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A George III style mahogany library armchair, with blind fret decorated frame, upholstered with needlework panels depicting Chinoiseries, on square chamfered legs with later stretchers and brackets 102 x 67cm (40 x 26in) Very worn needlework fabric on the arms and a broken stretcher rail

An early George III mahogany kneehole desk, with moulded border and re-entrant corners, above one long drawer, a central cupboard, blind kneehole drawer and six small side drawers, with brass swan neck handles, on ogee bracket feet 79 x 92 x 55cm (31 x 36 x 21in) Wonderfull colour and patination.

Graves, Rev. John The History of Cleveland. Carlisle: Printed for F. Jollie and Sons, 1808. 4to, half calf over marbled boards, spine bands and compartments decorated in blind and gilt, lettered directly in one and at foot with imprint, speckled edges, marbled endpapers; engraved frontis, engraved title, folding map, hand-col. in outline, 8 plates, folding letterpress table; provenance: William van Mildert (last Prince-Bishop of Durham, his armorial bookplate impaled with Dunelm on upper pastedown) -- Henry Drummond Albury Park Surrey (banker, politician, writer, founder of the Catholic Apostolic Church, his armorial bookplate to ffep). Oliver, George The History and Antiquities of the Town and Minster of Beverley...Beverley: Printed and sold for M. Turner, 1829. 4to, early bound in half calf, spine with morocco lettering pieces in 2, a.e.g. marbled endpapers; engraved frontis., 5 plates, folding table as called for in embellishments, w/ numerous illus. to txt; provenance: John Stansfeld (collector of county histories and similar, his armorial bookplate to upper pastedown. Lockwood, Henry & Cates, Adolphus The History and Antiquities of the Fortifications to the City of York. J. Weale, Architectural Library, 59, High Holborn, et al, 1834. Folio, cloth-backed boards, sometime rebacked; engraved plan frontis., 12 plates. Poulson, George Beverlac. Printed for George Scaum, Beverley, 1829. 4to (2 vols). Later bound in green buckram; all plates and pedigrees as called for in embellishments. Neale, J.P. View of the Seats of Noblemen and Gentlemen...Sherwood, Gilbert, and Piper, Paternoster Row, 1828. 8vo, half calf over marbled boards, spine blind in compartments, lettered directly in gilt in one, marbled edges; engraved frontis., 70 plates.

Livingston, R.R. An Essay on Sheep. Sold by J. Budd, Pall Mall, and R. Bagshaw, Brydges-St Covent Garden, 1811. 8vo, half calf over marbled boards, spine decorated in blind in compartments, one lettered directly in gilt, speckled edges; 2 plates; provenance: Sir John Throckmorton, Bart (his armorial bookplate to upper pastedown). The London edition with preface and explanatory notes by William Cobbett. Perhaps less an essay, more an extended advertisment for Livingston's flocks, this work was ordered published by the State Legislature of New York because it was ''eminently calculated to diffuse general information as to the best mode of raising and managing the Merino breed of Sheep''. It may be uncharitable to suggest it was Livingston's name and family reputation which raised the eminence of the work, but he was the first Chancellor of New York (a position he held for 25 years). Livingston, as well as a sheep breeder, was a Founding Father and member of the Committee of Five that drafted the Declaration of Independence. In fact Livingston used his political position and connections to acquire his sheep in the first place. He realised the economic and political advantages to challenging British wool dominance, however he also recognised issues with American wool. Merino sheep were perceived as such a superior breed their export was strictly controlled by the Spanish King. France however had a trade agreement which allowed them a certain number. Livingston used his position as US Minister to France to sidestep controls and was able to secure five sheep from then Minister of the Interior, Jean-Antoine Chaptal. From these he began his great experiment. Livingston was perhaps not the first importer of Merino sheep but he was the most important in terms of popularising the breed's use. His championship of the breed led to a brief mania, with farmers moving from grain to sheep, cutting down thousands of acres of forest in the process. The mania subsided by 1823, with Merino sheep dropping from $1,500 to $50 in price. Apparently Livingston did little to discourage the mania, buying back his sheep after sale for outrageously inflated prices. This fostered the belief in the inherent superiority of the breed and helped spiral prices higher. Even after the crash the Merino remained prized and they are still a major part of American wool production. For its single London edition political firebrand William Cobbett was prevailed upon to provide a prefatory explanation from his prison cell in Newgate (where he was serving time for treasonous libel). The introduction is noteworthy, for as little time as it devotes to sheep rearing, it makes up for in economic and political assessment of the effect on the wool trade of America ceasing to rely on European wool. Cobbett supports the growing self-sufficiency of America, praises the potential fall of maritime commerce (and the concomitant stews and gaming-houses of dock towns), and looks for England to likewise cease the cross-Atlantic trade in favour of promoting work at home. He does fear that the rise of economic independence will also end ''enlightening intercourse'' between America and Europe (predicting in part the rise of islolationist policies) but strongly believes that this work helped strike a ''deadly blow'' against the forms of commerce that are the ''fast ally of despotism''. This work is thus a fascinating artefact of the early growth of American commerce, written by one of the country's founders and introduced by one of Britain's most contradictory reformers.Boards scuffed and rubbed, with a little cracking to joints at foot of spine, evidence of removal of bookplate from upper pastedown, occasional, slight, foxing (more noticeable around frontis.), offsetting from text, small marginal stain to last two leaves, but a very good copy of an intriguing work.

