1679 (whilst in partnership with his son John, who set up as a printer betwen 1681 and 1693). It is possible that the final digit is a '0', which would make the date 1680, or the '8' may be a misprint. With Book of Common Prayer bound before Sternhold and Hopkins. BCP: Printed by Charles Bill, and the Executrix of Thomas Newcomb, deceas'd, 1707; Sternhold: Printed by W.B., for the Company of Stationers, 1706. 8vo, full calf, later sturdily rebacked with leather, boards ruled in gilt and panelled in blind; unpaginated, signed: a8-b8, c2, A4, B8-Y8, Z4; Sternhold: A4-G4. [2]16?8?: Variable marking, spotting and toning throughout, close shaved at foot, some tearing and creasing to edges generally not affecting text, marginal tear with some loss to foot of C1 affecting text, tear to inner margin of G4 not affecting text, short tear to inner margin of H3 slightly affecting text, restoration to I4 and K2, loss to foot of K affecting text with obvious later restoration. 1707: Sometime rebacked, leather cracking on boards but binding tight, slight cockling to pages, variable foxing, marking etc throughout, tear at head of E8 affecting text, slight worming at foot of inner margins of F7-G8, outer marginal tear of I1 not affecting text, brown marking to foot of T4 not affecting text, diagonal band of yellow-brown suggestive of water damage across pages of Sternhold with slight mould to last four leaves.

An early 18th century oak Lancashire type mule chest, hinged top above four blind drawers, the base with a further pair of short drawers, stile feet, 83cm high, 144cm wide, c.1720

A Chinese Chippendale Revival chest, oversailing top with blind fretwork frieze above four long drawers and a pair of raised and fielded panel doors enclosing a shelf, shaped bracket feet, 167cm high

A waterfall bookcase; A reproduction mahogany Pembroke table;A Chippendale Revival mahogany walking stick stand, carved with blind fretwork, c.1910

A Victorian burr walnut and marquetry oval breakfast table, c.1850; An unusual George III mahogany bow fronted corner washstand, folding top enclosing apertures and a concealed splashback, fitted undertier with central drawer flanked by blind conforming, turned legs, 131cm high, 73cm wide, c.1810

An early 19th century mahogany sofa table, satinwood inlaid beading holding two short drawers and two blind drawers to frieze, two turned columns, acanthus scrolled knees with outswept fluted legs terminating in brass lion paws, refectory stretcher, castors

An late 18thC mahogany chest, of two short and three long cockbeaded drawers flanked by a blind fret on bracket feet, with plate back swan neck handles, 112cm H, 103cm W, 58cm D.

A late 19thC mahogany dressing table, of serpentine form, with gadrooned outline, galleried back and central drawer flanked by two further drawers, with elaborate handles and a blind fret carving beneath, on cabriole legs terminating in ball and claw feet and castors, 95cm H, 142cm W, 70cm D.

A late Victorian mahogany display cabinet, the pierced arched cornice heavily carved with scrolls and an open lattice work, with further scrolls and flowers, raised above a pair of astragal glazed doors, expertly carved with further scrolls and flowers, with a blind fret beneath, on cabroile scroll legs, 182cm H, 124cm W, 52cm D.

A black perfume bottle, with a blind fret white metal decoration of lilies and entwined leaves with an orb stopper, 8cm H, an early 19thC brandy cork stopper, a smoking accompaniment in the oriental manner formed as a bridge before building, with hinged lid, with musical action, table lighter and a oriental cigarette dispenser with articulated stork top, on a lacquered rectangular base. (a quantity)

Small single door, blind panelled hanging corner cupboard.(B.P. 24% incl. VAT)

19th Century mahogany press cupboard, having moulded cornice above two blind panelled doors with two short and two long drawers. (B.P. 24% incl. VAT)

A 19th Century mahogany and satinwood cross-banded linen press, (converted to a hanging wardrobe), surmounted by a blind fret pediment, the doors with oval panels, two short and two long drawers below, raised on bracket feet, 125cm wide

BLIND FAITH TAPE REELS. Six reels of recording tape, including 5 boxed, with contents to include several Blind Faith studio recordings, some possibly unheard/unreleased. Tracks listed to include: Presence Of The Lord, Can't Find My Way Back Home, Cream recordings circa 1969, Blind Faith outtakes. Includes backup CDS for all tape reels. Originally purchased from Ginger Baker's personal collection at Bonhams Entertainment Memorabilia sale of 10th December 2014, lot 191.

