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A George III mahogany chest on chest, blind fret carved frieze and corners, gilt brass handles, on bracket feet 197 x 109 x 56cm (77 x 43 x 22in)

A mid Victorian oak serving table, circa 1860, with raised scroll carved panel back, vacant cartouche and blind frieze drawers, on scrolling reeded legs 116 x 130 x 62cm (45 x 51 x 24in)

A George III mahogany musical longcase clock, the 14 inch arched brass dial signed 'Jos Slater, Oswestry' to the arch, flanked by subsidiary chime, silent and strike silent subsidiary dials over a silvered ring of Roman and Arabic numerals, centre by a subsidiary seconds dial and date dial, within pierced leaf scrolling leaf moulded spandrels, the six pillar movement striking on a single bell, the musical chime striking twin hammers on twelve graduated bells, from the 11½ cylinder, the hood with enclosed swan-neck pediment over an arched hood door flanked by tapering fluted front corner hood pilasters, over a dentil moulded and blind fret frieze, above an inverted arch mahogany veneered long trunk door, fitted with a pierced moulded key escutcheon between quarter fluted front corner pilasters, on a single panel box base between blind fret canted front corners raised on short ogee moulded bracket feet, 240cm high

A Welsh Queen Anne walnut eight-day longcase clock John Thomas, St. Asaph, early 18th century The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the foliate engraved matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers, Arabic five minutes to outer track and signed Jn'o Thomas, St. Asaph, 140 to lower edge, with pierced blued steel hands and female mask and leafy scroll cast spandrels to angles, in a case with shaped crest to the domed caddy surmount over moulded cornice, double frieze incorporating band of lattice-pierced blind fretwork and integral three-quarter columns to the glazed hood door, the sides with short rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular caddy-moulded and crossbanded door veneered with an arrangement of book-matched panels, the base veneered with finely figured timber within a crossbanded border over a moulded skirt, 227cm (89.5ins) high excluding later brass finials.

A fine Queen Anne green japanned eight-day longcase clock with moonphase Thomas Martin, London, early 18th century The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped herringbone border engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. Martin, London to lower edge, with pierced steel hands and Indian mask and scroll cast spandrels to angles within herringbone engraved border, the arch centred with a penny moon aperture and pierced steel hand within applied ring calibrated for the lunar month flanked by dolphin cast mounts beneath a conforming herringbone border, the case with large giltwood urn finials to the tall ogee superstructure over wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above columns flanking the gilt foliate spray decorated hood door, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards to the rear, the trunk with floral trail decorated throat moulding over rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape centred with a brass-edged lenticle and bordered by further gilt foliate scroll borders, the sides painted with full-sized flowering branches and Ho-Ho birds, the conforming plinth base adorned with cranes before a garden pavilion to front and with moulded double skirt applied with squab feet, (unrestored, wear and losses to decoration), 255cm (100.5ins) high excluding top finial; 273cm (107ins) high overall. Thomas Martin (II) is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1678 and apprenticed in May 1692 to Jeremiah Martin until 1699 (but not freed). He worked from Fleet Street, London and was the victim of the theft of a number of watches in September 1723; the culprits were subsequently apprehended and sentenced to transportation.

A William III scumbled pine thirty-hour longcase clock Jeremiah Johnson, London, circa 1695 The four finned pillar two-handed outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Jere. Johnson, in Exchange Alley to lower margin, the angles applied with winged cherub mask and foliate scroll cast and pierced spandrels, the painted pine case with moulded cornice and foliate-pierced blind fret to frieze over columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied at the rear, over trunk with convex throat moulding and 40 inch rectangular door centred with a lenticle and applied with half-round edge mouldings above plinth base with later skirt, 193cm (76ins) high. Jeremiah Johnson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1646 and apprenticed to Nicholas Payne in 1660 before being passed onto Abraham Beckner and then Ahasuerus Fromanteel (II) finally gaining his freedom of the Clockmakers' Company in 1668. He lived in St. Margaret's, Lothbury and took many apprentices including his son of the same name in 1697. From around 1707 Johnson received charitable payments from the Clockmakers' Company which were maintained until his death in late 1709. The current lot was probably made for ºckstairs' use in a wealthy household. The case echoes the proportions seen on high-status walnut or marquetry cases of the period and was probably originally painted to resemble walnut.