Douglass, Frederick Narrative of the Life of Frederick Douglass, An American Slave. Written by Himself. Dublin: Webb and Chapman, Gt. Brunswick-Street, 1845. 8vo, org. blue cloth, boards panelled in blind, yellow endpapers. First Irish edition, published in the same year as the American first and before the first UK edition in 1846, making this effectively the second edition of the book. Douglass contributed a new preface in which he explained his purpose in coming to the UK - part of which was to avoid - in the aftermath of the publication of the book in the US - being restored to his previous owner (as the Constitution made him liable to be). Douglass had come to Dublin in 1845 and met with the Committee of the Hibernian Anti-Slavery Society who issued a recommendation on his behalf to all abolitionists. A hugely significant, and scarce, piece of Americana by a statesman, reformer, and slave,Spine faded, some shelf wear to edges of boards, slightly cocked, a little marked and dusty inside but a very good copy of a rare book.

Kaye, Sir John William F.R.S. The History of the Sepoy War in India, 1857-1858. W.H. Allen & Co., 1880. (3 vols). and Malleson, Col. G.B. History of the Indian Mutiny. W.H. Allen & Co., 1878-80. (3 vols). with Pincott, Frederick Analytical Index [to the above combined set]. W.H. Allen & Co., 1880. 8vo (7 vols). All uniformly bound in full calf gilt, boards with double gilt-fillet borders, spines gilt in compartments with contrasting morocco lettering pieces in two, gilt roll-tooled board edges, blind roll-tooled turn-ins, all edges marbled, marbled endpapers; Kaye II: 1 folding coloured map; III: 3 folding maps, 1 coloured; Malleson II: 7 folding maps, 2 coloured; III: 4 folding maps; provenance: Sir James Joicey Bart. (his armorial bookplate on upper pastedowns). Sir James (later Baron Joicey) was MP for Chester-le-Street and Chairman of his families' mining business. The Joicey pits included ones at Beamish. This six-volume History was first produced by Colonel George Malleson (1825-1898), combining Sir John Kaye's unfinished History with his own work. Kaye (1814-1876) was a soldier and historian who started the Calcutta Review in 1844. His use of first-hand evidence, collected from personal and professional contacts, supports (perhaps predictably) his assertion that the rebellion is a story of British 'national character'. Malleson's contributions derive from his controversial 'Red Pamphlet' (1857) and he is unafraid to criticise or praise British troops and administration as the occasion demands. The set includes the Index produced for the combined work.Some slight shelf wear to edges of boards, with slight rubbing of the leather, one small marginal tear to map in Kaye III, slightly affecting map, but a handsome set, clean and bright internally.

