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Sir William Russell Flint Golden Barrier Loch Earn 1925 Lithograph, signed in pencil and blind stamp 30cm x46cm

L. S. LOWRY (1887 - 1976) UNSIGNED LIMITED EDITION COLOUR PRINT 'Burford Church' Blind stamped and numbered in pencil 57/1500 20" x 15" (50.8 x 38.2cm) (With Grove Fine Art publishers certificate of authenticity)

TOM DODSON (1910 - 1991) TWO ARTIST SIGNED LIMITED EDITION COLOUR PRINTS 'Cricket Match' and 'May Queen' with blind stamp, printed titles and signed in pencil 11 1/2" x 8 1/2" (29 x 21.5cm)

An Edwards & Roberts Chippendale revival writing table, having superstructure with arrangement of drawers above an inset leather top and three frieze drawers, all embellished with blind fret detail, on fluted square tapestry supports, the central drawer stamped Edwards & Roberts, 106cm wide, 60cm deep, 74cm high

*William Scott (1913 - 1989), signed limited edition lithograph - Barra, from the series of lithographs inspired by the Scottish Islands, dated '62 and numbered 7 / 75, in glazed frame, 53cm x 61cm CONDITION REPORT Doesn't appear to be stuck down, some discolouration to the outside border. Part of a blind stamp visible in the lower left corner. Image in good condition

Georgian eight day longcase clock with brass and silvered arched dial with ship automaton to arch 'The Royal Sovereign', dial signed - 'Jn. Nash Bridge', silvered chapter ring, subsidiary seconds and date aperture, vase and bird spandrels, four-pillar movement striking on a bell, in oak case with domed top with brass ball and spike mounts, blind fretwork coronet and scroll decoration, plain arched door, on bracket feet, 228cm high x 50cm wide (weights and pendulum present)

RONNIE LANE,THE FACES.A Ronnie Lane model by Edwin Belchamber, made for the back cover of The Faces LP 'A Nod's as Good as a Wink.....to a Blind Horse'. Height 30cm (a.f.). NOTE:This original model was bought at a charity auction, each of the model maker's original figures being separated for auction.

And So To Bed of London - 'Georgian Tallboy' A good quality reproduction Georgian style chest on chest of six long and two short drawers, the upper section with carved and canted corners beneath a blind fret frieze with cast brass fittings raised on bracket supports, 190cm high x 115 cm wide

A GEORGE III OAK AND MAHOGANY 8-DAY LONGCASE CLOCK, FEARNLY, WIGAN, the case with swan neck pediment and blind fretwork to the trunk, 13-inch square brass dial with silvered chapter, 228cm.

A GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS, the moulded top (split) above a fitted drawer with slide over three long graduated drawers with cock beaded edges, flanked by blind fretwork carved canted corners, raised on bracket feet, 83cm by 106.5cm by 62cm.

Gordon King, a contemporary limited edition print titled 'Contemplation' 83/95, with a blind stamp, numbered and signed in pencil, framed. H-63cm x W-75cm

KENNETH JEPSON ARTIST SIGNED COLOUR PRINT MASTED BATTLESHIPS FIRING BROADSIDES SIGNED IN PENCIL AND WITH BLIND STAMP 17 1/2" X 25"

A CHINESE TABLE SQUARED TIMBER TABLE, Late 19th century, the moulded top with rounded corners above a blind fret frieze carved with fruit bats, raised on cylindrical columns. 79cm high, 92cm wide

CONTEMPORARY SCHOOL (20th century)'Cross Section Through the Aquator (sic) with the Envelop (sic) of Atmosphere that Surrounds the Earth' Watercolour, 30 x 23cm, with studio blind stamp;together with another, titled 'A Polder' Pen and coloured ink, 26.5 x 17cm Provenance: The collection of the late Anne Bullitt

Alphonse Dupont, a French street scene, coloured etching, with Academy of Art, Birmingham blind stamp 32.5 x 19.5cm