BLIND FAITH CONTACT SHEETS 1969. Five original contact sheets each approx 8x10" with approx 131 images depicting Eric Clapton, Steve Winwood, Rick Grech and Ginger Baker on stage (with crowd shots) at the legendary 1969 Blind Faith Hyde Park concert. All with sticker to verso to read '1991 B Wentzell/Repfoto'.

KUNIO KANEKO (JAPANESE): "Taki 20", blind embossed and colour and gilt embellished print no. 16/95 and dated '86

Chippendale Gothic style stained wood elbow chair, circa 1900, arched and moulded back with Gothics tracery, shaped arms, patterned and sculptured upholstery, blind fret moulded legs, H-stretcher, 68cm and a mahogany elbow chair, upholstered on suite, width 67cm, (2).

A George IV mahogany open hoop hunt table, the top with six blind fitments for a rail (missing), shallow apron piece, square tapering legs, width 132cm, depth 84cm.

After David Wilkie 'RENT DAY'; 'THE BLIND FIDDLER'; 'THE VILLAGE POLITICIANS'; 'BLINDMAN'S BUFF' A set of four, oil on canvas 42.5 x 60cm (4)

Two Chinese enamelled and moulded porcelain snuff bottles, Jiaqing porcelain four character marks and of the period (1796-1820) each finely modelled the largest with figures at a city gate, the reverse with boats in a river landscape, the second with 'Antiques' on a blind fret ground, H. 7.3 and 6.3cm, slight faults

Two Chinese export sandalwood card, 19th century, both carved in high relief with figures amid pavilions and trees, one with vase shaped reserves on a blind fret ground, 10.8 and 10.9cm

A Japanese Meiji period carved wood and shibayama cabinet, blind fret carved throughout and decorated with ivory and mother of pearl inset panels of birds, flowers, masks and other ornaments, W.4ft 10in. D.1ft 4in. H.7ft 11in.

Late Georgian mahogany chest on chest, with dentil cornice, blind fretwork frieze to top and sides, cockbeading to drawers, with brass swan-neck handles and escutcheons, on bracket feet, 108cm wide

Louis Icart signed coloured etching, young lady with dogs by a vintage car, (with publishers blind stamp), 20ins x 24insInside of glass is dirty (so could be on image, but until unframed we cannot be 100% sure), otherwise no foxing or staining

Beryl Cook, artist signed Limited Edition print, ' Fairy Dell ', published 1981, with Fine Art Trade Guild blind stamp, 16ins x 15.5ins, gilt framed

Laurence Stephen Lowry, His Family, signed in pencil, Fine Art Trade Guild blind stamp 'DFB', offset colour lithograph, image 53 x 71cm, framed and glazed.

Two seater leather settee with wooden venetian blind and a glass topped coffee table

ANDY WARHOL 'Pepsi Cola Yellow', lithograph, numbered 35 / 100 by Leo Castelli Gallery, Edited by Georges Israel (blind-embossed) on Arches paper, gallery stamped on reverse, 58cm x 38cm, framed and glazed.

ANDY WARHOL 'Pepsi Cola Green', lithograph, numbered 69 / 100 by Leo Castelli Gallery, Edited by Georges Israel (blind-embossed) on Arches paper, gallery stamped on reverse, 58cm x 38cm, framed and glazed.

ANDY WARHOL 'Pepsi Cola Black', lithograph, numbered 55 / 100 by Leo Castelli Gallery, Edited by Georges Israel (blind-embossed) on Arches paper, gallery stamped on reverse, 58cm x 38cm, framed and glazed.