Foxe, John Ecclesiasticall History, conteyning the Actes and Monumentes of Martyrs...Printed by John Daye, dwelling ouer Aldgate, 1576. 4to (2 vols bound as one). Full reverse calf, boards with broad blind roll-tooled borders, spine decorated in blind, all edges red; pp. 14-1306 (lacking title and 1-13), 1315-1332, 1337-1774, 1777-1976, 1981-1984, 1987-8, 1991-2, 1997-2000, 2003-2010, 2012-2020 (5V.iv loose but present, lacking rest of Index); floriated initials, woodcut plate, later mounted, title-page for Vol. II, lacking title for Vol. I., numerous woodcuts to text throughout. Although The Acts and Monuments of Foxe has been a critical text in shaping Protestant identity, the idea of it as a single text - the much later coined (and frequently abridged) ''Book of Martyrs'' - misses the complexity of its publication history. None of the four editions produced during Foxe's lifetime (of which this was the third) was the same as any other. Foxe continually adapted his work to answer the criticisms of his Catholic opponents. It is important to remember that Foxe produced his first pre-Acts martyrologies amongst the Marian persecutions. What had been an academic exercise in martyrology suddenly and violently became a part of his lived experience. Astoundingly for the day - and given his intense opposition to Catholicism - Foxe did not simply oppose Catholic executions, but utterly opposed the death penalty for any religious dissent. His book was not merely an anti-Catholic tract, it fundamentally opposed the concept of religiously inspired killing. It was perhaps inevitable that his first two treatises (mostly focusing on the Lollards) would form the basis of a larger text, tearing into the recent persecutions and aiming to show that the Catholic church was a conspiracy to destroy English national identity along with its religion. The book - backed by worthies like Sir William Cecil and Foxe's former pupil, the Duke of Norfolk - thus became part of the new Elizabethan paradigm: that the Church of England was a continuation of the true Church of Christ not a modern innovation. It is telling to note Foxe's close, if uneasy, links to Matthew Parker (one of the architects of the Thirty-Nine Articles) and critically his library, which led to the Archbishop being presented with a copy of the work. Foxe published the first version of his ecclesiastical history in 1563, drawing on documents, registers, letters, and other primary sources to support his thesis. He might more properly be described as a compiler, rather than an author, were it not that his voice comes through so powerfully in the contextualisation and presentation of others' information through the form of the text (especially its use of typography). The book was not merely successful, it fostered strong emotional reactions on both sides of the debate and the revision work began almost immediately. The second edition, the first major revision, was published in 1570. This was no mere reprint. Foxe significantly enlarged the scope of the first edition, taking the history back to the 11th century. He also responded personally to the Catholic criticisms, including newly discovered information and sources. This copy was part of the third edition (less heavily revised than the 1570 edition) which was printed on cheaper paper to attempt to meet rising demand for a cheap edition - hence the expected toning. Foxe would produce one final revision of the book in 1583, resisting calls for abridgement. He died in 1587, plans for another revision already underway. The book of deaths had become his life. This edition was surveyed by the British Academy for their effort to reproduce the best and most complete text from the various editions produced during Foxe's lifetime (this number F76028). Professor David Loades wrote (in the Jan-July 2000 British Academy Review) that ''none of the surviving original copies of the sixteenth century editions [are] full and perfect. All those traced and inspected have defects - pages missing or severely damaged, illustrations removed, and so on.'' (p.25). At the point when the Academy surveyed this copy, they had traced 30 copies, of which 15 were in the UK - this one the only private library copy. This copy is thus a scarce survival - strange given the immense popularity of the work - and a rare chance to own a typographically fascinating, early edition of an ideological battleground in the formation of English national identity. Binding rubbed and scuffed but still tight, edges closely shaved with some loss to marginalia, some marking, staining, creasing etc throughout, some pages toned, occasional marginal loss nevertheless a very good copy of a scarce work.

Breeches Bible The Bible Translated according to the Ebrew and Greeke...bound with Two right profitable and fruitfull Concordances...and The Whole Booke of Psalmes. Imprinted at London by Robert Barker, Printer to the King's Most Excellent Maiestie, 1608; Psalms London: Printed for the Companie of Stacioners, 1609. Later rebound (1816) in black crushed morocco, boards with gilt fillet borders around floral roll-tooled borders in blind, central panel gilt with floral corner-pieces enclosing owner's name (M. Thompson, upper board) and date (1816, lower board), flat spine with gilt-fillet and blind floral roll-tooled compartments, speckled edges, marbled endpapers; engraved title for The Bible, separate titles for other two parts, later additional hand-coloured plates showing the arms of the Thompson family and a decorative border. Breeches Bibles are a variant of the Geneva Bible translation. Perhaps the most historically significant English translation of the Bible after the King James Version (KJV), the Geneva Bible (from where the first edition was published in 1560) was probably the first mechanically printed, mass-produced bible available to the general public - especially in a size suitable for non-liturgical use. It was immensely popular, owing in part to the power of its translation. The most significant theological aspect was the glossing and marginalia which were Puritan (and especially Calvinist) in manner - thus often in opposition to the ruling Anglicans of the Church of England and the English government. The popularity was such (Scotland even passing a law requiring households of sufficient means to own a copy) that it spurred Elizabeth I to produce the Bishops' Bible, the Catholics to produce the Douai and Rheims Bible, and ultimately James I to produce the Authorised Version in order to replace it. Such was the importance of the translation - despite official antipathy towards the glossing - the Geneva Bible was an approved source for the translators of the KJV. The Geneva translation was then the bible of Shakespeare, Cromwell, Knox, Donne and Bunyan. This copy is a variant known as a ''Breeches'' Bible owing to a curious translation of a passage from Genesis III.7: ''Then the eyes of them both were opened, and they knew that they were naked, and they sewed figge tree leaves together, and made themselves breeches.'' In the 1611 KJV this was changed to ''aprons''. This bible was bound for Matthew Thompson (name to upper board and inscription on verso of ffep) in 1816 (date on lower board and inscription). The Thompson arms are displayed on a colourful decorative plate bound between the Old and New Testaments. Intriguingly there is a second colour plate with an elaborate floral border surrounding a blank space. At the top of the border there is a shield with the Thompson arms in the dexter half and a blank space where the impaling arms would go. Although it is impossible to say, it seems likely that this Bible was produced for, or in anticipation of, a wedding. The wife's arms would have been added to the sinister side (if Thompson was advancing to a bishopric or similar his arms would have gone on the junior, sinister side) and presumably the details would have been added, in the fashion of family bibles, to the blank space inside the border. Some signs of age internally such as spotting and browning, with tear causing loss to bottom corner of pp.51-2 of Psalmes, but otherwise a very good copy in a handsome binding.