A William III walnut and floral marquetry eight-day longcase clock Christopher Gould, London, circa 1695 and later The five finned pillar inside-rack and bell striking movement with anchor escapement regulated by seconds pendulum and 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub head and leafy scroll cast spandrels to angles within a fine scrolling foliate engraved border interrupted with signature Chr: Gould Londini fecit to lower margin, in a case with ogee moulded cornice and blind foliate fretwork frieze above floral trial inlaid hood door applied with spiral twist turned three-quarter columns to angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird and angel figure inhabited flowering foliage panels into an ebonised ground within a figured walnut field, the surround with stylised leaf decoration above conforming panel outline plinth base with compressed bun feet, (case with faults), 206cm (81ins) high. Provenance: The property of a private collector, purchased from Phillips Fine Art Auctioneers sale of Clocks and Watches including Scientific Instruments and Barometers London, 8th December 1998, lot 177 for £12,000. Christopher Gould is generally regarded as one of the leading makers from the 'Golden Period' of English clockmaking. He gained his freedom of the Clockmakers' Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. Christopher Gould's work invariably demonstrates a level of quality and elaboration that could only be afforded by the most wealthy of patrons, with the movement and dial of the current lot being no exception with well thought-out internal rack striking mechanism and fine engraved detail around the spandrels - a feature often only found on Gould's best work.

A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot is one of four documented night clocks by Joseph Knibb with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.

Three similar Dutch gilt brass verge pocket watch movements Two bearing signature for Tarts, London, the third for Demelais, London Each with gilt full plate single fusee verge movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm balance, the backplate with foliate scroll pierced and engraved balance bridge and conforming engraved infill around the silvered regulation disc, two bearing signatures J. Tarts and Tarts, London and numbered 255 and 14204 respectively with the first fitted with circular white Roman enamel Roman numeral dial painted with a coastal shipping scene to centre and the second with silver champleve dial with repeat signature and calendar aperture to scroll blind fret decorated centre within Roman numeral chapter ring within arcaded minute ring and cartouche Arabic five minutes, both with pillar plate approx 35mm (1.375ins) diameter; the third movement bearing signature Demelais, London to backplate, with white enamel Roman numeral dial featuring arcaded minute ring and pillar plate measuring 39mm (1.5ins) in diameter, (3). The three watch movements in the current lot are typical examples of Dutch timepieces produced during the mid to late 18th century signed with 'spurious' London signatures. One diagnostic feature is that on such examples the layout of the regulation tends to vary slightly from typical English practice resulting in the silvered regulation disc being positioned on the opposite side of the movement (to the left rather than the right when viewed with balance bridge uppermost). In addition to this the presence of the signature 'Tarts, London' would also suggest Dutch origins as it seems that this was a fictitious name specifically used by Dutch makers to give the impression that the watch was of English manufacture.

A rare Worcester blue and white Blind Earl plate c.1765, with scallop-edged rim, moulded and painted with a spray of wild rose, painted around with a caterpillar, ladybird and various moths and flying insects, open crescent mark, 19.9cm.

A George III style mahogany bow fronted sideboard with blind fretwork decoration with raised brass rail 81.5" wide

A George III-style mahogany serving table, probably late 19th century, the solid top over a blind fret frieze and chamfered square supports,122cm wide65cm deep83cm highFrom the descendants of Richard Assheton Cross, 1st Viscount Cross of Broughton-in-Furness (1823-1914), Home Secretary in Disraeli’s second government (1885-1886), with the Indian Office (1886-1892) and later Lord Privy Seal.The Old Rectory, Edgcote.

