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Frank Auerbach, German/British b.1931- Leon Kossoff [Marlborough 11], 1980; etching on Arches wove, signed, dated, titled and numbered 28/50 in pencil, printed by Palm Tree Studios, with their blind stamp, published by Bernard Jacobson, London, plate: 15.1 x 13.5 cm, (unframed) (ARR)

Javier Calleja, Spanish b.1971- Once in My Life, diptych, 2023; hybrid UV flatbed pigment prints with screenprinted details on Somerset Tub Sized Radiant White 410gsm fine art paper, each with artist's blind stamp, 'Once' numbered from the edition of 980 in pencil, 'In My Life' numbered from the edition of 970 in pencil, published by Avant Arte, Amsterdam, each sheet: 53.7 x 55 cm, (unframed) (ARR)Note: together with black 'Once in My Life' tote bag and Avant Arte handling gloves. Each with a certificate of authenticity from Avant Arte.   

Laurence Stephen Lowry RBA RA,British 1887-1976,Two Brothers;offset lithograph printed in colours, signed in pencil, with the Fine Art Trade Guild blind stamp, image: 63 x 31 cm, (framed)(ARR) 

A 20th Century George III style mahogany chest of drawers, the raised stub gallery back, over a twin handled brush slide, the bank of four graduated drawers, flanked by blind fretwork, raised on a faceted bracket feet

William Tatton Winter, signed etching, St. Margaret Street, Canterbury, with blind stamps, 36 x 25cm

Beige roller blind

An American oak chest of four long drawers, the bracket feet with blind fret decoration 118 cm wide

Two bags of various curtains and a textured blackout blind

Fanch Ledan (French, b.1949), three pencil signed limited edition colour prints, one with embossed blind stamp, one titled Parc Monceau, largest 66 x 50cm

AN EARLY 20TH CENTURY MAHOGANY DEMI LUNE DISPLAY CABINET, with a single door, enclosing two fixed shelves, blind fretwork detail, on ball and claw feet, width 122cm x depth 43cm x height 165cm (condition report: locked and no key, few surface marks)

Large Helen Bradley framed print, signed in pencil with blind stamp

Franz Gertsch. (1930 Möringen/Schweiz - 2022 Riggisberg/ Schweiz). Pestwurz III (Pétasite III). 2002. Farbholzschnitt auf Japan. 59 x 76 cm (59 x 76,3 cm). - Vereinzelt leichte Knickspuren am Rand. Ingesamt in gutem Zustand. Ausgezeichneter, farbfrischer Druck. Aus einer unbegrenzten Auflagenhöhe. - Exklusiv für die Chalcographie du Louvre realisiert (mit dem Blindstempel). - Hg. von Ateliers d'Art de la Rmn-GP, Saint-Denis. - Seit 1989 beauftragen das Musée du Louvre und die Réunion des Musées Nationaux zeitgenössische Künstler mit der Herstellung von Gravurplatten für die Werkstatt der Chalcographie, die für den exklusiven Druck verantwortlich ist. Coloured woodcut on Japan. - Isolated slight creases. All in all in good condition. Superb, impression, fresh in colours. - From an unlimited edition. - Realised exclusively for the Chalcographie du Louvre (with the blind stamp). - Ed. by Ateliers d'Art de la Rmn-GP, Saint-Denis.

CHARLES “SNAFFLES” JOHNSON PAYNE (1884-1967) “Foxcatchers – For the love of it – For the Ride Out and the Ride Home”, signed in pencil & with blind-stamp, photo-lithograph mounted on card, loose/unframed, 17” x 14¾” overall (foxing, mainly to lower portion; image slightly affected).