Macklin Bible The Holy Bible, embellished by the most eminent British artists. With historical prefaces…For T. Cadell, by T. Bensley, 1824. Folio (4 vols). Contemporary black hard-grained morocco, boards richly panelled in gilt and blind, spines with low raised bands gilt, compartments scrolled in gilt, lettered directly in gilt in two and at foot with Macklin's name, wide inner dentelles decorated in gilt and blind all round, yellow doublures and endpapers, gilt edges, wide embroidered blue markers; 76 engraved plates, large engraved head- and tail-pieces throughout. First edition thus. A re-issue of the sumptuous Macklin Bible (1800), with the original plates and new prefaces by Edward Nares (1762-1841), Regius Professor of modern history at Oxford. The first three volumes (dated 1824) correspond to Macklin's original six. The last volume of Apocrypha is dated 1816 which is when the supplement was issued to Macklin's original work. Macklin's impressively illustrated Bible, printed in dramatic large type, drew the artistic talents of de Louthenbourg, Hamilton, Opie, Cosway, Benjamin West and Richard Westall, along with Fuseli, Kauffman, Reynolds and Stothard. It almost bankrupted the publisher, who never lived to see its success. He died exhausted (aged 47) just five days after the delivery of the final engraving. It ''endures as the most ambitious edition produced in Britain, often pirated but never rivalled''. (ODNB). A little wear at extremities, very occasional light spotting, vol. I sig. 3R short closed tear affecting text, vol. IV water-stained in lower margin mostly not affecting text, an excellent set.

Grose, Francis Military Antiquities. I. Stockdale, 1812. 4to (2 vols). Full calf, sometime rebacked with morocco, boards with floral blind roll-tooled border within gilt triple-fillet border, spines gilt in compartments, contrasting morocco lettering pieces in two, others with gilt-tooled arms and helmet motif, lettered directly in gilt at foot with library code and name, gilt roll-tooled turn-ins, all edges marbled; 3 engraved titles (2 in Vol. II), 142 engraved plates, all as called for in both Vols.Rubbing and scuffing of binding edges, with some, slight, loss, library plates to upper pastedowns, ink mss note to main titles in each vol., offsetting from plates, but generally clean internally, tight copy.

Bray, William (ed.) Memoirs of John Evelyn. Henry Colburn, 1827. 8vo (5 vols). Full calf, boards with gilt-fillet borders, spines gilt in compartments, contrasting morocco lettering pieces in two, blind roll-tooled board edges and turn-ins, speckled edges; 9 plates (2 folding) and one folding pedigree; ex-library with small neat ink class marks at foot of spines, small card folders on upper pastedowns and white stickers on lower pastedowns in III-V; provenance: Kirkman Daniel Hodgson (1814-1879, Governor of the Bank of England and MP, his bookplate in I-IV, faded patch where lost from V). As with Pepys diaries, those of John Evelyn offer a glimpse of the cultures and customs of an era from a personal perspective. They give first-hand experience of events like the Great Plague and Fire, the Rye House Plot and the Restoration, and of his role in groups like the Royal Society, of which he was a founder member. The diary was first published in 1818, when Bray edited the manuscript. This is the enlarged edition (from two to five volumes) with correspondence between Charles I and Sir Edward Nicholas and Sir Edward Hyde and Sir Richard Browne appended. The diary was begun when Evelyn was 11 years old and was a personal document, never intended for publication. As such it contains both short personal memoranda and expansive accounts of major events of which he was a part. As with all diaries this mix of the general and the specific, the personal and public, and the tiny details of everyday living, gives a window into the realities of life for the writer. Evelyn's keen mind and important position make this a fascinating historical source.Leather a little scuffed and worn, gilt faded on spines, foxing to and round plates but otherwise clean text block, very good set.