A late Victorian mahogany wall cabinet, with two glazed doors, fret and blind fret decoration,96cm high73cm wideThe Old Rectory, Edgcote.

A Victorian Gothic revival carved oak ecclesiastical bible rest, the back panel decorated with leaf motifs around arches, blind fret carved tracery, central bird and religious figures, the sloped rest flanked by angels and further leaf and arched motifs to underlying door panel, raised on bracket feet, 33 x 14 x 91in. high.

A Victorian Gothic revival carved oak tabernacle, the fret carved leaf pattern arch above a pair of blind fret carved panel doors, with scrolling design to interior panels and velvet lining, further fret scrolls to bracket supports below, 18 x 9 x 50in. high.

A near complete service of flatware and cutlery, by Walker & Hall, c.1920's, for twelve place settings, contained in an oak canteen with shaped top, blind fret frieze, with barley sugar twist supports, 33in; and a small quantity of sundry cutlery and flatware.

A carved giltwood frame With blind cartouche cresting. The aperture 40 x 51.5 cm. CONDITION REPORTS: Generally in good condition, expected wear, cresting possibly later, some possible slight losses and rubbing to gilding.

JOSEPH BISHOP PRATT (1854-1910) British, After GEORGE ROMNEY (1734-1802) The Vernon Children Mezzotint, published by Thomas Agnew & Sons Signed in pencil to margin and with print seller's association blind stamp 43 x 55 cm, framed and glazed CONDITION REPORTS: Generally in good condition, expected wear, old label to verso for Thomas Agnew & Sons, London.

Three framed and glazed Baxter prints of the gems of the great exhibition Subjects to include scene number two, number three and the great exhibition interior, each with blind stamps label the larger 16cm, 33cm the two smaller 13x25cm. (3)

A Set of Six Late Victorian Oak Framed Dining Chairs with Blind Carved Top Rails and Turned Front Legs.

A Chinese Chippendale style mahogany and stained beechwood centre table, circa 1900, serpentine outlines with rosette and ribbon twist mouldings, a blind fretwork frieze with arcading joined by rails, pierced scroll brackets, cluster column supports, 88cm x 59cm.

A George III mahogany serpentine chest of drawers, ogee moulded outline, fitted with four graduating drawers, lacquered brass bail handles, canted corners with blind fretwork, bracket feet, width 104cm, height 86cm, depth 61cm.

A George III mahogany chest on chest, dentil and cavetto cornice, the upper section fitted with two short and three long drawers, with blind fretwork decoration to the canted corners, three long drawers below on bracket feet, width 107cms, height 185cms, depth 52cms.

A Victorian walnut bookcase, in the style of Gillow's, veined marble top, blind fretwork frieze over five glazed doors backed by brass grilles, spaced by corbel like pilasters with acanthus scrolls, plinth base, length 210cm, height 99cm, depth 39cm and a matching two door bookcase, width 81cm, height 96cm, depth 37cm, (2).

A Worcester part dessert service, Blind Earl pattern, Chamberlains, early 19th Century, painted predominantly in a gilt palette with butterflies and insects, in coloured enamels, comprising a pair of navette shape dishes with lobed out lines 32cm, a handled dish, restored, diameter 20cm and three plates, damaged (6).