L/E Signed print by Nigel Hemming - Generations with blind stamp and certificate

‡ BERNARD BUFFET (French, 1928-1999) colour lithograph - 'Flowers', 1954, inscribed in pencil épreuve d'artiste, lower left, bears signature, both with pen over marks, blind stamp l'œuvre Graveé, 54 x 42.5cmsProvenance: private collection CardiffComments: slight tear to lower centre, mount damaged, unframed

DICKENS (CHARLES) Master Humphrey's Clock, 3 vol., FIRST EDITION IN BOOK FORM, engraved frontispieces and illustrations by George Cattermole and Hablot K. Browne, publisher's purple-brown ribbed cloth, stamped in blind with border and elaborate floral-leaf design, upper covers with clock stamped in gold, spine elaborately gilt, spines faded and bumped as usual, corners bumped or rubbed, all with foxing, large 8vo, Chapman & Hall, 1840-1841 (3)Provenance: private collection Glamorgan

Ian Fleming: Goldfinger, 1959 First Edition, James Bond, publication by Jonathan Cape London, gilt and black binding and blind skull's eyes, Gildrose production limited, inscribed. Nineteen line summary to dust jacket.

A pair of early 20th century French oak nightstands / bedside tables. Each having shaped gallery surrounds with open cupboard sections below and single blind fronted drawers. Each raised on saber supports. Each measures approx. 60cm x 38cm x 30cm. 

A Reproduction Chippendale Style Glazed Mahogany Cabinet, decorated with blind fretwork, 62cm by 38cm by 137cm

Marc Chagall framed and glazed limited edition polychromatic lithograph 247/450 titled Les Trois Cierges, blind stamped, details to verso, 57.5 x 43cm, to include COA

George III Mahogany Longcase Clock with brass dial marked for Thomas Atkinson of Ormskirk the case with fluted supports and blind fretwork. A/F in need of restoration. Height 93 inches.

Joseph Rose of London, a George III 8-day blue lacquered longcase clock, the arched face with strike/silent dial and dolphin form mounts to the arch, silvered chapter ring, subsidiary seconds dial, date aperture and urn form spandrels,the four pillar movement striking on a bell, the case with ball finials, over a blind fret carved hood, the trunk door and base depicting scenes of figures outside buildings and landscapes, 50.5 cm wide, 25 cm deep, 237 cm highFirstly, I think that it is probable that this movement didn't begin its life with this case the hood door when open shows the mask to be too cramped and also the addition of quadrant moulding to the inner edge of the mask to frame the current dial, perhaps the owner wanted the splash of colour of a lacquer case or the old case became damaged.The five pillar movement has been extensively cleaned and I am slightly suspicious that the back plate is an old replacement as the gauge and tone of the brass plate is inconsistent with that of the front plate, the chapter ring and strike silent and second scale ring have been resilvered and pitched.To sum up I think this clock is very decorative and the movement seems to be intact and freshly (ish) wound with synthetic gut, the chapter ring has some blemishes at 9 o'clock and would require some silvering to make good.The clock comes with two brass-cased weights and a brass strip and brass lens pendulum with lead weighting.On the issue of the case, it shows old historic worm that is now covered in paint in an effort to cover the wormholes, I can not rule out that this case may have been lacquered later in the 18th century.Please see the extra images for clarification.

Keith Haring (1958 - 1990) American, The Kutztown Connection, Broadway, New York 1984, New Arts Program, signed by the artist in red pen, NAP blind stamp bottom right, monochrome exhibition poster, 84 x 51 cm, unframed

A Black Album Containing a Further Approx. 340 Cards of Actors and Actresses, mainly Edwardian along with pretty girls, greetings, then groups of performers, Pierrots, Musicians, Blind Men, tall people, heavy people, Blackpool performers / Carnivals, Royal Midgets etc

A late Victorian mahogany twin pedestal Dickens desk, shaped superstructure with hinged covered compartment enclosing maple stationery divisions flanked by small drawers, the hinged sloping writing surface enclosing small drawers and pigeonholes, above two frieze drawers, centred by a further, blind, two further drawers to each pedestal, fluted tapered cylindrical legs, casters, 108.5cm high, 152cm wide, 87.5cm deep, c.1900

A Regency gilt metal and malachite inkwell, the ovoid well section with circular malachite inset lid applied with gilt metal motifs of the crowned Prince of Wales feathers and intertwined initials above 'E.M'. supported by six s-scroll supports, the circular base with central malachite inset panel surrounded by ornate blind fretwork frame and a pierced gallery incorporating trefoil and quatrefoil motifs, 16cm high 20cm diameter Provenance: Bonhams Edinburgh - Furniture, Works of Art, Clocks, Rugs and Carpets 02/06/2005 Lot 21