R.B. [Crouch, Nathaniel]. Admirable Curiosities, Rarities, & Wonders in England, Scotland and Ireland...Printed by John Richardson for Nath. Crouch at the Bell in the Poultry, near Cheapside, 1684. 12mo, half calf over marbled boards, morocco lettering piece, spine lettered directly in gilt to bottom compartment and blind tooling to 3 compartments, all edges red; engraved half title facing title, 4 plates (one missing lower half). Second edition enlarged. A rare collection of historical oddities by English printer and bookseller Nathaniel Crouch - whose pseudonym alluded to Robert or Richard Burton. According to a contemporary, he ''melted down the best of our English Histories into Twelve-Penny Books'' and became a ''Celebrated Author'', popularising history for the ''middling sort''. [Gerbier, Sir Balthazar]. The None-Such Charles His Character...Printed by RI, and are to be sold by John Collins, in Little Brittaine, 1651. 8vo, quarter leather over boards, sometime rebacked; engraved frontis., title, [4 (To the Reader)], 196, [18 (Contents)]. This work was ''Published by Authority'' to discourse on ''the late King's first publicke Motions running thouough his fatall race, and continuing to his dismall end.'' R.B. showing signs of use, leather marked and scuffed, owner's ink inscription to ffep and notes to blanks, ink marks verso of title, some spotting, marking, creasing throughout, edges of a couple of pages a touch shaved from binding, but generally a very good, internally clean copy of a scarce work. Gerbier likewise with signs of age, leather cracked off boards, some marking and creasing internally but again a very good, internally clean copy.

Fleming, Ian Dr. No. Jonathan Cape, 1958. 8vo, org. black boards (without image of woman), in dj (priced 13s 6d, with artist credit on rear flap). Goldinger. Jonathan Cape, 1960. 8vo, org. boards with skull and gold coins on upper board, spine lettered in gilt, in dj. Third impression. Thunderball. Jonathan Cape, 1961. 8vo, org. boards with blind skeleton hand, spine lettered in gilt, in dj (priced 15s). On Her Majesty's Secret Service. Jonathan Cape, 1963. 8vo, upper board with white ski-trail, spine lettered in silver, in dj (priced 16s).

Dickens, Charles The Cricket on the Hearth. Bradbury & Evans, 1846. 8vo, org. red horizontally-ribbed cloth gilt, boards with blind floral border, upper board lettered directly in gilt and blocked centrally in gilt with hearth design, spine lettered in gilt, a.e.g, yellow endpapers; eng. frontis., eng. title, illus to text; provenance: Edward Geoffrey Sergeant (armorial bookplate to upper pastedown -- Alice M Lamb (owner's ink inscription recto of frontis.). 2nd state ads with ''New Edition of Oliver Twist'' heading and 11 lines of copy. idem. The Battle of Life. Bradbury & Evans, 1846. 8vo, org. red vertically-ribbed cloth, boards with blind floral borders, upper board lettered directly in gilt and blocked centrally with fairy design, spine lettered directly in gilt, a.e.g., yellow endpapers; eng. frontis., eng. title, illus to text. 4th state eng. title with ''A Love Story'' on scroll held by Cupid and no publisher's details.Spines a touch dulled, some cracking with loss at joints, text block still tight, some rubbing and marking to boards, eng. titles slightly dusty, a little marginal toning, but very good copies, generally clean internally.

Gill, Eric (illus) The Four Gospels of the Lord Jesus Christ. Folio Society, 2007. Folio (2 vols). Gospels facsimile in full black morocco, upper board blocked in gilt after Gill's design for the living creatures of the Evangelists in a blind-blocked frame, spine lettered directly in gilt, all edges gilt, black marker; Commentary in buckram-backed boards with paper title label on upper board; both in black clamshell box. Limited edition numbered 2740/2750. A deluxe reprint of the legendary Golden Cockerel edition of 1931. The Gospels are widely considered one of the most beautiful books printed in the twentieth century, rivalling the Kelmscott Chaucer and the Doves Bible. They were perhaps the Press' finest production - as well as one of the most successful private press books of the century. One of the contributing factors to the beauty of the book is the holistic design. Robert Gibbings, owner of the Press, would write in the Book Collector (Summer 1953) that he ''would send [Gill] the proofs and on these he would build his designs, fitting his figures to the spaces determined by the type and allowing his fancy to spread into any quarter that offered itself''. That Gill designed images, typeface and layout ensured a rarely-equalled unity of conception. The Commentary comprises John Dreyfus' essay on 'Eric Gill and the Golden Cockerel Type' and Robert Gibbings' 'Memories of Eric Gill' reproduced from The Book Collector. An excellent facsimile of a rare masterpiece.

Gill, Eric The Tragedy of Hamlet, Prince of Denmark. Printed by Hague and Gill, High Wycombe, for the Limited Editions Club, 1933. 8vo, org. pigskin binding, boards with blind-blocked devices after Gill, spine lettered in blind; wood engraved title, five large headpieces to the Acts and tailpiece colophon design, printed from Joanna types on Barcham Green paper. Limited edition, numbered 551/1500, signed by Gill. idem 25 Nudes. J.M Dent, 1951. 8vo, org. red cloth, gilt EG monogram to upper board; wood engravings by Gill. Reprint. Controversial as he remains, there can be little doubt about the striking quality and artistry of Gill's distinctive style. Breaking away from the Bewick style of realism, he offered a sinuous line, often disturbing, frequently erotic, and stark contrasts wholly his own. His Hamlet took two years to produce and is one of the Limited Editions Club's greatest publications. Where Hamlet illuminates the artist, 25 Nudes reveals Gill the man, mixing art and sexuality.

