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Pejac (Spanish b.1977), 'A Forest', 2018, 1 colour hand pulled photopolymer on 270grs Velin, signed and numbered from an edition of 80 in pencil, bearing Pejac blind stamp; sheet: 75 x 105cm ARR

Richard Hambleton (Canadian 1952-2017), 'Horse & Rider (Red)', 2018, giclee print on 308gsm Hahnemuhle Photo Rag paper, inscribed AP in black pen, with R Hambleton blind stamp; sheet: 105 x 72cm

Banksy (British b.1974), 'CND Soldiers', 2005, screen print in colours on paper, signed, dated and numbered from an edition of 350 in pencil, published by Pictures On Walls, bearing Pictures On Walls blind stamp; sheet:70x50cm ARR

ƟGoffredus de Trano, Summa super rubricis decretalium and Iohannes de Deo, Liber seu summa dispensationum, in Latin, decorated manuscript on parchment [northern Germany (perhaps Rhineland), fourteenth century (most probably first half of that century), with an additional final quire of c. 1400]241 leaves (plus an endleaf at front), the last leaf pasted to backboard, complete, collation: i-iii8, iv6, v10, vi-xix8, xx6 (once 8, last 2 leaves cancelled blanks removed after Early Modern foliation), xxi-xxix8, xxx11 (first original leaf a blank cancel, removed before Early Modern foliation added), occasional catchwords and original quire signatures, seventeenth- or eighteenth-century foliation in upper right hand corner of rectos (slightly imperfect, but followed here), double column of 38 lines, in a small number of skilled gothic bookhands (see below), capitals touched alternately in red and blue, rubrics in red, running titles in red or blue capitals, initials alternately in red and blue with contrasting penwork, space left blank for Tables of Affinity and Consanguinity on fols. 169r and 171r, prick marks for lines remaining in outer margins, a few leaves with extremities of edges slightly turned over, 2 further leaves with small sections of blank edges torn away, and small cuts to gutters of adjacent leaves from removal of 2 cancelled blanks, some slight areas of discoloration, small spots and scuffs and occasional natural flaw in parchment, a few leaves showing the volume very slightly trimmed (removing mostly edges of lines of marginalia), overwhelmingly in excellent condition on cream-coloured heavy parchment with wide and clean margins, 305 by 220mm.; fifteenth-century German binding of blind-stamped pigskin (tooled with frames formed of simple fillet and geometric panels around a central floral boss within a rhombus) over massive wooden boards, the spine tooled in same and sewn on 5 double thongs, leather added over binding structures in German style with spine covered first and leather panels for boards then laid over (inner vertical edge of board cover now slightly lifted), title in ink on fore-edge, clasps wanting and holes in leather where these clasps once protruded from edges of boards stitched shut, some green stains in same place from missing copper-based clasps, light scuffing and a few scratches, small hole in leather of spine, front board very slightly coming away from some thongs, but solid in bindingAn imposing and elegant German monastic codex, in its late medieval binding, and from the collections of Leander van Ess and Sir Thomas PhillippsProvenance:1. Most probably written and decorated in the first half of the fourteenth century for use in a German monastic community, perhaps in the Rhineland. The subsequent owner (Leander van Ess) obtained many books from monasteries in this region: he had served as a monk at Marienmünster in North-Rhine Westphalia and took books with him when it was dissolved in 1803. Perhaps significantly, a large group of his manuscripts came from the Carthusian monastery of St. Barbara in Cologne, which was founded in 1334. If future research upholds a connection to this last house, then it may have been among the founding books of their medieval library.2. Leander van Ess (in fact Johann Heinrich van Ess, 1772-1847), important early bibliophile and manuscript collector at time of the suppression of the German monasteries and the spilling of their libraries onto the open market, pastor of Swalenberg, theologian