An early 20th century mahogany bedroom suite, comprising bow front wardrobe, chest of drawers, dressing table and bedside table, each with moulded detailing and blind fret panels, on cabriole legs; with a similar Edwardian mahogany dressing stool, wardrobe, 190cm H x 193cm W x 63cm D

A Chippendale style carved mahogany chest, the top with blind fret detailing above three graduated long drawers, on moulded legs with pierced stretchers, circa 1900, 87cm H x 84cm W x 50cm D (with key)

William Russell Flint, Limited edition colour print, Casilda's White Petticoat, Signed in pencil with blind stamp and certificate verso, 48cm x 61cm, Framed and glazed

After William Russell Flint (1880-1969) In a Provencal Granary, colour print, with blind stamp signed in pencil 55cm x 36cm

Victorian oak Tantalus with carved blind lattice work base, brass fittings. three decanters 37cm wide, 36cm high, 12cm deep.

Beatrix Potter, "The Tale of Squirrel Nutkin" Frederick Warne, 1903, together with The Story of Miss Moppet, Frederick Warne, "The Story of a Fierce and Bad Rabbit", Frederick Warne, "The Tale of Jemima Puddle-Duck", Frederick Warne and "The Tale of two blind Mice" Frederick Warne 1904, (5)

George III and later mahogany bookcase cabinet on stand, the swan neck pediment above a blind fret and astragal glazed doors, the associated base having a single frieze drawer, undulating frieze and square section tapering legs, 73cm wide, 47cm deep, 178cm high

LEIAH H. hand coloured limited edition etchings; 'White Rhino' 20 of 34 and 'Gentle Giants' 4 of 39, both signed to the lower right with numbers and titles in right margins, blind stamps and framed in contemporary gilt

ROWLAND HILDER 'The Road to the Farm' Colour print Signed by the artist in pencil Blind stamps 20.5' x 25'

A LATE GEORGIAN OAK CHEST ON STAND WITH CONFIGURATION OF BLIND FRIEZE DRAWER OVER TWO SHORT, THREE LONG GRADUATED DRAWERS AND THREE DRAWERS TO BASE. W.102 cms.

Eleven pieces of various modern slipware pottery, six Sarreguemines plates, six Limoges plates, middle Eastern brass, copper and white metal inlaid dish and a Chinese carved hard stone ornament of two ducks, plus AFTER DAVID SHEPHERD "Tiger", limited edition print 899/1000 signed in pencil and blind studio stamp lower left

AFTER TULLY CROOK "Summer", limited edition print No'd. 76/200, signed and dated in pencil lower right with Artists blind studio stamp lower right, together with AFTER TERENCE WARREN "A snip in time", limited edition print No'd. 38/100, signed and dated "79" lower right, AFTER JOHN RICCI "A New Eye on Dance" poster and a BOTERO Exhibition poster (4) CONDITION REPORTS All four are framed and glazed, unknown if stuck on mount. The Tully Crook has a large scratch running through the centre of the image and several scratches to the bottom edge in the middle, is discoloured around the edges and has dropped within the mount. There are some areas of foxing/staining to the image especially in the lower right hand quarter. Bears watermark to the paper in the top right hand corner. The Terence Warren has discolouration throughout especially to the outside edges. Glass is cracked, there are numerous thunderbugs and other insects beneath the glass - unknown if this has left marks on the print itself. The Botero poster has white marks to the left hand side of the image but this looks as though it's part of the print rather than any ripping and the John Ricci has watermarks and discolouration along the bottom edge predominantly. All four are in need of a good clean of the glass both inside and out, have general wear and tear etc - see images for further details.

