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LAURENCE STEPHEN LOWRY (1887-1976); a signed limited edition coloured print "The Family", signed in pen lower right, bearing Fine Art Trade Guild blind stamp lower left, letter to number stamp 644, 26.5 x 21cm, framed and glazed. (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. FATG stamp so print run is probably 850. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

A Continental silver gilt compact with obscured mark and numbered 13349, of rectangular form, the hinged lid with canted edge and geometric decoration, the top with sunburst blue enamelling and central blind fret plaque enamelled in red, green and gold depicting a pair of lovebirds amid foliage, the underside engine turned, the interior with talcum compartment and mirror, 9cm x 6cm x 1cm

Abraham Solomon (British 1824-1862) 'The monkey who has seen the world' Oil on board, signed and dated 1857, bears plaque applied to frame, also with label and part labels verso and old handwritten text verso, approx 33x42cms, inset ornately moulded and swept gilt gesso frame, featuring flowers, foliage and a blind fret border. (illustrated)

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge With tipped in illustrations, this being limited edition No: 456 of 525 copies, signed by the author Willy Pogauy, published George Harrap & Co., London circa 1900, bound in tan calf with blind stamp decoration. (AF) (illustrated)

A Victorian walnut library table, circa 1860, with two blind frieze drawers, 74cm high, 108cm wide, 52cm deep

DAVID SHEPHERD - Snow Leopard, limited edition coloured print, signed, numbered 307/950 in pencil and with blind stamp in margin, 40cms x 69cms

An 18th century Chippendale style silver table, with open fret carved gallery over blind fret carved frieze and canted square supports, 78cm wide.

A miniature oak armoire with allover blind fret decoration and oval cabochon carved door, 31cm high.

A large green painted rectangular footstool with blind fret frieze, on shell capped cabriole supports, 136cm wide.

[AGRICULTURE] Considerations on Agriculture . . . to which is added, Mr. Pierson's Two Tracts of the Present State of Tillage in Ireland . . . folded plate & 2 text illus., the 2 tracts with separate titles; contemp. blind- tooled calf. Dublin 1730.; SCALES (B.) Tables for the Easy Valuing of Estates . . . engraved pictorial title & armorial dedication (D. of Leinster); contemp. calf. Dublin, 1771.

An 18th century style rectangular mahogany serving table, with blind fret frieze on chanelled canted square supports, 167cm wide.

USSHER (J.) Britannicarum Ecclesiarum Antiquitates . . . First Edition. with Appendix title; contemp. blind-tooled calf, rebacked with panelled spine & red labels, thick & squat 4to. Dublin, 1639. * sometime Abp. of Armagh & (according to Selden) 'learned to a miracle'; his library, purchased for the State on Cromwell's orders, was eventually given to Trinity College, Dublin by Charles II.

Two maritime etchings, each blind stamped Artist London Proof and with miniature work to lower margins, one with indistinct signature in plate lower right, (each 41cm x 29cm) F&G

After Beryl Cook (1926-2008) - reproduction colour print 'The Art Class', signed in pencil, published in 1979 by the Alexander Gallery Publications Ltd, Guild of Fine Arts blind stamp, (45.5cm x 44cm) F&G, Alexander Gallery label verso

Pair of metal and enamel earrings in a style reminiscent of Charles Rennie Mackintosh, wire work and whorls with green and blue enamelling and pendant tails, each being stamped with a line of three partially distinct marks (perhaps Edinburgh assay, letter y for 1904) and one other blind mark, length 4.8cm

Edwardian mahogany window table, oval top with a moulded edge, blind fretwork to the frieze and square tapering legs, reduced, width 72cm, depth 45cm, height 56cm.

Edwardian mahogany overmantel, bevelled plate, blind fretwork frieze, width 122cm.

Early 19th Century mahogany longcase clock, the square hood with swan neck pediment and blind fretwork decoration above a shaped panel door and plinth base with bracket supports, the painted dial with Arabic and Roman numerals with subsidiary seconds, the two train movement striking on a bell

A GEORGE III MAHOGANY COMMODE, with dished top, blind fret carved decoration to the front and sliding doors above the pull out section, 61cm wide x 71cm high

A GEORGE III LIGHT BLUE PAINTED PINE CORNER CUPBOARD with dentil cornice, blind fretwork decoration above the arching twin panelled doors enclosing shaped shelves within, flanked by fluted pilaster columns to either side and further blind fretwork decoration to the canted corners, all above a pair of panelled doors beneath enclosing a further shaped shelf within and standing on a conforming plinth base approximately 107cm wide x 198cm high