at Marburg University, German translator of the New Testament, passionate proponent of lay Bible reading and founder of the Christliche Bruderbund zur Verbreitung der heiligen Schriften), with his printed collection number ‘95’ on spine, this corresponding to the published catalogue of his collection: Sammlung und Verzeichniss Handscriftlicher [sic] Bücher aus dem VIII. IX. X. XI. XII. XIII. XIV, etc. Jahrhundert …, Darmstadt, 1823, no. 95. On his library see: M. Mc. Gatch in 'So precious a foundation', the Library of Leander Van Ess at the Burke Library of Union Theological Seminary in the City of New York, 1996, pp. 47-84.3. Sir Thomas Phillipps (1792-1872), the single greatest manuscript collector to have ever lived who assembled a collection of 60,000 manuscripts. This his MS. 480 and thus among his very first purchases, made in 1824 when he was only 33 years old, and as part of the entire manuscript collection of van Ess (some 372 volumes for £320). This was the famous acquisition for which van Ess naively sent the books to Phillipps before payment had been made, resulting in five years arguments and wrangling over Sir Thomas’ outrageous refusal to pay the entire bill (all described in van Ess’ angry letter of 1826, printed in A.N.L. Munby, The Formation of the Phillipps Library Up to the Year 1840, 1954, pp. 29-32). Phillipps’ paper label pasted to base of spine, and hand written numbers inside frontboard and at foot of fol. 1r. Sold in Phillipps’ sale, Sotheby’s, 24 April 1911, lot 274.4. Walther Dolch (1883-1914) for the Eduard Langer Library. Langer (1852-1914) was an industrialist and politician based in Branau/Broumov (Bohemia/Upper Austria, now Czech Republic), who built the largest library of its kind in Austria-Hungary.5. Fürst Alexander Olivier Anton von Dietrichstein zu Schloss Nikolsburg (1899-1964); his second sale with Gilhofer and Ranschburg, 25 June 1934, lot 286: lot number in pencil and sale catalogue clipping pasted inside front board.6. Christie’s, 21 November 2012, lot 24, to Les Enlumineres, their TM. 676, sold in 2014.Text: This weighty monastic tome contains two important texts that were indispensable legal reference works for any ecclesiastical institution in the Middle Ages. The first is that of the Summa super rubricis decretalium by Goffredus of Trano (1200-1245) an Italian canon lawyer. He studied under the celebrated legal specialist Azo, and subsequently took up a professorship of Roman Law at Naples. In 1244, he was appointed cardinal by Innocent IV, his former fellow-student at Bologna. This text is the product of a comprehensive rewrite and improvement of his glosses on the Decretals, made in the years just before the author’s death. It became the seminal work in its field and survives in 280 medieval codices.To this has been appended the Liber seu summa dispensationum of Johannes de Deo (born 1189-91, d. 1267), a native of the Algarve, who studied canon law and perhaps also civil law at Bologna in the years before 1229. In due course, he taught in the university there for at least two decades, producing a number of summaries and digests of canon law. Around 1260 he took up office as archdeacon in Lisbon, and he died there some seven years later. The present text survives in two recensions composed before and after 1243, and that here is the second, shorter version (see J.P. von Schulte, Geschichte der Quellen und der Literatur des kanonischen Rechts, II, 1877, p. 96, n. 10, and A. de Sousa Costa, Doutrina penitencial do canonista Joâo de Deus, 1956, pp. 103-105, pp. 196-197, for a list of other manuscripts). It addresses the thorny legal issue of ‘dispensation’, the act by which an ecclesiastical superior could grant exemption from a particular law, most famously in the granting of the right to marry when kinship laws forbade this, or the right to dissolve a marriage. In this text Johannes de Deo examines all forms and types of dispensatio, granted by various members within the hierarchy of the Church, but also among the normal social bonds of lay society.For additional cataloguing information, please visit  https://www.dreweatts.com/auctions/lot-details/?saleId=14207&lotId=74 