CLEMENT COWLES "Seated Nude", pencil and wash study, signed lower right, dated 1965, together with HAYNES "Man with Spear", nude study, pencil, unsigned, watercolour, another by the same hand , together with AFTER SHEPPERSTON "Young child", study of child's head, limited edition etching 12/75, artists' blind studio stamp lower left

AFTER DAVID SHEPHERD "Village bay - St. Kilda", limited edition colour print, No'd. 81/200, signed in pencil lower right, two further prints AFTER DAVID SHEPHERD and a wall mirror in the Art Nouveau taste, together with 20TH CENTURY ENGLISH SCHOOL - black and white photographic print of Major Stewart Dyer DSC, PETER ROBINSON "Early morning" and "Evening light", watercolours, both signed lower right, AFTER DAVID GODDARD "The Lord Mayor's coach", black and white engraving, signed lower right, bears artist's blind studio stamp lower left, one further, AFTER PETER SCOTT "Feeding geese", colour print and 20TH CENTURY ENGLISH SCHOOL - a photographic print of SS Queen Elizabeth passing HMS Vanguard, together with two further black and white engravings, a large quantity of various pictures and prints to include AFTER DIANE BREEN "Silent night, colour print, signed pencil lower right and AFTER J J AUDUBON "American White Pelican", colour print etc

Georgian mahogany and string inlaid wall hanging corner cupboard, fitted blind panel door with oval inlaid paterae (subject to VAT) Condition:

20th Century Oriental trunk having hinged cover, the red lacquer effect finish with blind fretwork gilt decorated chinoiserie panels to the front and loop carry handles to the sides Condition:

*Company School. A Tanager bird, early 19th century, pen, ink and watercolour on paper, within a blind anthemion border, image 14 x 11 cm (5.5 x 4.25 ins), framed and glazed Provenance: 'Tanagra Camiapilla. Grey crowned Tanager. West Indies.' on period label to verso. (1)

An unusual large wall clock set within a mahogany glazed case having brass blind fronted dial with faceted hands and good fusee movement set to the rear with swing pendulum and keys.  Constructed to a very high standard by the vendor's late father. Measures 112cm high x 46cm wide x 27cm deep.

 A mahogany serpentine fronted bachelors chest of drawers being raised on bracket feet having a central serpentine fronted bank of drawers with brushing slide atop. The chest edges with blind fret work decoration, flared top above. 80cms x 81cms x49cms

A good Longines gentlemans 14ct white gold wristwatch and bracelet strap. The white metal stamped '14k' having a circular engine turned dial with single round cut diamond batons, blind subsidiary seconds dial to lower centre and faceted hands.   Total weight 60.9g

A 19th century brooch with Indian portrait miniature of Maharaja Ranjit Singh, the oval portrait on ivory is finely painted in watercolour with gold detailing, and portrays the leader and unifier of the Sikh Empire with white moustache and beard, dressed in a pink and colourfully embroidered coat and turban with fur collar and jewelled aigrette, with a ceremonial arrow, bow and shield; it is collet set and mounted with a tubular edging that ties at the bottom like a stylised Q, verso with glazed panel enclosing a thick plait of brunette hair; width 4.9cm Other Notes: Ranjit Singh was born in 1780, and despite losing his sight in one eye as a result of childhood smallpox, he distinguished himself on the battlefield from his late teens onwards, beginning the conquest of the whole of central Punjab, driving the invading Afghans out of Lahore and back to Kabul, and unifying the various Sikh misls and factions into a functioning empire - eventually holding sway from the bounds of British India in the east to the Durrani Empire in the west, encompassing Kashmir in the north and parts of the Himalayas to Tibet, Multan in the south, Peshawar, Khyber and Jammu. Although this Empire was Sikh, Ranjit Singh was renowned for his reconciling ways: Muslims, Hindus and Christians as well as Sikhs held high political and military positions; all religions were equally respected, and the places of worship of conquered enemies were not destroyed. He is famous for the decoration of the Harmandir Sahib (the Golden Temple) in Amritsar, and for owning the Koh-i-Noor diamond. He died in 1839, being succeeded briefly by his first born son Kharak Singh, and then, after a short time of political turmoil, by his youngest son, Duleep Singh, aged only five. (The British soon swept him and his regent mother from power and exiled him to Britain, where he spent most of the rest of his life, a protégé of Queen Victoria, member of high society and owner of the Elvedon estate near Thetford.) Ranjit Singh thus created and presided over the Sikh Empire which dissolved within a decade of his death. His reputation was and remains remarkable. He was known as Sher-e-Punjab (Lion of the Punjab), one of only three awarded the title 'Lion' in the modern history of the Indian subcontinent. He has been compared to Napoleon for military prowess and leadership, but notably without ferocity or blood-thirstiness, nor punishing criminals with death. His foreign minister, Fakir Azizuddin, when asked by the Governor-General of India, Lord Auckland, which of Ranjit Singh's eyes was blind, replied, "the Maharaja is like the sun, and the sun has only one eye. The splendour and luminosity of his single eye is so much that I have never dared look at his other eye".