A GEORGE III MAHOGANY GENTLEMAN'S DRESSING CHEST with satinwood banding to the top and drawer fronts, the top drawer with green baize inset brushing slide and fitted interior above loper supports and three long drawers on blind fretwork carved bracket feet 92cm wide x 79.5cm high

Limited edition signed print with blind stamp, signed Chapman

Cecil Alden print of a dog, plus print of a terrier Billy Blind stamped

Cecil Alden humorous watercolour painting boy with pie being pursued by boy, blind man and dog, signed

Framed and Glazed Signed Emil Adam Print of the horse ' Persimmon ' with blind stamp

IVIMEY John W., illustrated by CORBOULD Walton; Complete version of Ye Three Blind Mice, London n.d. circa 1916, new cloth spine paper on boards; CARROLL Lewis, Hunting of the Snark, London 1876, Fifteenth Thousand and 4 other children's books (6)

William Walcot RBA RE (Scottish/Russian 1874-1943): Decadence of the Roman Empire, artist's drypoint etching signed in pencil, mount with 1925 blind stamp 19cm x 25cm Condition Report VGC. Original frame and mount

William Walcot RBA RE (Scottish/Russian 1874-1943): Decadence of the roman Empire, artist's drypoint etching signed in pencil, mount with 1925 blind stamp 19cm x 25cm (Glass but no frame) Condition Report Discolouration around the margins and lower part of image

William Walcot RBA RE (Scottish/Russian 1874-1943): Spanish Bull Fight Seville, artist's drypoint etching signed in pencil, mount with 1925 blind stamp 17cm x 36cm Condition Report VGC.

William Walcot RBA RE (Scottish/Russian 1874-1943): Cathedral, artist's drypoint etching signed in pencil, mount with 1925 blind stamp 16cm x 20.5cm Condition Report VGC.

After Sir William Russell Flint (Scottish 1880-1969): 'Model and Critic', Limited Edition colour proof with blind stamp numbered in pencil 268/850, 40cm x 57cm DDS - Artist's resale rights may apply to this lot

J HOLLAND (18th / 19th Century) oil on canvas - hamlet with horses and numerous figures in the street including a soldier in uniform, revelers outside the 'John Bull', a blind beggar with dog, monogrammed signature, typed label verso with artist's name and entitled 'Figures at an Inn', 33 x 49cms Auctioneer's Note: please see Lot 339 at Christie's South Kensington auction of 'Victorian & British Impressionist Art' July 12th, 2012

A cotton Roman blind of plain peach ground

AFTER MICHAEL LYNE "Hunt and hounds jumping stone wall", colour print, signed in pencil bottom right, artist's studio blind stamp mark bottom left, together with two further prints

AFTER SNAFFLES (CHARLES JOHNSON-PAYNE) "Sans Panache French Cavalry 1914", chromolithograph, bears artist's studio blind bit stamp, unsigned

Horror film Quads. Ten British Quad film posters, titles comprise: Secret of Blood Island / Night Stalker, Night Hair Child / Deathline, 10 Rillington Place, Disciple of Death / Devils Nightmare, Fragment of Fear, Seance, Legend of Hellhouse / Vault of Horror, Blind Terror / Doctors Wives, The Balcony, Burke & Hare / More Dead than Alive, etc. In various conditions, all folded 30 x 40 inch. (10)

A set of four reconstituted planters of basket form with blind fret decoration, 45cm diameter, 33cm high

Doris Zinkeisen (1898-1991) Stage set with dancers, signed in pencil, Fine Art Trade Guild blind stamp, coloured prints, 51cm x 61cm

Late 19th Century School circa 1885, study of classical head in marble, monogrammed SC bottom left and ESK blind stamp bottom right, 38cm x 31cm

Interesting late 19th century small bodied guitar, with large blind carved sound hole

19th Century brass inlaid rosewood double fusee drop dial wall clock by Dell, of John Street, Bristol, the off-white dial with Roman numerals, blind panel below flanked by carved ears, brass double fusee movement, overall height 67cm Condition: Please see extra images and TELEPHONE department for further details

A pair of late 19th century limited edition mezzotint engravings, of the 'The Blue Boy' and 'The Red Boy' by C Fitzgerald, labelled to verso, signed and blind stamped

A 19th century crystoleum, of a gentleman and children playing blind mans bluff, marked C.W.F & Co Ltd No.89, 7.5ins x 9.5ins

A Victorian mahogany American forecast barometer, by Joseph Davis & Co., Kennington Park Road, London, with blind fretwork carving to the trunk. Height 106 cm (see illustration).