A signed coloured print after Septimus E Scott showing King Edward VIII as the Prince of Wales clearing a fence in a hunting scene, signed bottom right Sep E Scott, with Fine Art Trade Guild blind embossed stamp to the left, 38 x 51 cm approx, mounted

"Harmsworth's Household Encyclopedia", a practical guide to all home crafts written by the leading experts of the day and containing upwards of 15000 illustrations. Volume 1- Volume 6 by J. A. Hammerton. CONDITION REPORT; Good. Complete set of 6 volumes. Detailed writing and profuse illustration, both to a very high standard. About 57 colour plates, many of with fold out. Body mostly clean, bright and fine. Edges and endpapers tanned. Edges speckled red except V6. V5 has foxing at ends. Name on black front endpaper of V1. Bindings sound. Dark red cloth with gilt on spine and blind-stamped decoration and titling. Some cover marks. Corners bumped. Some rubbing. Slight wear to outer spine of V1 and V3. Believed originally printed in fortnightly parts and professionally rebound with a 24 page introduction; the original staple holes are visible; individual magazine covers are not present. No dust jackets. No date. 1923? 5456 pages.

After Sir William Russell Flint (Scottish 1880-1969): "The Mirror of the Ballet", artist's proof signed in pencil with blind stamp pub. W J Stacey London 39cm x 50cm

After Sir William Russell Flint (Scottish 1880-1969): Girl in a Yellow Blouse, limited edition chromolithograph with blind stamp numbered in pencil 733/750, 29cm x 39cm

L.S. Lowry Signed Print, blind stamped

An Edwardian Edward and Robert's style hanging display cabinet with blind fret work with a pair of glazed doors

A collection of LP's to include Cream, Blind Faith etc.

Tales of the Slave Squadron. Plus The Petrel, a tale of the sea. (Two separate novels combined in one volume). Lieut. Warneford .Charles H. Clarke,London:Cicra 1860.1 vol. Rare Victorian Literature. 8 vo. Both novels scarce. First novel is a 1st ed. Copac reports only 4 copies. Plus another. "The History of Magaret Catchpole, A Suffolk Girl" by Rev. R. Cobbold. Simpkin Marshall & Co, L. Circa 1858. Story of a female's transportation to Australia. 8 vo. (ix), 378pps. including supplementary, 1 engr. & half-tilte p. Contemporary 3/4 calf, marbled boards with blind tooling to same. Gilt motif to spine & burgundy morocco half title. Binding firm. [2].

Beano No 34 (1939). Bright fresh cover with one inch blind tear to top margin and pg 10 narrow margin piece missing, cream pages [fn+]

A Louis Icart Etching, "Rosebud" with colours, signed in pencil and numbered '10', published by Georges Petit 1914 with blind stamp for "Cerele Librairie Estamps RRR", 11 1/2'' x 7 1/2" image size approx.

Clive Hamilton Fraser (1929-2009), limited edition print, Ballet Dancer, signed and numbered P.P 4/5 and with Advanced Graphics blind stamp, 85cm x 60cm - unframed

A mid 18th Century oak 30 hour longcase clock, the 10" square dial with silvered chapter ring, Roman numerals and minute track, the centre with calendar aperture foliate engraved, signed Thomas Beale, Mayfield, striking posted frame four pillar movement with anchor escapement, the hood with projecting moulded cornice above a foliate fret blind cut frieze and glazed door above trunk with hinged door with hinged door with lenticle, on stepped box base, 188cm high.

Early 20th century mahogany occasional table with open and blind fretwork detail (W65cm) and a mahogany drop leaf Sutherland table (2)

A Victorian ebonised and brass mounted centre table, the top having centre cut brass acanthus and scroll leaf inlays within further brass strung border, above long blind frieze drawer, the whole raised upon turned and tapering fluted supports united by X-shaped stretcher, w.141cm, d.79cm, h.78cm

A circa 1700 joined oak four panel coffer, having replacement ironstrap hinges and with lozenge and rosette flower head blind carving, w.148cm, d.62cm, h.69cm

A late 19th century French rosewood armoire, having later inset glazed door above a blind base drawer, h.230cm, w.106cm, d.47cm

A circa 1900 walnut three piece Bergere suite, comprising three seater settee and pair of armchairs, each with split cane backs and sides, the arms with eagle neck and head scroll carving, the frieze with blind scroll carving above further acanthus leaf carving, all on claw and ball forelegs, settee w.186cm, h.85cm, d.72cm Condition Report / Extra Information Cane-work excellent. One side panel on one chair with single broken strand, otherwise complete. Frames good and strong. Some fading in parts. Upholstery complete but faded, with light wear and dated. Fringing to front of one chair missing. Otherwise a good suite.