A French Empire mahogany secretaire a abattant, with an inset marble top and applied gilt metal mounts to the blind frieze drawer and fall front writing surface, inset with a green tooled leather and enclosing small drawers and open shelves, flanked by column sides and drawers below enclosed by cupboard doors, on turned feet 149 x 100 x 48cm (58 x 39 x 19in) Provenance: Plumpton House, Bury St Edmunds One very minor veneer chip to the base

A Louis XV style walnut bureau plat, late 19th century, with gilt metal mounts, the leather lined top with blind frieze drawer, on cabriole legs and sabot 74½ x 92 x 57cm (29 x 36 x 22in)

A French Empire rosewood and inlaid cabinet, with a grey marble top side, two blind frieze drawers and cupboards below on a plinth base 97 x 145 x 65cm (38 x 57 x 25in)

A William IV mahogany console table, with associated jurassic marble top, blind frieze drawer, on lapit carved and turned legs 84 x 139 x 84cm (33 x 54 x 33in) One corner has a loss

ALBIN TROWSKI, three colour prints including limited edition The Allotment No 68/550, Pounds Pigeons and Chips with blind stamp and Flower Shop, all signed in pencil (3)

A mahogany frame Armchair with blind fret carved square front supports, upholstered in blue velvet.

Terence Cuneo. The Battle of Knightsbridge, artist signed print, with blind stamp, unframed, 53cm x 80cm.

George III mahogany bow front hanging corner cupboard, circa 1800, dentil and blind fretwork cornice over two doors opening to two full shelves and a partial shelf, height 114cm, width 80cm

George III mahogany and inlaid gentleman's wash stand, circa 1800, the folding top with chequer board inlaid edging opening to reveal a number of compartments, over a front fitted with two central doors inlaid with shells, opening to reveal two short drawers and recess for a chamber pot, single long drawer beneath and a blind drawer beneath that, secret pull out drawer to the side, raised on tapered legs with brass cup castors, width 60cm, depth 53cm, height 96cm

George III mahogany and inlaid bowfront sideboard, circa 1790, the top triple banded with rosewood and centred with a conch shell inlay in boxwood and harewood, and fitted with a central long kneehole drawer, flanked by a cellarette drawer with blind two drawer front, and a similar blind two drawer cupboard door to the other side, fan inlaid spandrels throughout, further crossbanding and raised on tapered square section legs with spade toes, width 164cm, depth 76cm, height 94cm

Regency rosewood davenport, circa 1810, the sliding slope top with tooled leather inset and pull-out pen drawer to one side, also a candle slide to each side and fitted with four long graduated drawers, each with a turned wooden knob, opposing similar blind drawers, the front with a moulded panel, all raised on turned legs, width 45cm, height 84cm, depth 52cm

Regency mahogany side table, circa 1825, rectangular top with boxwood and ebony string inlays over a single long frieze drawer with later turned wooden knobs opposing a blind drawer at the rear, raised on turned and ringed double column supports, shallow sabre legs with brass toes and castors, width 99cm, depth 46cm, height 78.5cm