A George III mahogany style sofa, with rollover arms, squab cushion and raised on blind fret carved front legs. Width 196 cm (see illustration). CONDITION REPORT: This is not a period sofa. The description is incorrect it is a settee in the George III style. It is probably only 20 or 30 years old. The piece is structurally very sound and not loose at the joints. The only small area of damage to the mahogany that we can see is a small loss to the front right hand facing foot which should be visible on our image. The upholstery is in generally reasonable order however there is some staining and discolouration to the tops of both arms but more so the right hand facing arm. There is also discolouration to the front left hand bottom corner. It may be possible to have this cleaned as other than the dirt and discolouration the fabric is in good condition generally.

An Edwardian mahogany Chippendale style desk, with metal gallery to the rectangular top and fitted with a series or blind fretwork carved drawers and raised on cabriole legs terminating in lions paw feet. Width 123 cm. CONDITION REPORT: The three quarter brass gallery is present and appears in good order but with rubbed gilding. The top writing surface is in very poor condition with about 40% missing. The mahogany surround is in generally good order and the desk is structurally strong. The back and sides are not cracked. The legs are solid and original with no repairs or breaks. The right hand three drawers are in generally good order with only very minor losses to the fretwork. The left hand three drawers are in similarly good condition however the bottom left hand drawer has a more substantial fretwork loss in the bottom left hand corner. The centre drawer has losses to the applied moulding on the rectangular panel however the fretwork to left and right is in reasonable order. There are minor losses to the carved kneehole mouldings. There is no substantial work required to the desk most of the problems being of a cosmetic nature.

An Edwardian mahogany glazed corner display cabinet, with rear pediment, blind fretwork frieze, canted angles, glazed door with wooden astragals and raised on sabre front legs. Width 64 cm.

A mahogany Granddaughter clock, with moulded Greek key cornice, blind fretwork frieze, two-train movement striking on a gong, with long trunk door and raised on bracket feet. Height 140 cm.

An Edwardian mahogany square occasional table, with blind fretwork frieze, tapered legs of square section with fretwork spandrels and with splayed feet. Width 51 cm (see illustration).

A Worcester Blind Earl pattern fluted fruit dish, decorated in shallow relief with stem of wild rose. Diameter 20 cm.

After Gainsborough, seated boy, print, signed in pencil M Cormack, published by Frost and Reid 1904, blind stamped, ,45cm by 35cm, and another print, portrait of a lady wearing a bonnet, signed in pencil, 50cm by 38cm, (NC)

A fine bookcase in 18th century style, the upper section ornately decorated with carving and blind fret work the base with three drawers and cabriole legs, 200 x 168cm.

A good mahogany serpentine chest of small proportions, with a brushing slide over four long graduated drawers with blind fret canted corners on splayed bracket feet, width 85cm.

18th Century Italian School. Christ Healing the Blind, Oil on Canvas, Unframed, 20" x 14".

Priscilla Susan Bury (nee Falkner) (British, 1799-1872) 'Amaryllis Superba. Brazil', inscribed lower right below the title '(imported Bulb) at Mrs Arnold Harrison's, 21st April 1828', reproduced as plate 31 in Bury's 'Selection of Hexandrian Plants', papermaker's blind stamp to the corner, 55.2 x 44.1 cm; Amaryllis Psittacina, inscribed lower right below the title 'Botanic Garden' [Liverpool], illustrated as plate 23 of Bury's Hexandrian Plants, embossed papermaker's stamp to the corner, 55.4 x 44 cm. watercolour (2) Provenance: Private Collection, Hertfordshire For a comparable example bearing Priscilla Bury's handwriting, see one of the watercolours preserved at the Minneapolis Institute of Art. Amaryllis - unframed - a fold along the bottom edge running through the bulb, some dirt spots and light postting, selottape attached on the right edge; Amaryllis Psittacina - unframed - horizontal fold along the bottom, some crimkling to the bottom edge, slight foxing and staining, glue marks on the reverse