A late 19th century Black Forest carved tea caddy, of serpentine outline,the hinged cover surmounted with game birds, the whole blind carved with oak leaves, w.30cm Condition Report / Extra Information Some chips to reeds behind game birds. Light handling and age wear. Otherwise good.

A good quality Georgian mahogany chest with an inlaid frieze with two small blind drawers above five further drawers flanked by reeded sides on bracket feet 1.14m wide x 1.1m x 56cm deep

John Cotler Webb, The Fighting Temeraire, after J.M.W. Turner, mezzotint, with gallery blind stamp, 32 x 44cm

After David Shepherd, Greater Kudo, print signed in pencil by the artist, with a gallery blind stamp, 44 x 75cm

A George III-style mahogany serpentine Chest of Drawers, the shaped top with moulded edges above a slide and four long graduated drawers with brass handles, flanked by blind-fret carved corners, on shell and scale carved bracket feet, 32in (81cm) wide. THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) "Merry England...and Worth a Guinea a Minute", colour print, signed in pencil lower left with blind stamp studio mark lower left

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) "A Heilan Lad", colour print, with studio blind stamp lower right

Fruit & Vegetables.- Wright - The Fruit-Grower's Guide, 2 vol. only , letterpress titles... (John & Horace J.) The Fruit-Grower's Guide , 2 vol. only (of 3), letterpress titles printed in red & black, n.d. § Rhind (William) A History of the Vegetable Kingdom , engraved frontispiece and additional title, 1857 § Hogg (Robert) The Fruit Manual , upper board and title detached, backstrip loose , 1875 § Bunyard (George) & Owen Thomas. The Fruit Garden, backstrip loose, 1904 § Popenoe (Wilson) Manual of Tropical and Subtropical Fruits , 1932, plates (chromolithographed in first, hand-coloured in second), illustrations, second mentioned half calf over cloth, else original cloth, first blind-stamped and attractively gilt, second and third worn, else rubbed ; and c.20 others, Fruit & Vegetables, including 10 vol. of the R.H.S. Fruit Year Book , 4to & 8vo (c.25)

Lawson (George) - The Royal Water-Lily of South America, and the Water-Lilies of our own land, presentation copy from the author, chromolithographed frontispiece, related extract tipped in at end, origial red blind-tooled cloth, gilt, darkened and rubbed, worn at spine ends, 8vo, Edinburgh , 1851.

Sowerby (George Brettingham) - Popular British Conchology..., half-title, 1 hand-coloured lithographed frontispiece and 20 plates, publisher's catalogue at beginning, hinges pulling, a little soiling, bookplate on front pastedown, 1854 § Hirase (Shintaro) & Isao Taki. An Illustrated Handbook of Shells , tape removed from endpapers, Tokyo, [1954] § Step (Edward) & A. Laurence Wells. Shell Life , 1945 § Abbott (R. Tucker) Kingdom of the Seashell, inscribed and signed by the author, 1972 § Dance (S. Peter) Rare Shells, 1969, plates and illustrations (most colour), all original cloth, first blind-stamped and gilt, third and last gilt , first worn at spine ends, others rubbed, last two with dust-jackets, some creases ; and 13 others, Shells, 8vo & 4to (18)

