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An Edwardian mahogany bureau cabinet, the top with blind fret decoration and two glazed doors, the base with a beaded panel fall and two shelves on end supports, 74cm wide

A George III mahogany longcase clock, the arched brass dial with a silvered chapter ring, and marked John Hamilton, Glasgow, the blind fret work hood with spiral pilaster strips, with ebony and boxwood details, the eight day movement with anchor escapement striking the hours, 214cm high

Charles Johnson Payne, called Snaffles, `TONNAGE` Limited edition print, finished by hand, laid onto support sheet with printed remarque, Snaffle bits blind stamp, signed in pencil 42 x 36cm

An 18th Century and later walnut longcase clock with eight day movement striking on a bell, the brass break arch dial with silvered chapter ring framing a matt centre with subsidiary seconds, date aperture and signed `Wm Barker, London`, cornered by pierced mask and scroll spandrels, beneath a silvered month and zodiac subsidiary dial to the arch, the hood with three brass ball finials above a moulded arch pediment, pierced blind fretwork frieze and glazed door, flanked by a pair of turned columns, the trunk with quarter veneered rectangular door on a plain base and plinth, height approx 233cm, together with two weights, winder and pendulum (alteration and restoration).

A George III mahogany secrétaire chest-on-chest, the moulded pediment above a blind fretwork frieze, fitted with an arrangement of two short and six long drawers, the secrétaire drawer falling to reveal a fitted interior of pigeon holes, drawers, seven secret drawers and a central cupboard door, inset with a painted glass panel (fault), raised on ogee bracket feet, height approx 188cm, width approx 114cm.

An early 20th Century figured mahogany chest of two short and four long drawers, the gadrooned top above carved blind fretwork corners, on ogee bracket feet, height approx 123cm, width approx 107cm.

A Lancaster mahogany and brass Quarter Plate `The 1895 Instantograph Patent` Camera and Developing Outfit, including camera with brass Lancaster lens and attachable swinging-sector shutter, three dds, aluminium T-P roller-blind shutter, focusing cloth, processing chemicals, safelight, tray, tin sheet, scales, plates and pinhole camera and plates, all in mahogany box, with tripod, F, lens F

Modified / Replica Items, hand camera with Goerz lens, roller-blind shutter, probably English with later modifications, and stereo pinhole camera for 120 film (a lot)

A Midland Camera Co mahogany and brass Half Plate Field Camera, with roller-blind shutter, `MCC No 18` on disc on side, with set of three dds and tripod, F-G, some scuffing, one tightening bolt replaced

Thornton-Pickard mahogany and brass Field Cameras: Ruby half plate with Ruby RR brass f/8 lens in roller-blind shutter, back fitted with septum slots, Imperial Triple Extension half plate with brass f/8 lens and whole plate, and tripods (2), F, cleaned and restored, one bellows and other parts replaced, one front bed altered (3)

A Louis Gandolfi mahogany and brass quarter plate Tailboard Camera, with brass Ross Zeiss Patent Convertible f/7 14in. Lens in roller-blind shutter, with set of six dds, stamped `L Gandolfi Maker London` inside camera back, G, lens body F, elements F, with various lens boards and incomplete roller-blind shutter

Brass Lenses and Parts: including C Burr 8 x 5 Rapid Doublet with Waterhouse stop slot, PACSA True View lens with Waterhouse stop slot, T T & H 16mm cine lens, in maker`s case, various lenses in Bausch & Lomb shutters, T-P roller blind shutters and other lenses and parts and Bolex titler (a lot)

BIBLE, In English. The Illustrated Family Bible… to which are added original notes by John Kitto… with… introductions… by Rev. Canon Birks. London: James Sangster and Company, [n.d.] 2 vols., 4to (273 x 204mm.) Engraved additional decorative title to vol. I, numerous plates (some chromolithographed), illustrations. (Occasional spotting or soiling.) Original morocco blocked in gilt and blind, g.e. (extremities somewhat scuffed, upper joint of vol. II split).