ƟThe Myrowr of Recluses, a Middle English translation of the Speculum Inclusorum, a guide to the life of an English anchorite, decorated manuscript on paper [England (probably London region, perhaps Barking Abbey), first half of fifteenth century (probably soon after 1414)] 66 leaves (plus 3 modern paper endleaves at front and back), catchwords and leaf signatures throughout, complete, collation: i-viii8, ix2, single column of 21 lines of a professional English vernacular hand, paragraph marks in alternate red and blue, small initials in red or blue with contrasting penwork, three large variegated initials in red and blue with scrolling penwork extending height of upright margin, some notes for rubricator left in margins, paper heavy and with no apparent watermark, small spots and stains, many leaves with slight discolouration at corners from old water damage (a few leaves with parts of margin notes for rubricator washed out by this), else excellent condition, 200 by 140 mm.; English nineteenth-century blind-tooled brown leather, spine gilt with: “MYSTERYE OF RECLUSES / M.S. / 1414”, leaves with red edges The only complete manuscript of this Middle English text on the life of a religious recluse, perhaps produced in Barking Abbey as part of the female education campaign of Abbess Sybil de Felton Provenance:1. The prologue to the text, unique to only this manuscript, dates the beginning of its composition to the “this Wednysday bi the morrow, the even of the blissed virgyne seynt Alburgh, the secunde yeere of the worthy christen prince oure souerayn liege lord þe kyng Henry the Fiftis”, that is 10 October 1414, with the next day the Feast of St. Ethelberga, sister of St. Erkenwald the patron saint of London. In 1414, 10 October was indeed a Wednesday. This copy is of the first half of the fifteenth century, and most probably was copied soon after the translation of the text into Middle English. The first few leaves here have apparent authorial corrections, but it must be noted that E.A. Jones has suggested instead that these are the work of a contemporary corrector trying to improve on the syntax. More importantly, Jones tentatively locates this translation of the text, and thus perhaps also the site of copying of this witness, on the basis of the dedication to “lady Seynt Marie and of my … lady Seynt Alburgh”, to the abbey of Barking, a Benedictine foundation for women a few miles to the east of London, and the education campaign there of Abbess Sybil de Felton. She owned or obtained for that house one of the earliest copies of Nicolas Love’s Mirror of the Blessed Life of Jesus Christ, as well as William Flete’s De Remediis contra Temptationes and the Clensyng of Mannes Soule. Moreover, Barking may have been the site of the composition of, or first audience for, The Chastising of God’s Children, and as a house of educated women it was turned to by Henry V to aid in the royal foundation of the English Benedictines at Syon. Indeed, one of Sybil de Felton followers from Barking, named Matilda Newton, became the initial abbess of Syon although she never professed as a Bridgettine. She returned to Barking in 1417 to live as a recluse (this nun has also been tentatively identified as a translator of texts: see M. Cré in A Companion to Marguerite Porete and the Mirror of Simple Souls, 2017). Barking Abbey was suppressed on 14 November 1539 and its possessions scattered.2. Passing then into apparent lay hands: Roger Saddlar: his sixteenth-century inscription on fol. 10v; and Robert Leche (d. 1587) of Christ Church, Oxford, and then proctor of the university in 1560 and 1566, and chancellor of the diocese of Chester in 1562 (J. Foster, Alumni Oxonienses, 1891, p. 892): his inscription: “In dei nomine, amen. Auditis, visis, et intellectis, et plenarie discussis per nos Robertum Leche artium magistri et in LL baccallarii reverend’ in Christo patris et domini, domini Willelmus permissione dia’ […] episcopi” on fol. 66v.3. John Wylde, his seventeenth- or eighteenth-century ex libris and “no 133” at the head of fol. 1r.4. Most probably William Ford (1771-1832), Manchester bookseller: inscription in hand of Joseph Brooks Yates on first endleaf recording “2.12.6 from Mr Ford’s collection, 26 Sep. 1820”, presumably recording its price in £, shillings and pence. Ford’s initial catalogues were formed from his own vast private library, allowing the identification given here. Ford noted, perhaps prophetically, in a letter to Dibdin that “It was my love of books, not of lucre, which first induced me to become a bookseller.” He went bankrupt in 1810, but continued to operate as a bookseller and issued catalogues as late as 1832.5. Joseph Brooks Yates (1780-1855): his inscriptions on endleaf on purchase from ‘Ford’ and “exhibited at L & P Society April 1844” (ie. Manchester Literary & Philosophical Society, of which he was president).6. Henry Yates Thompson (1838-1928), his lengthy inscription on front endleaf recording his discussions on the volume with “Mr Skeat of Cambridge” (W.W. Skeat, Elrington and Bosworth Professor of Anglo-Saxon, as well as a Middle English and Gothic language scholar), Frederick J. Furnivall (who worked with Skeat on the Early English Text Society publications) and Henry Bradshaw (Librarian Camb. Univ. Library)” (liturgicist and linguist, who famously declared “Books are to me as living organisms, and I can only study them as such; so every particle of light which I can obtain as to their personal history is so much positive gain”), this dated 8 February 1880. Followed by a letter of the previous year from Skeat tipped in, declaring it “an original of the date it professes to be - 2nd year of Henry V” and suggesting the dialect is that of London. Plus a loose note, presumably from Skeat suggesting two related published works.7. Allan Heywood Bright (1862-1941), inherited from H.Y. Thompson: his bookplate, with pencil mark “I/4”. Sold in his descendants’ sale, Christies, 16 July 2014, lot 12, to the present owner. Text:This is the only complete copy of this work, known previously solely from the fragmentary witness in British Library Harley MS. 2372. The Harley manuscript is a less than perfect witness, lacking about a third of the text including the beginning, the end of part II and the end of part III. Additionally, it is clear that it was copied in the mid-fifteenth century at some remove from the original, and by the end of that century it was in Stamford, Lincs. (see A. Rogers in The Library, VII:15, 2014). The differences in the present text and that in the Harley manuscript show that neither is directly related to each other, but both were copied from a lost manuscript in Middle English, perhaps the original of the translation, with the present witness including some devotional verses on the Passion that were perhaps at some stage associated with the text. The present manuscript was not available to be consulted by Marta Powell Harley in 1995 when she edited the fragmentary text in the Harley manuscript, and likewise E.A. Jones in his parallel Latin and Middle English edition of the text published in 2013. Jones has subsequently published some brief observations on the text and the origins of the present copy, but it can scarcely be said to have been edited and much work remains to be done. For additional cataloguing information, please visit https://www.dreweatts.com/auctions/lot-details/?saleId=14207&lotId=75 Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