A late 19th century mahogany mantel clock, with Roman numerals, twin winding holes, eight day movement, arched case with blind fret, 25cm high, c.1890

A George III flamed mahogany Pembroke table, single drawer to frieze, blind drawer to other, brass capped tapering legs, castors c.1820

A light oak knee hole desk, central blind drawer to frieze flanked by slide-outs above four drawers, plinth base (once was a roll top, but top later removed)

John Cother Webb (British 1855-1927). Pair of family portrait studies, mezzotints, one with blind stamp, signed, published by GJ Howell & Company, London 1913, 49cm x 33.5cm.

After John Young (British, 1930-2015). Charlie Safe Home, limited edition print, signed, blind stamp, 46cm x 65.5cm.

SIR HENRY RAEBURN AND STUDIO (SCOTTISH 1756 - 1823), PORTRAIT OF THE FIDDLER NEIL GOW oil on canvas framed image size 123cm x 98cm, overall size 141cm x 115cm Provenance: Private Collection Canada till November 2021; Christies, 7th October 1949 Lot 171 as “Raeburn, Portrait of Neil Gow” (Christies Stencil Verso). Note 1: According to Raeburn expert David Mackie in his thesis on Henry Raeburn, the artist executed several versions of the painting of Neil Gow: 'The first listing of the versions Raeburn executed of this portrait was given by “Andrew, William Raeburn “Life of Sir Henry Raeburn, R.A” in 1886 (p. 124): One for the County Hall, Perth, which is now in Perth Art Gallery and Museum; one with the Duke of Atholl, which is still with that family; one with Lord Gray, (this may be the version which was recorded by the Photographic Survey as with the Honourable Mr Gray at Kinfauns, alternatively, it may be the version sold by the Earl of Moray at the Moray Sale, Sotheby's, 9 June 1932; to Hepburn); and one for William Maule, afterwards Lord Panmure, the present whereabouts of which is unknown. In addition to these versions Caw (Armstrong, p. 103) stated that one was in the collection of a Mrs Mackenzie; according to Caw, it was presented by the artist to the sitter; it was with the Erich Gallery, New York, in 1908; George G. Benjamin; his sale, American Art Association, 18 March 1913 (64); to Stuart Duncan; its present whereabouts is not known; a note in the Frick Art Reference Library (221 -10f) states that it had been cut down and that it was "repainted". Caw also listed a version in the collection of the Earl' Note 2: Neil Gow was the most famous Scottish fiddler of the eighteenth century. Gow received patronage from the Duke of Atholl, and it is believed that this was the result of Gow's performance in a musical competition, judged by John McCraw, a blind musician, who awarded Gow first prize, and stated that he "would ken his bow hand amoung a hunder(d) players". This patronage meant Gow secured performances for balls and dance parties put on by the local nobility, which would go on to make him a renowned musician and composer. Raeburn’s portrait of the same dimensions, of Neil Gow is currently on display at the Scottish National Portrait Gallery, which is believed to be the autograph version of this work.

A pallet of stock items - Oscillating fan heater, face masks, recyclable cups , roll of window blind, two heat guns, length of hose, flat packed bookcase, face shields etc

A roll of rubber backed floor underlay, a window blind and a small roll of foam

A bagel guillotine, a buffet platter lid, quantity of hand cloths, two boxes of window blind fittings

Full title: Banksy (1974, after): 'Haring dog', multiple, ed. 28/150Description:Work: 45 x 45 cm Paper: 70 x 50 cm Frame: 77 x 57 cmThe work with in both bottom corners a blind stamp, one of which the 'P.O.W. Printmaking' stamp (P.O.W. or Pictures On Walls, the main publisher of Banksy prints).

Title: Rene Magritte (1898-1967, after): 'Lithographies IV', ten lithographs in colours, dated 2010 and 2011Description:Paper: 60 x 44,5 cm The lithographs based on the paintings by Rene Magritte and edited by Philippe Moreno, with the authorization and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the lower left and right corner). The lithographs also countersigned in pencil by Mr. Charly Herscovici, President of the Magritte Foundation, Chairman of the Magritte Museum and unique representative of the Magritte Succession. A proof of edition is printed on the back of each lithograph, guaranteeing its authenticity. Different editions.