Blackmore (Richard, M.D., Fellow of the College of Phyficians (sic) in London, And One of His Majefty's (sic) Phyficians (sic) in Ordinary), King Arthur: An Heroick (sic) Poem, In Twelve Books, To which is Annexed, An Index, Explaining the Names of Countrys (sic), Citys (sic), and Rivers, &c., third edition, Printed for Awnsham (sic) and John Churchil (sic) at the Black Swan in Pater-Nofter-Row (sic), and Jacob Tonfon (sic) at the Judges Head near the Inner-Temple-gate (sic) in Fleet-ftreet (sic), London 1697, pp: [ii], xvii, errata leaf [i], 343, index [8], full contemporary calf binding, the boards panelled and blind tooled and embossed with a foliate fillet, demi-lunes and scrolls, fragmentary gilt lettered red leather title label to spine with raised bands, the compartments with foliate bosses, the upper-front pastedown with MS ink ownership inscription: Ex Libris Arch: Busteed Westrop 1766, further 18th century ownership inscription to endpaper: Thos. Turvile, small folio

A late Georgian Irish mahogany fold-over top card table, with Gothic blind fret carving and chamfered supports, 33 1/2" wide Slight warp to the top, deep scoring to top leg carving rear right, chip front right top leg, scroll missing, baize needs replacing, splits to veneer on back, general wear and surface abrasions commensurate with age, small pieces scroll top left front leg missing. 

Three 19th century pot lids, entitled 'The Times', 'Blind Man's Buff' and 'Holborn Viaduct', each in wooden frame, the largest 11 cm diam. (3) .

§ Laurence Stephen Lowry RBA RA (British, 1887-1976). Mill Scene, coloured print, signed in pencil to lower right, 31cm x 41cm. Issued by The Observer newspaper circa 1972 in a limited edition of 750. This particular succession of prints was not titled, numbered or blind-stamped.Please note that Artists Resale Right is additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information)..

Royal Worcester Palissy items with Spode lithograph, Staffordshire pastille burner, ladle, Blind Earl etc

William Russel Flint print "Primavera", signed in pencil. With blind stamp. Framed and glazed. Approx. 28cm x 29.5cm.

Tom Dodson (British, 1910-1991). May Queen; Cricket Match, pair of lithographic prints, signed, blind stamp, 31cm x 22.5cm, together with two limited edition prints, 73/850, blind stamp, 34cm x 24.5cm. (4)

A Victorian mahogany mirror back music cabinet, the galleried back inset bevelled glass, above a blind fret work frieze, over two doors with foliate scroll detailing, raised on cabriole legs united by a shaped under tier, 142cm H, 60.5cm W, 36.5cm D.

Faces and Rod Stewart - seven vinyl LP records; Faces - Long Player, WS 3011, VG, A Nod is As Good as a Wink...To a Blind Horse, 56006 with poster, green label, EX; Rod Stewart - Never a Dull Moment, VG+, Picture, VG, Smiler, VG, A Night on the Town, VG, Blondes Have More Fun, VG

BLIND FAITH FESTIVAL - FREE/CLAPTON/WINWOOD POSTER. An original 1969 poster for Blind Faith Festival at Fairgrounds Area, Santa Barbara. Measures 17.5 x 23". VF condition.

TRAFFIC, DAVE MASON/STEVE WINWOOD & BLIND FAITH LPs. Marvelous selection of 12 x LPs featuring projects from the founding members of Traffic. Traffic LPs (x3) are S/T (1st UK orange/black bullseye ILPS 9081T - Ex/Ex+ a top copy with the booklet attached), John Barleycorn Must Die (1st UK pink label white 'i' ILPS 9116 - a superlative Ex+ copy) and Welcome To The Canteen (1st UK pink rim ILPS 9166 - another stunning Ex+ copy). Dave Mason LPs are Alone Together (1st UK fold-out sleeve SHTC 251 - Ex+/clean Ex small drill hole), Headkeeper (ILPS 9203), It's Like You Never Left, S/T (CBS 80360) and Split Coconut. Also to include the eponymous Blind Faith LP (UK Polydor 583059 original - Ex/Ex) and 3 Winwood LPs - Talking Back To The Night, Arc Of A Diver and S/T. Condition is primarily superb Ex+.