ƟGuido da Pisa, La Fiorita d’Italia, with frequent citations of the works of Dante Alighieri, in medieval Italian, decorated manuscript on parchment [Italy (probably Tuscany), mid-fifteenth century] 83 leaves, wanting a few single leaves throughout and 3 leaves from end, collation: i10, ii9 (wants iv), iii10, iv8 (wants iv and vii), v4 (wants innermost and outermost bifolia), vi10, vii9 (wants viii), viii-ix8, x7 (wanting last 3), catchwords and early modern foliation (slightly faulty from loss of single leaves, but followed here for convenience), single column of 37 lines of 2 Italian bookhands (the first accomplished and appealing semi-humanist hand; the second more influenced by secretarial script), pale red rubrics, initials in red or blue with contrasting penwork in and around the initial extending into long whip-like extensions in margin, one large initial in split blue bands with same penwork on frontispiece, the penwork extensions there extending entire height of margin, some small spots and areas of discolouration, slight cockling to leaves throughout, else in good condition, 260 by 190mm.; contemporary binding of blind-tooled dark brown leather over wooden boards, tooling of fillet, ropework designs and panels of small flowerheads all arranged as frames around a circular central boss enclosing crosses on each board, marks on lower board from ‘feet’ once attached there to hold book above potentially damp medieval shelf, boards much affected by worm at edges, with losses there and wood broken near clasp supports (one of these slightly loose, another repaired, losses to leather at foot of boards and spine, modern conservation to stabilise, and so in fair condition, fitted purple buckram case of c. 1900 An important early Italian vernacular text, in a remarkably fine copy still in its contemporary binding; and evidently the first copy to emerge on the open market in over 140 years Provenance:1. Written in the mid-fifteenth century, most probably in Tuscany, for a patron of some wealth and influence.2. Thereafter in an ecclesiastical library, most probably in same region: “Questo libero di santo Cosimo” in eighteenth-century scrawl in margin of fol. 78v. Other heavily erased inscriptions on front pastedown and at head of frontispiece.3. “Gerali di Pontunoli”, inscription on front pastedown recording its acquisition from his family on 20 November 1889, and apparently unrecorded since. Text: Little is known about the author of this important early Italian work. He was a native of Pisa and reveals in his work that he was a Carmelite Friar. He composed it sometime between 1321 and 1337, and despite a modest description of it by the author as ‘some memorable facts and sayings of the ancients’, it is in fact a chronicle of the Biblical and Ancient World, designed to show how that developed into civilised Christian society. To do this he draws on a large number of Classical authorities, including Livy, Ovid, Isidore and Jerome, as well as medieval writers such as Jacobus de Voragine and Nicholas Trevet, but none are given the same prominence here as Dante Alighieri, whose verse he cites frequently and at length. His devotion to Dante was doubtless driven by his composition of a lengthy gloss on the Comedia, as well as his shared belief with that author in the use of Tuscan Italian as a literary and educational language. As Guido himself insists: “sono molti, i quali vorrebbono sapere … ed abbiano avuto impedimento dal non studiare” (there are many, who would like to know ... and have had impediment from not studying), and it is for them that, “intendo di traslare di latino in volgare alquanti memorabili fatti e detti degli antichi” (I intend to translate from Latin into the vernacular some memorable facts and sayings of the ancients). It is clearly unfinished, as it sets out in its prologue the scope of a work to enumerate all the Roman Emperors in seven books, but ends in the existing version after two of these. Despite this it was greatly popular in the late Middle Ages, and some 60 codices have been traced (S. Bellomo, Censimento dei manoscritti della Fiorita di G. da P., Trento 1990; and P. Rinoldi, ‘Per la tradizione indiretta della “Fiorita” di G. da P.: due manoscritti dell’“Aquila”’, in LaParoladeltesto, 3, 1999, pp. 113-131; without knowledge of the present codex). In the main these were produced for use by students, and so are almost universally on paper and more rough and ready than the present copy. This is one of only four to survive on parchment. Few copies exist outside of Italy, and the Schoenberg database records only one as appearing on the market, a copy dated 1411 once in the collection of the Florentine nobleman, Baron Seymour Kirkup, and offered in Sotheby’s, 6 December 1871, lot 2035. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