A mahogany longcase clock, late 18th century, the dial signed 'Sutton Liverpool', the arched brass dial with moonphase and inscribed 'Tempus Edax Rerum', with eight day striking movement, 231cm high CONDITION REPORT: Case has had repairs, niw pieces, patches hinges have been reset feet are replacements awkward and jagged cut out under seat board polish discolouration crude (replacement?) base panel dial lacquer has deteriorated and needs resilvering and lacquering movement needs complete clean no evidence of additions to top of head minute hand soldered blind fret above door seems crude

A Chippendale-period mahogany bookcase in gothic style, blind-fret frieze above a pair of panelled cupboard doors, each applied with gothic mahogany arches, three adjustable shelves enclosed, on blind-fret bracket feet, circa 1760, 3ft. 10in. - formerly the upper section of a bureau-bookcase .

An early 20th century mahogany breakfast table, circular top above blind-fret frieze, on four cabriole legs with carved acanthus and claw and ball feet, 4ft. 6in.

A George III 8-day longcase clock by Jno. Rainsford, Leicester Square, silvered, arched dial with strike-silent to the arch, in fine quality mahogany case, swan-neck pediment with blind-fret detail, fluted corner columns with brass mounts, circa 1770, with pendulum and weights, 7ft. 9in. .

Helen Bradley, pair of prints, signed and blind stamped.

AFTER MACKENZIE THORPE (b. 1956) "A telegraph pole", a limited edition coloured print No'd. 773/850, bearing "Fine Art Washington Green" blind stamp, inscribed and signed in pencil in the margin

AFTER MACKENZIE THORPE (b. 1956) "Out for a walk", coloured limited edition print No'd. 391/850, inscribed and bearing "Fine Art Washington Green" blind stamp and signed in pencil

AFTER MACKENZIE THORPE (b. 1956) "She loves me", limited edition artist's proof coloured print No'd. 73/850, bears "Fine Art Washington Green" blind stamp, and inscribed in the margin (ARR), together with AFTER TODD WHITE "Texas oilman", limited edition coloured print No'd. 147/350, signed in ink in the margin (ARR)

AFTER MACKENZIE THORPE (b. 1956) "Man walking under telegraph pole", limited edition print No'd. 390/850, bears "Fine Art Washington Green" blind stamp and signed in pencil (ARR)

AFTER MACKENZIE THORPE (b. 1956) "The Alley players", limited edition coloured print No'd. 423/850, bearing "Fine Art Washington Green" blind stamp, inscribed and signed in pencil in the margin, bearing certificate of authenticity verso (ARR)

A 19th Century Continental mahogany and inlaid centre table, the top with central urn medallion within a painted border, decorated with Classical figures and ribbon and floral swags over a plain frieze on blind fretwork carved supports united by a centre conch medallion decorated stretcher, together with a similar cane seated elbow chair with floral swag and ribbon decoration

Fleming (Ian) Goldfinger, 1959 Cape first edition, original black cloth with blind-stamped skull to upper board, lacks dust wrapper

Receipts Book An interesting manuscript recipe book, 18th century or earlier, 4to., culinary and medicinal recipes, including early cancer remedies, preceded by `alphabetical table of the following receipts`, hand writing changes through the book (see images on-line), last entries c1800, reversed calf with blind-stamped panels (re-backed) [believed by the vendor to have originated from Scotney Castle, Kent]

A 19th century mahogany drop-leaf table, drawer to frieze and blind drawer, turned handles, ivory escutcheon, turned handles, turned legs

Jean Francois Talivez, French late 20th/early 21st century- "Blind Lottery" 1999; gelatin silver print, signed and numbered 3/10 on the reverse according to the label attached to the frame, 27.5x39.5cm: together with two other gelatin silver prints by the same artist entitled "The Shelter" and "Les Mains du Pecher", (3), (may be subject to Droit de Suite)