Victorian mahogany breakfront mirror back sideboard, circa 1890, carved trellis swan neck pediment with central plinth over a galleried shelf, to a back with bevelled glass panels and column supports, over a base fitted three frieze drawers with blind fretwork decoration, central recessed shelf flanked on either side with carved raised panel cupboard door opening to a shelf and cellarette, all raised on claw and ball feet, width 181cm, depth 58cm, height 229cm

Hunter (Rev. Joseph). South Yorkshire. The History and Topography of the Deanery of Doncaster in the Diocese and County of York, 2 volumes, published J.B.Nichols and Son, 1828 - 1831, engraved portrait frontispiece with some spotting, list of subscribers, two double page engraved maps with contemporary hand colouring, one uncoloured engraved town plan of Doncaster and fifteen engraved plates, some spotting, top edge gilt, joints strengthened, later quarter morocco gilt, spine a little worn and frayed, folio, together with Miller (Edward), The History and Antiquities of Doncaster and its Vicinity, published Doncaster, [1804], folding engraved map frontispiece (laid on linen), dedication, list of subscribers and errata, eleven (complete) uncoloured engraved plates, some spotting and staining throughout, later endpapers, late 19th century half cloth with printed paper label to spine, worn at extremities, 4to, with Whitaker (Thomas Dunham), The History and Antiquities of the Deanery of Craven in the County of York..., edited by A. W. Morant, 3rd edition, published Joseph Dodgson, Leeds and Cassell Petter & Galpin, London, 1878, additional decorative lithographic title and printed half title, portrait frontispiece, numerous plates, maps and folding tables, marbled endpapers, top edge gilt, contemporary blind and gilt stamped morocco, heavily worn, folio (4)

Sombre binding. The Book of Common Prayer..., printed by Charles Bill, and the Executrix of Thomas Newcomb deceas'd, 1695, lacking plates (apparently never bound-in), title (soiled) with early ink ownership inscriptions to recto and verso, some finger-soiling, a number of leaves with tears and losses (six leaves with loss of text), bound with The Whole Book of Psalms..., 1696, some light spotting and finger-soiling, a few short closed tears, front pastedown with circular armorial bookplate of 'John Roland Abbey', contemporary black morocco, lightly rubbed to extremities, front board detached, back joint slightly split, spine with raised bands and blind-tooled panels, covers with blind-tooling incorporating a cottage-roof design, with the centre divided into rectangles and tooled with tulips, leaf sprays and other small tools, the corners blind-tooled with unusual reclining cherubs, 8vo, plus Whitby (Daniel), Logos tes pisteos or An Endeavour to evince The Certainty of Christian Faith in Generall, 1st edition, Oxford, 1671, errata leaf and vertical half-title at rear, occasional light spotting, Z7 with tear (paper fault), preliminary blank with ink inscription 'Ex dono Authoris Maii 3. 1671', all edges gilt, contemporary black morocco gilt, somewhat rubbed, spine lightly faded and a little worn at head, spine with gilt-decorated raised bands and panels, covers with panel design with corner tools and fleurons, 8vo, plus a New Testament of 1636 in contemporary black morocco gilt, covers with double panel design with corner and side tools and a central smiling sun tool, 8vo Provenance: From the library of Howard M. Nixon. (3)

Darwin (Charles). The Variation of Animals and Plants Under Domestication, 2 volumes, 1st edition, 1st issue, 1868, 43 woodcut illustrations, 32 pp. publisher's catalogue dated April 1867 at end of volume I, 2 pp. publisher's list at end of volume II, pp. 63-64 in volume II with piece torn away from outer margin (from rough opening?) with no loss of text, stitching breaking at front of volume II with leaves loosening, light spotting front and rear, bookplates, original green cloth with blind decorations and spines lettered in gilt, extremities lightly rubbed, 8vo Freeman 877. First issue copy with the six line errata to volume I and seven line errata to volume II. Only 1500 copies of the first issue printed and "represents the only section of Darwin's big book on the origin of species which was printed in his lifetime and corresponds to its first two intended chapters. A second section, on natural selection, has been transcribed from the manuscript notes by R.C. Stauffer and appeared in 1975." (Freeman). (2)