A Carved Oak Book Rest with Spindle Back and Floral Blind Carving to End Panels. 47cms Wide

Matrix printer for the National Institute of the Blind

A 19TH CENTURY MAHOGANY CURIO CABINET IN THE GEORGIAN TASTE, of rectangular form, the hinged top with blind fretwork frame, enclosing rectangular glazed panel, opening to a gold lined interior, with four glass frieze panels, raised on square chanelled legs, joined by raised undertier with raised fretwork border. 41 x 58 x 76cm high

Pair of 1960s/70s London Transport/London Country RF-bus/coach DESTINATION BLINDS, the first a bus blind from St Albans (SA) garage dated 16.5.69 (incomplete at bottom end) and the second a coach blind from Addlestone (WF) or Hatfield (HF) garages, date unknown, incomplete at both ends. Both are linen blinds, LT-manufactured. [2]

1950s Glasgow Corporation Transport TRAM DESTINATION BLIND from Partick depôt and for the lower (via) box. A complete blind with both white hems and in good to very good, ex-use condition. [1]

Pair of London Transport/London Country bus DESTINATION BLINDS, the first a BL or RF-type from Kingston (K) garage dated 8.9.80 and the second an RF, SM etc rear numbers blind from Leatherhead (LH) garage dated 2.75. Both are complete blinds in very good, ex-use condition. [2]

London Transport bus DESTINATION BLIND for an SMS vehicle (front box) at Merton (AL) garage dated 7.5.76. A complete blind with both white leaders and in good to very good, ex-use condition. [1]