John Swanson, American b.1938- "Flying Trapeze"; etching with aquatint printed in colours, signed, titled, dated 1986 and numbered 12/50 in pencil, stamped with a blind stamp, 25x28cm: together with two further etchings with aquatints printed in colours by the same hand entitled "Circus Gallop" and "Acrobats" both signed, titled, dated 1986 and numbered 90/150 and 29/100, 25x27.5cm and 27.5x20.5cm respectively: M Andrews, late 20th century- "Nimrod I"; etching with aquatint printed in colours, signed, titled, numbered 39/200 in pencil, 60x50cm: James Cox, British b.1956- "Flowers I"; etching with aquatint, signed, titled and numbered 139/200 in pencil, 58x44cm: together with one further etching with aquatint printed in colours by the same hand entitled "Sigma VI": Terence Millington, British b.1943- Bandstand; etching with aquatint printed in colours, signed and numbered 6/75, 21x20cm: together with two further etchings with aquatints printed in colours, one from the same series depicting a bandstand and one entitled "Spiral Staircase II", various sizes, (9), (maybe subject to Droit de Suite), (unframed)

Richard Davies, British b.1944- "Westminster"; lithograph with screenprinting in colours, signed, titled, numbered 68/125 and dated 1988 in pencil, with publisher`s blind stamp, 60x85cm: together with twelve other lithographs with screenprinting in colours by the same hand, each signed, titled and inscribed in pencil, most with publisher`s blind stamp, various sizes, (13) (may be subject to Droit de Suite)

An Edwardian mahogany double wardrobe, the blind fret frieze above a hanging space, with two drawers, 218 cm high x 168 cm wide x 60 cm deep.

A Burmantofts style reticulated red glazed heater, late 19th/ early 20th century, in the Eastern taste, domed top leading to cylindrical body, overall decorated with pierced stylised flower heads and blind panels containing a variety of designs, the whole raised upon moulded circular base with mutiple feet separated by arches, 88cm high, (a/f).

After F. P. Hopkins: a pair of prints, 'The Old Tin Hat, Westward, Ho', number 61 of 950, and 'The Ladies Match, Westward Ho' both with blind stamps, 47 by 28cm. (2)

A Parcel lot of ceramics to include a Royal Worcester blush ivory two handled vase, the bulbous body painted with violets, a Regency dessert plate of blind moulded decoration painted with flowers, heightened with gilding a Crown Devon wall mask of a lady in a cloche hat, mounted pot lid `Ye Olde London Cries` depicting a lady in Regency costume with a pedlar inscribed `Buy my Spring Water Cresses,` label to back W.Frank Gadsby, a Staffordshire cottage pastille burner with ducks and a set of four Oriental rice spoons with blue and white decoration.

* Laurence Stephen Lowry (British, 1887-1976), The House by the Pond, signed in pencil lower right “L S Lowry” and with blind stamp, colour lithograph, 30 x 51cm (12 x 20in)

* Sir Terry Frost, RA (British, 1915-2003), Blind contour nude drawing, signed lower right “T Frost”, pencil, 18 x 12cm (7 x 5in). Provenance: The Belgrave Gallery, St Ives, Cornwall