UK ARTISTS - PROG/ROCK LPs. Very high quality (titles and condition) lot of 17 x LPs and 1 x 12". Artists/titles are Mott The Hoople - Mad Shadows (UK 1st Island ILPS 9119 pink label white 'i' - Ex+/Ex), Free - Free (UK 1st Island pink label white 'i' ILPS 9104 - Ex+ top record/VG+ light edgewear), Ten Years After - Stonedhenge (1st UK stereo SML 1029 - Ex+/strong Ex with original inner), Procul Harum - A Salty Dog (UK Regal Zonophone original SLRZ 1009 - Ex/Ex), Live, Shine On Brightly/Whoosh (TOOFA 10) and Broken Barricades, Yes - Fragile (UK plum Atlantic 2401019 A1/B1 Ronder Music/Yessongs credits - Ex+/Ex a top copy), Tales From Topographic Oceans, Wonderous Stories (blue 12") and The Yes Album (K 40106), Caravan - For Girls Who Grow Plump In The Night (SDL-R 12 UK original - Ex+/Ex+) and Blind Dog At St. Dunstans, The Nice (x2), Camel, Family - A Song For Me (UK original tri-steamboat RSLP 9001) and Vivian Stanshall. Condition is primarily Ex+ (records) and Ex to Ex+ (sleeves).

A late 19th/early 20th century Chinese carved and pierced gilded hardwood panelWorked with mythical beasts in a mountainous landscape interspersed with stylised pine trees and blossom. 69 cm wide. CONDITION REPORTS: Generally good, expected wear, blind holes, minor losses, rubbing to gilding.

ROLAND LANGMAID (1897-1956) British (AR) Shipping on the Thames Limited edition etching, signed in pencil to margin and with Academy proof blind stamp, framed and glazed. 23 x 29.5 cm. CONDITION REPORTS: Generally good, expected wear, some slight fading/staining.

Winston Churchill (1874-1965) 'A Study of Boats', limited edition print numbered 278/750, facsimile signature, with blind stamp, titled and numbered in pencil, printed in 1995, unmounted and unframed, 66cm x 50cm

MITFORD, Nancy: Christmas Pudding. Thornton Butterworth 1932, First edition, First impression, with Dust Jacket (7\6 net). This is Mitford’s second book. Bound in the original publishers' pink textured cloth with title on upper cover and spine and a blind stamp to corner of upper cover; PP: 256, (i) Publishers' Fiction List. CONDITION: Spine with two faded patches (where the dust jacket is torn with loss); Dust jacket with tears and loss, mainly to the spine; The bookplate of: “Cecil G. W. Eve to front pastedown."

MITFORD, Nancy: Wigs on the Green. Thornton Butterworth 1935, First edition, First impression, with Dust Jacket (7s 6d. net). This is Mitford’s third book. Bound in the original publishers' pink textured cloth (This is the only copy I found in the pink and not blue textured cloth), and with title on upper cover and spine and a blind stamp to corner of upper cover; PP: 253, (ii) Publishers' catalogue. CONDITION: Head and foot of dust jacket frayed with small loss; endpapers little discoloured and a brown stain to second page of the publishers catalogue; The bookplate of: “Cecil G. W. Eve to front pastedown."

ROYALTY: Edward VII & Queen Alexandra Coronation, 1902: 2 engraved, decorated & blind-stamped invitation tickets from the Earl Marshall to Mr. & Mrs. C W Kynnersley; Official invitation from the Under Secretary of State for the Colonies, Downing St.; The Coronation Proceeding; The Form & Order of the service; 3 Westminster Abbey tickets & A Large un-used Carriage Pass to North door; large invitation card to C W S Kynnersley to an evening party at St. James’s Palace; ticket to Solemn Service at St. Paul’s ; George VI & Queen Elizabeth Coronation, 1937: Official Souvenir programme with Lt. Colonel E C Seconde's name to title page; Plus 3 tickets, from Secretary of State for India (qty.)

Bates, H.E. - Morocco Bound Volumes - The Fabulous Mrs V. 'uncorrected proofs' with printed wrappers bound-in, blind-pictorial and gilt decorated purple morocco, marbled e/ps 1964; An Aspidistra in Babylon 'uncorrected proof copy', wrappers as above, blind-pictorial orange morocco, marbled e/ps 1960; The Country Heart 'uncorrected proof' with pictorial (John Minton) wrappers, unlettered green morocco, 1949; with two other proofs and 5 first editions

SALVADOR DALI 'The Face of Mae West', lithograph on BFK Rives paper, with artist's blind stamp, signed in the plate, hand numbered ed. 1180/2000, 67cm x 51cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

A LATE GEORGE III MAHOGANY LONG CASE CLOCK, with swan neck pediment with rosette terminals, the brass dial having applied spandrels surmounted with painted phases of the moon, dial inscribed 'William Winstanley, Wigan', the case with blind fret frieze and canted fluted pilasters. 229cm high

A COMPOSED MAHOGANY CASED BRACKET CLOCK, with flat domed top, fitted brass carrying handle, above a blind fret frieze and glazed panel door enclosing an engraved gilt brass diam and chiming movement, with date aperture, signed Rich'd Hargreaves, raised on moulded base and bracket feet. 48cm high over handle x 33cm wide x 16.5cm deep

Laurence Stephen Lowry (1887-1976), "Sailing Boats", a colour print, signed lower right, bearing blind stamp, published by Venture Prints Ltd, 32cm x 36.5cm.