-. Moody (S.) - The Palm Tree, first edition , frontispiece and 5 chromolithographed plates, bookplate to front free endpaper verso, prize plate to front pastedown, 1864 § Gordon (George) The Pinetum , 1880 § Heath (Francis George) Autumnal Leaves, 12 colour wood-engraved plates, illustrations in text, publisher's catalogue at end, 1899 § Nuttall (G. Clarke) Trees and How They Grow, plates (some colour), 1916 § Wright (Walter P.) Garden Trees and Shrubs, tipped in frontispiece and 32 colour plates, illustrations , n.d., a little spotting, first blind-stamped morocco, others original cloth, second gilt, others pictorial, first g.e., all rubbed ; and a quantity of others, Trees & Shrubs, including a complete 5 vol. eighth edition set of Bean's Trees and Shrubs Hardy in The British Isles , 8vo & 4to (qty)

Buffon Natural History , 20 vol., engraved plates, contemporary calf, gilt Buffon (George Louis le Clerc, Comte de ) Natural History , 20 vol., engraved plates, contemporary calf, gilt, some wear to spines and edges but overall an attractive set , 1812 § Stillingfleet (Ben.J) Miscellaneous Tracts relating to Natural History, Husbandry, and Physick, second edition, engraved plates, contemporary calf, cracking to joints , 1762 § Hogg (Thomas) A Concise and Practical Treatise on the Growth and Culture of the Carnation , third edition, 6 hand-coloured lithographed plates, contemporary blind-ruled calf, gilt border, spine worn at edges with splitting , 1824; and 6 others, including 5 vol. of The Floricultural Cabinet , 8vo & 4to (28)

Hirsch (August) - Biiographisches Lexikon der hervorragenden Aertze, aller Zeiten und Völker, 6 vol., light browning, bookplates of Herbert McLean Evans, contemporary blind-stamped buckram, spines gilt, worn, 1 cover loose, 8vo, Vienna & Leipzig , 1884.

Hogg (Jabez), - The Microscope..., first edition , first 9 leaves water damaged, some spotting and soiling, upper crease split, original blind stamped pictorial cloth, gilt, binding becoming loose, head of spine torn along upper hinge, 1854 § Quekett (John), Lectures on Histology , first edition , 2 vol. in one, blind stamped cloth, 1852 § Gosse (Philip Henry), Evenings at the Microscope , some leaves loose, gilt pictorial cloth, 1884, illustrations, bindings rubbed, spine ends a little worn ; and 11 others, most on microscopes, 8vo (14)

Hobson (G.D.) - English Bookbinding Before 1500, hinges strengthened, Cambridge, 1929 § Oldham (J. Basil) English Blind-Stamped Bindings, Cambridge, 1952 § Foot (Miriam M.) The Henry Davis Gift, A Colelction of Bookbindings, 2 vol. only (of 3), 1978-83, original cloth ; and 30 others, bibliography, v.s. (34)

France.- Hudson (William Henry) - France..., 1919 § Aulton (Margaret) Fair Touraine , 1925 § Hare (Augustus C.) Walks in Paris, 1888; The Rivieras, 1897 § Scott (William) Rock Villages of the Riviera, 1898 § Forestier (Amédée) & George W.T. Omond. Belgium, 1908 § Cook (Theodore Andrea) Old Provence, 2 vol., 1903, plates (some folding), illustrations, plans, maps (some folding), genealogies, original cloth, second blind-stamped, fifth and sixth illustrated, second, third and last gilt, rubbed, second worn and a little damp stained ; and a quantity of others, France, Belgium, and Luxembourg, including duplicates of second and last, 8vo & 4to (qty.)

Horsley (John) - Britannia Romana..., first edition , half-title, 20 engraved maps (5 double-page), 85 plates, and pictorial headpiece to dedication, 1 extra plate bound-in, related clippings pasted to verso of front free endpaper, a little faint browning and soiling, contemporary blind-stamped calf, rebacked, rubbed and marked, folio, for John Osborn & Thomas Longman, 1732.

Beckett (Samuel).- Apollinaire (Guillaume) - Zone, number 185 of 250 signed copies, original blind-stamped morocco-backed cloth, uncut, original slip-case, rubbed, 4to, Dublin, 1972.