Richard Humphry ARRFramed oil on board'The Blind Dancer'37cm x 60cm

Signed Sturgeon print with blind stamp

10x rock and pop LPs including WISHBONE ASH, THE CAKE, WHITE NOISE, FREE, THE GRATEFUL DEAD, JETHRO TULL, BLIND FAITH, UFO, SLADE and T-REX

WILLIAM NICHOLS (1842-1909) 12 Stereoviews of Cambridge, cased, English, c.1860, albumen stereoview prints on yellow card, each with blind stamp 'W Nichols Cambridge Photographer', pasted paper labels verso St John's College The Back Entrance, St John's College Front Entrance, St John's College The New Bridge, St John's College The Cloisters, Ely Cathedral, Trinity College The Hall, Trinity College The Library from St John's Grounds,The Fitzwilliam Museum, Clare College, Caius College The Avenue (two views with labels missing), all 17cm x 83cm, housed in good mahogany stereoview case stamped 'Carpenter & Westley 24 Regent St London, case internal dimensions width 17.8cm x depth 8.8cm, will accommodate glass as well as card views.Note: William Nichols was the first identified daguerreotype licensee for Cambridgeshire. These views pre-date 1865 when the business became Nichols & Son.You can download the PDF catalogue for free here: catalogue download

VIVIENNE of London (Florence Vivienne Mellish 1889-1982) Dame Alicia Markova (1910-2004) , gelatin silver print, c.1965, photographer's blind stamp, wet stamp verso

TRANSOCEAN NEWS SERVICE, Portrait of Professor Carl von Eicken, Berlin, 1936 or earlier, framed gelatin silver portrait of Prof. von Eicken (1873-1960), surgeon to Adolf Hitler, Transocean blind stamp, Eicken signature and inscription in ink recto, some metallic tarnishing of black background, notes pasted frame verso detailing receipt of the framed photo in 1936, image 8.5cm x 13cm, frame 17cm x 24cm. Note: Hitler had polyps from his vocal cords removed by Prof. von Eickenin 1935 and again in 1944. The Transocean News Agency became an organ of Nazi propaganda after 1933. There are additional biographical notes with this lot.

ALEXANDER SMITH A SET OF SIX SILVER GOBLETS, gilded interiors to the bowls, on knopped stems and raised circular platform bases, each engraved with a blind laurel leaf cartouche, 12.5cm high, combined weight; 471g

HENRY MATTHEWS AN EDWARDIAN DRESSING MIRROR, the frame of floral pierced silver and floral embossed, mounted on red velvet, Chester 1905, having blind cartouche to crest, overall size; 51.5cm x 36cm

A George III mahogany chest on chest, the upper section under a moulded blind fret cornice with two short and three long graduated drawers within blind fret carved canted corners on a base with pull out slide and three long drawers on bracket feet, 42in w, 72.25in h.

ORIGINAL GLASGOW CORPORATION LINEN TRAM DESTINATION BLIND - CLARKSTONcirca 1940s from the older Standard cars, frame size 26.5cm x 96.5cm

ORIGINAL GLASGOW CORPORATION LINEN TRAM DESTINATION BLIND - RUTHERGLENcirca 1940s from the older Standard cars, frame size 26.5cm x 96.5cm

ORIGINAL GLASGOW CORPORATION LINEN TRAM DESTINATION BLIND - FOOTBALL MATCHcirca 1940s from the older Standard cars, frame size 26.5cm x 98cm

ORIGINAL GLASGOW CORPORATION LINEN TRAM DESTINATION BLIND - BON ACCORD ST.circa 1940s from the older Standard cars, frame size 26.5cm x 98cm

ORIGINAL GLASGOW CORPORATION LINEN TRAM DESTINATION BLIND - ST. GEORGE'S CROSScirca 1940s from the older Standard cars, frame size 26.5cm x 98cm