Selection (3) of 1950s/60s bus DESTINATION BLINDS comprising South Shields Corporation dated 1965 (complete and in good, ex-use condition), Darlington Corporation trolleybus or bus (well used, white leaders missing) and a Cambridge area blind, possibly United Counties (well used, lower leader missing). [3]

1950s Leeds Corporation Transport TRAM DESTINATION BLIND. A complete blind with both white hems and in good ex-use condition. [1]

1950 London Transport DESTINATION BLIND for a tour/sightseeing LTC or TF (TF9) coach at Victoria, Gillingham Street (GM) garage. Coded 'K' and dated 25.5.50, it pre-dates the introduction of the 'private-hire' RFs the following year but could then have been used in those too. A complete blind in good, ex-use condition, a little stiff with age. An amazing survivor, quite possibly unique. [1]

1951 London Transport DESTINATION BLIND for a T (10T10) coach at Windsor (WR) garage. Coded 'M' (Green Line routes) and dated 21.8.51, shortly before the replacement RFs arrived (the blind would have also fitted them). A complete blind in good, ex-use condition and a most unusual survivor. [1]

London Transport trolleybus DESTINATION BLIND from Edmonton (EM) depôt marked 'front & rear' and dated 1.11.60. An Aldenham-manufactured, linen blind complete with both white leaders and in very good, ex-use condition, perhaps not surprising as it was only used for a maximum of just over 5 months! [1]

Selection (3) of 1950s/60s tram & bus DESTINATION BLINDS comprising a Sheffield Corporation tram blind, a Wolverhampton Corporation bus blind and a Glasgow Corporation tram blind (numbers). All are in ex-use condition, the first two are complete, the last is missing one white leader. [3]

Selection (3) of 1960s/70s bus DESTINATION BLINDS comprising 1967 Birmingham Corporation from Acocks Green garage, 1975 SELNEC (Manchester) and c1960s coach blind from an unknown operator, possibly a London company. Complete blinds, generally in good, ex-use condition, the last has damage to the top two displays. [3]

London Underground Metropolitan Line A-Stock DESTINATION BOX. A complete, free-standing unit with fully-working winding mechanism and including fitted BLIND with all Metropolitan and East London Line destinations. In very good, ex-use condition. [1 + blind]

London Country (London Transport-manufactured) Green Line RF-coach DESTINATION BLIND from HF (Hatfield) garage, coded 'M' and dated 19.1.72. A complete blind in good condition with some stains from use. [1]

1950s/60s Maidstone Corporation bus or trolleybus DESTINATION BLIND. A complete blind in good, ex-use condition. [1]

Pair of 1970s London Country BUS DESTINATION BLINDS from Crawley (CY) garage, to fit RF, MB, SM etc vehicles, the first a linen blind dated 6/73, the second a Tyvek blind dated 6/78. Both are complete blinds in good, ex-use condition. [2]

Edwardian Chippendale style mahogany cabinet, pierced swan neck pediment, two astragal glazed doors above serpentine moulded top, two drawers with blind fret work facias, on square tapering supports with spade feet, W78cm, H185, D42cm Condition Report Click here for further images, condition, auction times & delivery costs

A George III oak dresser base having associated plate rack over, the base having blind carved frieze over three drawers and two arched panelled doors flanking two central graduated drawers, with replacement brass batwing escutcheons, w.182cm, d.59cm, base h.82cm, gross h.189cm

Mahogany 3 Train Longcase clock plinth base with applied C-scroll moulding oval bevel glass door, elaborate door, applied gilt Arabic numerals, pierced & engraved centre & spandrels, secondary seconds hand, chiming & striking on tubular bells, case decorated with blind fret carving, broken arch pediment, hood bevel glass door, back with pierced metal panels

PROLE (20th/21st century) British (AR), Red Eye, limited edition stencil print, signed, numbered 5/30 and with Prole blind stamp, unframed. 56 x 76 cm.