Full title: Keith Haring (1958-1990, after): 'Pop Shop III D', multiple, ed. 21/150Description:Work: 50 x 39 cm Paper: 70 x 50 cm Frame: 72,5 x 52,5 cmThe work with 'The Keith Haring Foundation Inc.' stamp and blind stamp in the left bottom corner.

Full title: Banksy (1974, after): 'Girl with Balloon', multiple, ed. 50/150Description:Work: 70 x 50 cm Frame: 73 x 53 cmThe work with in both bottom corners a blind stamp, one of which the 'P.O.W. Printmaking' stamp (P.O.W. or Pictures On Walls, the main publisher of Banksy prints).

Full title: Banksy (1974, after): 'Flying balloon girl', multiple, ed. 144/150Description:Work: 70 x 50 cm Frame: 73 x 53 cmThe work with in both bottom corners a blind stamp, one of which the 'P.O.W. Printmaking' stamp (P.O.W. or Pictures On Walls, the main publisher of Banksy prints).

Helen Bradley (1900-1979), print, the park on May Day, signed and with blind stamp, 45 x 58cm, and two others unsigned, all framed

Helen Bradley (1900-1979) print, figures on bridge, signed and with blind stamp, 46 x 70cm, glazed frame

Helen Bradley (1900-1979) print, building a snowman, signed and with blind stamp, 37 x 56cm glazed frame

After Sidney Perrin, Low Tide, signed, colour print, with blind stamp, 35cm x 53cm, glazed frame

Helen Bradley (1900-1979), print, walk in the park, signed and with blind stamp, 27 x 37cm, glazed frame

Tom Dodson limited edition print 216/500 with blind stamp

Rowland Langmaid (1897-1956), a monochrome etching, A view of a tall ship with lighthouse beyond, signed in pencil and blind stamp to the margin, mounted, 19cm x 36.5cm, & 40cm x 52cm overall

AFTER GEORGE BAXTER (1804-1867). FIVE VARIOUS COLOUR PRINTS, 4 WITH BLIND STAMPS, SIZES VARY.   Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.

SNAFFLES- CHARLES JOHNSON PAYNE. "FOXCATCHERS" WITH REMARQUE "FOR THE RIDE OUT AND THE RIDE HOME". PENCIL SIGNED PRINT WITH BLIND STAMP 36 X 40cm.   Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.

L. S. LOWRY (1887-1976) ARR. " THE POND". PENCIL SIGNED OFFSET LITHOGRAPH. FINE ART TRADE GUILD BLIND STAMP (E.L.C) NO. 493 FROM AN EDITION OF 850.59 x 46 cms   Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.

After Snaffles Carpet Beaters v Bobbery Wallahs print, a modern limited edition print 577 of 850, with blind stamp, framed, total frame: 53.5 x 78.3 cm

Gucci Silver 'Love Is Blind' Bangle weighing 13.4 grams

Emanuel Burton (II) of Kendal - oak and mahogany 30hr longcase clock c1830, with a flat topped pediment and blind frieze beneath, square hood door flanked by freestanding turned pilasters with wooden capitals, trunk with recessed quarter columns and a long trunk door with a wavy top, square plinth with an applied moulding to the base, painted dial with roman numerals, minute track, matching painted spandrels and makers name, with stamped brass hands and date aperture, count wheel striking chain driven movement, striking the hours on a cast bell. With weight and pendulum. The Burton family of Westmoreland clockmakers were prolific provincial clockmakers, father, son and grandson all christened Emanuel. Dimensions: Height: 199cm  Length/Width: 50cm  Depth/Diameter: 24cm

Warring and Gillows - early 20th century Georgian design mahogany sideboard, raised back with blind fretwork decoration, fitted with two drawers flanked by cupboards, on square tapering supports with spade feetDimensions: Height: 103cm  Length/Width: 168cm  Depth/Diameter: 56cm

After Laurence Stephen Lowry (British 1887-1976): 'Old Town Hall - Middlesbrough', limited edition colour print numbered 663/850 with blind stamp 39cm x 30cm