After Beryl Cook, "Art Class", signed in pencil in the margin, bearing blind stamp, published by Alexander Gallery, Bristol, 45cm x 44cm.

Bacon (Francis), Sylva Sylvarum: Or a Natural History, in Ten Centuries. Whereunto is newly added The History and Experimental of Life and Death, or of the Prolongation of Life. Published after the Authors Death, by William Rawley, Doctor in Divinity, One of His Majesties Chaplains. Whereunto is added Articles of Enquiry, touching Metals and Minerals. And the New Atlantis. With an Alphabetical Table of the Principal things contained in the Ten Centuries. London; Thomas Lee, 10th edition, 1676, engraved frontis, blind tooled full calf with ribbed spine. (binding with damage, see images)

A large Edwardian oak bracket clock, of architectural form the domed caddy top with fish scale decoration over a blind fret frieze, with two pierced doors to the side, turned pilasters to the front on plinth base, the arched dial with silvered chapter ring and subsidiary Slow/Fast dial to an 8 day two train movement with pendulum, 70cm high, together with bracket.

Mahogany glazed bookcase cabinet with blind fretwork decoration

'Police Street', limited edition coloured print No.660/850 after Laurence Stephen Lowry R.A. (British 1887-1976) with The Adam Collection blind stamp in the margin and National Fine Arts Ltd label verso 54.5cm x 43.5cm Condition Report Click here for further images, condition, auction times & delivery costs

Shamrock V Racing Candida and Cambria off Yarmouth, I.O.W, C. 1930, limited edition colour print No.596/600 signed in pencil by John Steven Dews (1949- ) with Chelsea Green Editions blind stamp 57cm x 74cm Condition Report Click here for further images, condition, auction times & delivery costs

'The Whaler 'Phoenix' off Greenwich 1820', limited edition colour print No.202/800 signed in pencil by John Steven Dews (1949- ) with Chelsea Green Editions blind stamp 55cm x 79cm Condition Report Click here for further images, condition, auction times & delivery costs

'Land of the Baobab Trees', limited edition colour print No.803/1100 signed in pencil by David Shepherd (British 1931 - 2017) with blind stamp pub. Solomon & Whitehead 44cm x 79cm Condition Report Click here for further images, condition, auction times & delivery costs

Late Victorian mahogany display cabinet with blind fret decoration enclosed by single astragal glazed door, W115cm, D40cm, H130cm Condition Report Click here for further images, condition, auction times & delivery costs

A large early 20th century stripped oak fire surround with blind fret carved frieze and fluted tapering square jambs, 187cm wide x 250cm high, the aperture 128cm wide x 115cm high.

A George III mahogany rectangular mahogany concertina action card table in the Chinese Chippendale manner, with blind fret decoration, 81cm wide x 73cm high x 40cm deep.

A Victorian mahogany chest of four long drawers, having moulded blind umbrella drawer with carved floral scroll detail, width 108cm

A 19th century French burr walnut floral satinwood inlaid and further gilt metal mounted hinge top sewing table, housing an interior mirror and blind frieze drawer, width 57cm

A late 19th century French mahogany and floral satinwood inlaid hinge top bijouterie table, having blind interior with glass panels to shaped undertier, width 63cm

William Russell Flint - lithograph, published by Frost & Reed, signed in pencil to the margin and with Fine Art Trade Guild blind stamp, 45x61cm

William Russell Flint - lithograph, published by Frost & Reed, signed in pencil to the margin and with Fine Art Trade Guild blind stamp, 44x61cm

Alan Fletcher, 'The sun always shines...', signed in pencil and numbered 9/94, blind stamped, colour print, 83 x 59cm.

VICTORIAN WALNUT INLAID DAVENPORT DESK having raised top with brass gallery above two blind panelled doors, revealing fitted interior above sloped desk with leather tooled inset surface revealing fitting drawers, having blind panelled cupboard to base with fitted shelves, having leather tooled titles for songs, dance & general music, raised on ceramic casters, 62 x 57 x 105cms Condition: leather surface is in poor condition, gallery top is also slight of position - perhaps replacement, a little dry in areas with some losses to veneer, drawers knob in main compartment is missing, some areas of edging around perimeters is either loose or missing, scuffs & wear commensurate with age.

George Cunningham (Sheffield Artist), 'Tinsley at Christmas' , limited edition colour print of 250, signed to mount, blind backstamp, 29.5 x 40cm.

George Cunningham (Sheffield Artist) 'London Road' Limited Edition colour print of 350, 32 x 41.5cm signed to mount, blind backstamp.

George Cunningham (Sheffield Artist) 'Workhouse Green' Limited Edition colour print of 250, 30 x 45cm signed to mount, blind backstamp