After HENRI DE TOULOUSE-LAUTREC (1864-1901) French, Woman in Corset (Femme En Corset), print, signed within the plate and with Claude Tchou blind stamp, framed and glazed

GRAHAM CLARKE (born 1941) British (AR), Albert All, limited edition coloured engraving, signed, titled and numbered 56/200 in pencil to margin and with History of England blind stamp, framed and glazed. 34 x 43 cm.

WILLIAM RUSSELL FLINT (1880-1969) British (AR), Variations IV, limited edition print, signed in pencil to margin and with Fine Art Trade Guild blind stamp and edition cypher for number 820, framed and glazed. 61 x 45 cm.

DAVID GENTLEMAN (born 1930) British, Seven Sisters, limited edition print, signed and numbered 128/350 and with blind stamp, framed and glazed

L/E & blind stamped map of Gloucestershire - Meeting Places of the Fox Hounds

VICTORIAN PITCH PINE TWO STAGE CABINET BACK DOG KENNEL DRESSER having moulded cornice above rack back with four shelves and iron hooks flanked by two glazed doors with glass faceted handles, the moulded base above an arrangement of four drawers and two blind panelled cupboard doors with dog kennel base. (B.P. 24% incl. VAT)

SNAFFLES (Charlie Johnson Payne) "Once upon a Time", printed and hand coloured, signed in pencil with Snaffles bit blind stamp, 46cm x 60cm, in glazed ebonised frame

A 19TH CENTURY CHINESE CARVED IVORY VISITING CARD CASE, deep relief carved all over with figures in landscape, 11.5cm x 7.5cm with blind cartouche, together with FOUR CARVED IVORY BODKIN CASES AND TWO CARVINGS

A POSSIBLY LATE 18TH CENTURY MAHOGANY LONGCASE CLOCK having architectural pediment with blind fret carved frieze, having reeded pilaster sides, the plain silvered dial bearing the name "John Muret of London". Subsidiary seconds dial and date aperture , the elegant carcase having quarter pilaster sides and a single long door, supported on a box base with plain bracket feet, approx. 236cm high

LIONEL EDWARDS "The Whaddon Chase, Hunt from Oving", a colour print, signed in pencil with FATG blind stamp, published Eyre and Spottiswoode, 37.5cm x 51.5cm, mounted in glazed oak frame, together with JOHN KING "The End of the Day, Lord King and The Belvoir Hunt", a limited edition colour print, signed in pencil, published Messrs. Fores, London 1973, 39cm x 52.5cm, mounted in glazed oak frame with gilt slip (2)

ANTIQUE OAK TWO SECTION BLIND PANEL CORNER CUPBOARD, both sections revealing fitted shaped shelves 210 cms high x 94 cms wide x 41 cms at deepest

TWO ETCHINGS being an unframed Georgs Belin-Dollet after Jean Francois Millet of a seated seamstress and another framed of a cottage, indistinctly signed with blind-stamp

A mid century Danish inspired teak wood and melamine flash fronted sideboard credenza. Raised on tapering legs with a central bank of 3 blind fronted melamine facia drawers flanked by a pair of end cupboards. Fold over handles to the drawers and cupboards. 

A George III mahogany Chippendale style chest on chest, with blind fret carving, 120cm wide . Fret missing, scratched and damaged

19th century Stobwasser style circular snuff box and cover, decorated with a tavern scene, 4.75" diameter, rectangular horn snuff box inlaid with mother of pearl, oval enamel patch box inscribed Windsor Toy, Pratt Ware 'Blind Man's Buff' jar and cover and a plated circular pill box, all at fault (5)

William Scott CBE, RA, (1913-1989) - 'Benbecula' (from the Scottish Island), signed artist proof also dated '62 (1962) limited edition coloured lithographic print, 6/75, bearing the blind stamp for the Curwen Studio, 20.75" x 25.25" - **The original work is held by Tate Britain and was produced circa 1961/62

A Regency mahogany chiffonier with silk backed brass grill doors below two blind frieze drawers, on shaped bun feet, 86.5 x 106 x 45.5cm (34 x 41.5 x 18in)

Helen Bradley (late 20th Century) - Signed coloured print - 'Evening On The Promenade', signed in pencil lower right, blind stamp lower left, 45cm x 59.5cm in card mount, framed and glazed

Early 20th Century walnut double wardrobe, fitted two blind panel drawers, 122cm wide

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition coloured print, 'Mill Scene', signed in pencil lower right, image 30.5 x 40.5cm, framed and glazed (D).Additional InformationThis issue was released by the Observer in the early 1970s with no limited edition number or blind stamp, some foxing to border around picture, image very slightly faded in colour with some apparent minor spotting. 