Finished in classic colours, diligently-maintained and one of just 544 right-hand drive examples.Introduced in 1991, the Continental R was the first Bentley in 26-years to not share a body style with a concurrent Rolls-Royce and was inspired by the highly collectable Continental R-Type of the 1950s. The elegant two-door coachwork was styled by John Heffernan and Ken Greenley whose penmanship gave the Continental R an air of refined brutality, akin to a rugby player in a Saville Row suit. By 1997 the turbo-charged 6.75-litre V8 had been tweaked which meant a 0-60mph time of 6.3 seconds, a remarkable feat for a car weighing in at over 2.4 tonnes. Further enhancements included a liquid-cooled charge cooler along with an improved Zytek EMS3 engine management system improving throttle response and fuel efficiency along with a digitally controlled turbo over-boost.At the time of its launch, it was the most expensive production car of its day with a list price in 1996 of £187,000 - the equivalent of £356,000 today. As a hand-built car that was beyond Crewe’s production capacity, just 544 right-hand drive examples of the Continental R were built from a production total of 1,292 between 1992 and 2001. Whilst later versions also proved popular, it's the Continental R that is widely regarded as the saviour of the Bentley name, proving without doubt, that there was a future for the badge with buyer demand for a luxuriously-appointed sporting coupé steeped in heritage, and just on the right side of ostentation. The Continental R was perhaps the last example of a car built to be the best regardless of cost, with a healthy disregard for the strictures of the industry’s obsession with the bottom line.First registered on 1st January 1997, this Continental R was one of just 43 examples produced in right-hand drive during that year. Finished in the traditional Bentley colour of Ascot Green but with an unusual shade of tan leather upholstery, known officially as Saddle, specified from new. The non-standard features, as confirmed by the original factory specification in the accompanying history file, include fully-veneered waist rails, a Chestnut console and Burr Walnut dashboard, colour-keyed door mirrors, electric rear blind, an Ascot Green steering wheel rim, painted headlamp surrounds, Bentley wing vents and extended runners to the passenger seat.Sold by us in 2019 to our vendor, the car’s exemplary service history has been added to by the retention of marque specialists RR&B of Bromsgrove for maintenance work since. The current, advisory-free MOT is valid until 4th May 2024 and the mileage was a shade under 76,000 miles at the time of cataloguing. Once a Ferrari-driving, London-dwelling barrister, until the purchase of a country house with ample garaging, this was the first Bentley our vendor had owned. Naturally he became smitten, and four years and some 6,000 miles later, he is keen to experience the shorter wheel-base Continental T, so we have the privilege to offer this old friend once again.SpecificationMake: BENTLEYModel: CONTINENTAL RYear: 1997Chassis Number: SCBZB15C3VCH53382Registration Number: P899 GPBTransmission: AutomaticEngine Number: 86760L410M/TTT Drive Side: Right-hand DriveOdometer Reading: 76000 MilesMake: RHDInterior Colour: Saddle LeatherClick here for more details and images

A pen and ink design for a stained glass window by William Warrington on paper with blind stamp for the stained glass studio at Hyde Park

Fleming (Ian) The Spy Who Loved Me, first edition, original cloth with dagger design to upper cover blocked in silver and blind, spine lettered in silver, dust-jacket, price-clipped, light chips and creasing to spine head, an excellent example, 8vo, 1962.

Fleming (Ian) Goldfinger, first edition, original boards with skull design in gilt and blind, spine lettered in gilt, lightly marked, corners bumped, dust-jacket, light fraying to spine ends and corners, lightly chipped, small nicks along upper edge, 8vo, 1959.

Stoker (Bram) The Jewel of Seven Stars, early edition, facsimile dust-jacket, 1912; The Jewel of Seven Stars, New York, 1904; The Lair of the White Worm, first English edition, frontispiece and 5 plates only (of 6), original cloth, lightly stained and marked, spine gilt dulled, corners bumped, 8vo, [1911], original cloth, lightly bumped at corners, light rubbing to extremities, 8vo (3)⁂ The last is a curiously rare variant binding, stamped in blind to upper cover rather than gilt, and without the publisher's advertisements at end.