Lords Lieutenant / Viceroys of Ireland Collection of ALS and Signed Items, as follows: Carlisle 7th Earl of, Howard George W, 1802 - 1864. Orator, Poet and Viceroy of Ireland. This autograph letter signed (undated) written from the Vice Regal Lodge is to a Mr Wilson telling him that he has "already found out Captain Crofton to be one of the finest fellows and valuable public officers extant". Kimberly, 1st Earl of, (1826 - 1902), Lord Lieutenant of Ireland, ALS Headed Kimberly House on Blind stamped monogrammed notepaper October 5th 1887 to W.B. Cromar MP "I entirely sympathise with the desire expressed by the Workman's Peace association that international disputes should be settled by arbitration". Dorset, Lionel Sackville, 1st Duke of (1688 - 1765) twice Lord Lieutenant of Ireland. Headed Cockpitt 25th September 1728, letter signed with autograph subscription, 1 page 4 to "My Lord Chancellor having been so kind to take my recommendation …… I must desire you to prepare the proper instrument ……". Eglinton, 13th Earl and 1st Earl of Winton, Archibald Montgomerie (1812 - 1861) Lord Lieutenant of Ireland ALS, 2 sides 8VO on Eglinton Castle monogrammed notepaper, thanking him for sending "three volumes of Caldwell papers". Normanby, 1st Earl of, Phipps, Constantine Henry, 1797 - 1863, Viceroy of Ireland. Clipped signature with B and W portrait and coat of arms. Spencer, 5th Earl of, Poyntz, 1835- 1910. ALS Viceroy of Ireland (supervised the disestablishment of the Church of Ireland, the Land Act of 1870 and the Irish University Bill establishing three Queen's Colleges). ALS on his Spencer House letterhead acknowledging receipt of a letter. Cadogan, George Henry, 5th Earl 1840 - 1915 Lord Lieutenant of Ireland. Signature dated 1899 on Dublin Castle letterhead. Wellesley, Richard Colley (1760 - 1842) Twice Lord Lieutenant of Ireland Marquis of Wellesley ALS Vienna March 1825 together with Free Front signed. The letter to a bookseller in London specifies his requirements, books he has received and instructions he gave his agent at the Foreign Office to pass on to him. Heytesbury, 1st Baron, Royal Court, William (1779 - 1860), Diplomat, Viceroy of Ireland 1844 - 46. Free Front Signed. An opportunity to acquire a collection of memorabilia (nine pieces) dealing with significant personalities in Irish history over four centuries.

LILLY, William. The World's Catastrophe, or Europe's many mutations until, 1666. The fate of England's Monarchy until its subversion. London: 1647. 4to pp. [vi], 71. With 2 half-page woodcuts and extra illustrated with an uncalled for nineteenth century portrait of William Lilly published after his death. Small burn hole in final leaf with loss of a few letters, otherwise a very good copy in modern full calf. Wing L 2252. Sweeney 2856.1 By far the most exhilarating part of this work is seven pages introduced on the title page as "A whip for Wharton." Sir George Wharton was a rival astrologer and Lilly pretends that this attack on someone he characterizes as this blind asse Wharton", is from the pen of a stranger unknown to him but who has come to his defence: "What fault of Mr Lilly or Mr Booker was it that his predictions failed? …. Thus because Corporall Wharton hath overwhelmed himself in such gross errours in judgement, therefore Mr. Lilly is a whelp, and Mr Booker a barking mungrill as he is pleased to term them". Provenance: The estate of Tony Sweeney

1573 CHURCH OF ENGLAND PRINTED BOOK: Preces privatae in studiorum gratiam collectae, & regia authoritate approbatae - Guielmus Seres, London. 16mo. Modern panelled calf in blind with spine gilt in the 16th century style, splendidly executed. The Catholic Primers were manuals of popular devotion deriving from the medieval Books of Hours of the Blessed Virgin. This Anglican version, based instead on the Book of Common Prayer, had its first edition in 1564. Four years earlier the first English printing of the Latin translation of the Book of Common Prayer had been published. Provenance: The estate of Tony Sweeney

1717 CATHOLIC PRINTED BOOK: Index Librorum Prohibitorum usque ad totum mensem Martii MDCCXVII. Regnante Clemente XI - Typographia Camera Apostolica, Rome. 1717. pp. [xx], 531. 8vo. Contemporary blind stamped pigskin over wooden boards with brass catches and clasps. An exceptionally fine copy of a rare edition of the Church Index of Prohibited Books. This was something sparked off by the Reformation and first issued in 1543 and was then first published in 1559. Thereafter the office of the Apostolic Camera periodically published updated catalogues of books deemed to be dangerous to faith and morals. This particular issue reprints the 1710 Decree of Clement XI prohibiting discussion of the Coeremoniarum Sinensium, or Chinese Rites. These concerned the elements of Confucianism that Fr Matteo Ricci S.J. had incorporated into the brand of Catholicism propagated in the Sino-Manchu Empire. Provenance: Monastery of St. Nicholas, Innsbruck with their dated inscription (1721) on the title page and final leaf. Provenance: The estate of Tony Sweeney

A Mid 19th Century Mahogany Serpentine Front Chest of Four Long Drawers with Brushing Slide Over Having Blind Carved Chamfered Supports, 98 cm x 54.5 cm x 89 cm High

A 19th century Black Forest carved prowling bear, to/w a blind fret carved box (2)

A Mid 19th Century Barley Twist Walnut Torchere Stand with Burr Top and Blind Carved Border.