Bible [English]. The Bible. Translated according to the Ebrew and Greeke, and conferred with the best translations in divers languages..., Imprinted at London by Robert Baxter, 1605, general and New Testament titles within woodcut borders (with initials I R displacing E R), Apocrypha present, black letter text throughout, running titles cropped, bound with at rear an incomplete Whole Booke of Psalmes, printed by John Windet for the Assignes of Richard Daye, 1602, and incomplete Common Prayer at front (with few leaves torn), some light dust-soiling and few marks, 18th century endpapers, cloth hinge repairs, near contemporary blind panelled brown pigskin, rebacked preserving original spine, corners repaired, 4to Herbert 280, Darlow & Moule 214, STC 2194. (1)

Bindings. The Book of Common Prayer and Administration of the Sacraments, bound with, Hymns Ancient and Modern, Proper lessons to be read at Mattins and Evensong and The New Testament, published Oxford, circa 1900, printed titles to each section, a few leaves frayed and detached, copious manuscript annotations and photographs to endpapers, mounted press cuttings of World War II casualty lists, additional illuminated vellum pages added to the pastedowns and endpapers, six page vellum calendar at rear, all edges gilt, contemporary black morocco gilt with gilt decorated turnins, decorated gilt and painted spine with floral designs in six compartments, additional painted design and initials to upper siding, worn at extremities, 12mo, together with The Book of Common Prayer..., published Oxford, 1831, printed title, all edges gilt, contemporary crushed red morocco with gilt decorated spine and sidings, slight wear to extremities, 12mo, with Hunt (Leigh), Men, Women and Books; A selection of Sketches, Essays and Critical Memoirs..., 2 volumes, published Smith Elder & Co., 1847, engraved portrait frontispiece, printed titles, book plate of Francis Whitmore to front endpaper, contemporary half calf gilt, some wear to extremities, 8vo, plus Scrap book, circa 1830, small scrapbook containing six pencil drawings, one watercolour and pages of verse, one additional tipped in later watercolour of a lady at a masked ball, contemporary blind stamped red crushed morocco gilt with 'Jane Eleanor'to upper siding, 16mo, and Foster (John), Essays in a Series of Letters..., published J.Holdsworth, 1823, printed title, stamped ownership address to front endpaper, contemporary blind stamped calf with gilt decorated spine, bumped at extremities, 8vo (6)

William Wilberforce Family. The New Testament of Our Lord and Saviour Jesus Christ..., Stereotype Edition, printed by George Eyre and Andrew Strahan, for the Naval and Military Bible Society, 1818, ownership signature of Barbara Wilberforce (1799-1821) to front free endpaper and inscribed 'Rydal 1818' beneath, ownership signature of 'Wm Wilberforce' to title and beneath it written 'I began to use it Oct 2d 1830 at Brighton', some pencil marginalia and underscoring plus juvenile jottings to rear endpapers and scribble beneath front endpaper inscription, some light browning and dust-soiling, original calf with blind stamp of Naval and Military Bible Society to upper and lower covers, lacks clasp, heavily rubbed and some wear to extremities, joints weak, 12mo An interesting association item. The William Wilberforce signature and inscription on the title-page could be that of William Wilberforce (1798-1879) the son of the great philanphropist and slavery abolitionist William Wilberforce MP (1759-1833); or William Wilberforce MA (1821-1900), the eldest son of William junior. The handwriting and marginalia suggest a younger hand. At this time in 1830 William junior's venture as a dairy farmer at St John's Wood in London was failing. The first signature, that of Barbara Wilberforce (1799-1821) belongs to William senior's second-born child; and the location is that of Rydal Mount, the English Lake District home of William and Mary Wordsworth. William Wilberforce senior had connections to the Lake District and the Wordsworth family and in 1818 the Wilberforce family descended on the Wordsworths' home for a visit which lasted several months. It seems possible therefore that this book was given by Barbara to her young nephew William. The Bible Society was founded in 1779, but changed its name to Naval and Military Bible Society in 1804 when the British and Foreign Bible Society was founded by a group of people including William Wilberforce and Thomas Charles. The Naval and Military Bible Society changed its name again to the Naval, Military & Air Force Bible Society in 1961. (1)