Priscilla Susan Bury (nee Falkner) (British, 1799-1872) Two botanical studies as reproduced by Robert Havell Jr. in 'A Selection of Hexandrian Plants'. Amaryllis Crocata with Papilio Nestor Brazil, inscribed on the stem bottom centre '1826. PS Falkner', this same subject was reproduced as plate 16 in 'A Selection of Hexandrian Plants', papermaker's blind stamp to the corner, 55.2 x 43.7 cm; Lilium Bulbiferum, inscribed below the title 'Fairfield 6th June 1825' and initialed 'PSF' at the bottom of the stem, 43.6 x 31.2 cm. watercolour (2) Provenance: Private Collection, Hertfordshire Other Notes: Priscilla Susan Bury (1799-1872) was a self-taught botanical artist, especially known for her vividly coloured illustrations of plants. Her watercolours were notably engraved for 'A Selection of Hexandrian Plants', one of the finest botanical colour-plate publications of its period. Born as Priscilla Susan Falkner to a wealthy Liverpool merchant, she lived at her family estate in Fairfield, two miles east of Liverpool, until her marriage to Edward Bury (1794-1858), a railway engineer, in 1830. She was enchanted by the exotic and rare plants cultivated in the greenhouses of her family home and thus developed a great passion for botany at an early age. She took up drawing and painting flowers at Fairfield and by 1829 amassed a great collection of botanical studies, mostly bearing her maiden name. Upon the suggestion of the amateur botanist William Roscoe (1753-1831) and the zoologist William J. Swainson (1789-1855), fifty-one of Bury's watercolours were published as 'A Selection of Hexandrian Plants' between 1831-1834. The studies were engraved and printed in aquatint by Robert Havell Jr. (1793-1878), rivalling the greatest botanical illustrations of the time. The publication had seventy-nine subscribers, among whom were many prominent Liverpool residents as well as the American naturalist, John James Audubon (1785-1851). Some of the original watercolours are preserved at Dumbarton Oaks, Washington, and at the Minneapolis Institute of Art. Amaryllis - unframed - some discolouration to the paper, some staining around the stem and leaf, two vertical folds along the side edges. Lilium - unframed - some foxing, mostly limited to the reverse, slightly trimmed on the left side

Priscilla Susan Bury (nee Falkner) British (1799-1872) Amaryllis Reginae, inscribed 'Fairfield 183(1)?', plate 24 in 'A Selection of Hexandrian Plants', 36.2 x 31 cm (visible), in a gilded frame; Amaryllis Solandriflora, inscribed 'raised by Mrs A. Harrison from seed produced September 1824 - Drawn from a plant in Mr Richard Harrison's Hothouse April 182(9)?', reproduced as plate 46 in Hexandrian Plants, papermaker's blind stamp to the top right corner, 55.9 x 45.8 cm. watercolour (2) Provenance: Private Collection, Hertfordshire For a comparable example bearing Priscilla Bury's handwriting, see one of the watercolours preserved at the Minneapolis Institute of Art. Amaryllis - frame chipped, slight discolouration to the paper, otherwise very good condition; Amaryllis Solandriflora - unframed, some crinkling to the edges, a fold to the top edge (about an inch deep), sellotape attached to the edges, a tear bottom right above the title, some dirt spots and discolouration to the paper, some pin holes to the top edge.

Priscilla Susan Bury (nee Falkner) British (1799-1872) 'Hemerocallis Caerulea, Hemerocallis Japonica, Libellula Varia' [English Dragonfly], inscribed below the title 'Fairfield 1827', illustrated as plate 50 in 'A Selection of Hexandrian Plants', papermaker's blind stamp to the bottom right corner. watercolour 45.30 x 54cm (18 x 21in) Provenance: Private Collection, Hertfordshire Unframed, some staining, especially to the right edge, vertical fold along the left-hand side (an inch deep), surface paper chipped right of the leaf, the marks in the leaf are painted and part of the illustration, glue marks on the reverse

§ Charles Johnson Payne (Snaffles) (British, 1844-1967) Three prints; 'The Gent in Ratcatcher', signed lower right in pencil and blind stamp, 39cm x 32cm (15 x 12.5in), 'Soldiers' signed lower right in pencil and blind stamp, 41cm x 36.5cm (16 x 14.5in), and The Timber Merchant' , signed lower right and with blind stamp, 47cm x 43cm (18.5 x 17in) print (3)

A George II style Irish mahogany console table, with grey green marble top, the frieze carved with blind fret chinese, acanthus leaf and rocaille, on cabriole legs terminating in hairy lion paw feet 83 x 105 x 54cm (32 x 41 x 21in) Evidence of restoration and repolishing