BERYL COOK (1926-2008); a signed limited edition print, 'Hen Night', a group of women entering the Dolphin Hotel, with FATG blind stamp with letter to number indicating 310, published by Alexander Gallery Publications, 46.5 x 37.5cm, framed and glazed (D). 

BERYL COOK (1926-2008); a signed limited edition coloured print 'Art Class', published in 1979 by the Alexander Gallery in Bristol, signed lower-right and bearing blind stamp lower left, image 42 x 42cm, framed and glazed (D).

EDITH LE BRETON (1912-1993); a signed limited edition coloured print, figures in a park beside a bandstand, signed lower right, bearing blind stamp and letter to number stamp lower left, the image 48 x 58cm, framed and glazed (D).

TOM DODSON (1910-1997); a signed limited edition coloured print, street scene with figures, signed and bearing blind stamp and number to letter stamp lower left, 35 x 45.5cm, framed and glazed (D).

ELLEN JOWETT; a signed mezzotint, 'Boy and Rabbit' after Sir Henry Raeburn, copyright 1923 by Frost & Reed Ltd (Bristol, England), with KAWJ blind stamp lower left, 46 x 36.5cm, framed and glazed.Additional InformationSome spotting and fading to the lower section where the signature and the blind stamp are.

Montague J Dawson, British (1890 - 1973) Color Lithograph "U.S.S. Constellation" Signed, Blind stamps Lower Left. Published 1966 Frost & Reed. Sight measures 21-3/4" H x 31-1/2" W, frame measures 34-1/4" H x 43-3/4" W. Condition: Toning otherwise good ocndition Estimate: $100.00 - $200.00 Domestic Shipping: Third party

LAURENCE STEPHEN LOWRY print Fever Van signed lower left with gallery blind stamp framed and glazed 51 x 42 cm CONDITION REPORT: Print appears in very good condition with no folding foxing or stains. Please note we will not post this picture.

LAURENCE STEPHEN LOWRY print The Beach signed lower left with gallery blind stamp framed and glazed 50 x 26 cm CONDITION REPORT: Print appears in very good condition with no folding foxing or stains. Please note we will not post this picture.

LAURENCE STEPHEN LOWRY print The Family signed lower left with gallery blind stamp framed and glazed 21 x 28 cm CONDITION REPORT: Print appears in very good condition with no folding foxing or stains. Please note we will not post this picture.

LAURENCE STEPHEN LOWRY print Three Men and a Cat signed lower left with gallery blind stamp framed and glazed 18 x 27 cm CONDITION REPORT: Print appears in very good condition with no folding foxing or stains. Please note we will not post this picture.

A late 18th century mahogany straight front chest in the manner of Chippendale, the well figured, moulded top over four graduated drawers with brass swan neck handles and escutcheons, flanked by blind fret carved canted corners, raised on ogee bracket feet, 37¼ x 21in. (94.5 x 53.25cm.), 35in. (89cm.) high.

Jersey and Channel Islands law interest, Guillaume Le Rouillé, an early edition of the customary law of the Duchy of Normandy, 'Le grand coustumier du pays et duche de Normendie: tres utile & profitable a tous practiciens', pub. in Rouen by Nicolas le Roux for Francoys Reganult of Paris, 1539, typeset in Gothic Bastarda, text in parallel columns, title page in red and black with woodcut borders, woodcut initials and illustrations, folio, in later full blind tooled calf, gilt spine lettering, handwritten ink notations to text throughout, contemp. owner's inscription to title in ink, folio.