Gerard (John). The Herball or Generall Historie of Plantes, 1st edition, Imprinted at London by John Norton, 1597, engraved title present (image somewhat rubbed, close-trimmed, creased, strengthened to gutter margin and one other repair to verso), numerous woodcut illustrations (including 7 neatly hand-coloured), lacking engraved portrait (leaf B6), first page of main text inscribed 'Edward Seymour, April 18, 1749, Seend', leaf 3I7 torn to fore-margin with minor loss to one or two letters of text, some dampstaining, occasional tears and marks, worm trail to fore-margins of index at rear of volume, final few leaves (including supplement of appendix of common names) creased and with some strengthening repairs to margins, later 18th century reversed calf, blind panelled decoration to boards, joints cracked at head & foot, extremities worn, folio STC 11750. Nissen 698. Henrey 154. This volume has an 18th century armorial bookplate of the Duke of Somerset, and the reverse of the title is inscribed Edward Duke of Somerset, Given to Lord William Seymour by the Duke of Somerset, January 2nd 1786. Provenance: This volume was also more recently owned by Edmund Owen (1847-1915) surgeon at Great Ormond Street Hospital, who lived at Great Cumberland Place, and thence by descent to the vendor. (1)

Kalem. Journal Humoristique nos. 1-130 (complete and all published) bound in 2 volumes, Istanbul, 1908-11, black and white cartoon, illustrations and some adverts, text in Turkish and French, a little spotting and soiling, a few leaves from earliest issues close-trimmed, hinges partly broken, contemporary morocco-backed blind-stamped cloth, heavily rubbed and slight wear, 4to A rare set, the satire attacking the regime of Abdulhamid II. (2)

Hoare (Richard Colt). The Itinerary of Archbishop Baldwin Through Wales, A.D. MCLXXXVIII, by Giraldus De Barri, volumes 1 & 2, 1806, 59 black & white plates, front endpapers and title-pages blind-stamped to head, bookplates to front pastedowns, some light spotting, uniform original gilt-decorated calf, boards and spine slightly rubbed, large 4to, An Historical Tour in Monmouthshire..., A New Map of the Country and Other Engravings by William Coxe, volumes 1 & 2, 1801, black and white plates including repaired folding map to front of volume 1, some light marks and spotting, bookplates to front endpapers, volume 2 front board and front endpapers detached, uniform gilt-decorated cross-hatched calf, boards and spines rubbed with some loss, large 8vo, together with Davies (J.L., et al, editors), Cardiganshire County History, volumes 1 & 2, 1994-98, numerous black and white illustrations, original cloth in dust jackets, large 4to, plus other Welsh topographical reference, some leather bindings, some original cloth, G/VG, 8vo/4to (3 shelves)

Grose (Francis and Astle, Thomas). The Antiquarian Repertory: a Miscellaneous Assemblage of Topography, History, Biography, Customs, and Manners. Intended to Illustrate and Preserve Several Valuable Remains of Old Times..., 4 volumes, new edition, 1807-09, 230 plates only of 234 (includes 3 folding & 1 hand-coloured double-page aquatint plate), contemporary gilt & blind decorated calf, joints cracked and slight wear mostly to extremities, 4to (4)

Mahogany single blind panelled door collector's or specimen cabinet.(B.P. 24% incl. VAT)