18th Century oak longcase clock, the hood with moulded cornice and blind fretwork above an arched door on a plinth base, the movement with gilt brass and silvered dial, Arabic and Roman numerals, subsidiary seconds and date aperture, the two train movement striking on a bell (with alterations)

19th Century mahogany floor standing corner cabinet with a moulded and blind fretted cornice above a single astragal glazed door enclosing shaped shelves raised on bracket front supports

Edwardian mahogany bookcase with a blind fretwork cornice above three astragal glazed doors, the breakfront base with a blind fretwork frieze above three panel doors on plinth base

LINEN PRESS, George III mahogany with blind fretwork frieze, the pair of gilt metal rosette mounted panel doors with enclosing hanging space over two short and two long drawers with bracket supports, 127cm x 64cm x 203cm H. (as found)

George III eight day oak longcase clock crossbanded in mahogany with blind fret frieze and dentil cornice, matched square brass dial signed John Ogden Darlington 208cm

Bridget Riley - (Bn 1931) - A large limited edition colour silk screen titled `To Midsummer`, 1989, repeat optic pattern in mixed colour palette, published by Advance Graphics of London, numbered 23 of 100, pencil titled, numbered, signed and dated to the margin, blind stamped to margin, framed, 71cm sq ILLUSTRATED Provenance - Banks private collection This lot may be subject to Droit de Suite / Artist`s Resale Right

AN EARLY 20TH CENTURY MAHOGANY DISPLAY CABINET ON STAND, the upper section having a moulded cornice and blind fret entwined frieze over twin glazed doors, the base with bow front over twin in-line drawers, raised on four tapered cabriole legs with pad feet, united by a back to backed stretcher, 1.8m high x 96cm

Nathaniel Hone R.H.A. (Irish, 1831-1917). Brown topped hills against sky. watercolour, artist`s blind stamp lower left, inscribed verso and `Lot 103`, also inscribed `No 802 in Four Irish Landscape Painters by Prof. Bodkin`, bears The Dawson Gallery, Dublin label verso. 4¾ x 6½in. (12 x 16.5cm.).

After Helen Bradley (1900-1979), Evening on the Promenade, a colour reproduction pencil signed by the Artist and with the Guild of Fine Arts blind stamp, 45cm by 60cm.

A good quality Regency style yew wood breakfront bookcase, the moulded cornice above a blind fretwork frieze, four astral glazed doors enclosing shelves, the lower portion with a central drawer over two doors enclosing a shelf, flanked either side by doors enclosing shelves, raised on a plinth base , 213cm (h) by 208cm (w) by 44cm (d).

Sir Kyffin Williams R.A (1918-2006), limited edition screen-print or lithograph, "Pontlyfni in Snow ", 40cm x 73cm, signed in pencil lower right and numbered "91/150 ", framed and glazed, bearing Christie’s certificate and information to reverse Some foxing to whole. Unexamined out of frame. The print is in good condition having the Christies blind stamp to the lower right corner. There has been slight overall discolouration where the print has been exposed to light, this has not affected the tones, but has slightly yellowed the white paper.

An Edwardian galleried mahogay sideboard, blind fretwork to gallery and frieze, two central drawers flanked by panelled door cupboards, cabriole supports, ball and claw feet

A George III Revival mahogany four poster bed,stepped cornice above a deep frieze carved with blind fretwork, the slender fluted columns carved with stiff leaves, turned feet, c.1900

A George III mahogany small chest on stand with secret drawer over two short and four long further drawers with allover blind fret and pierced fret decoration, 62cm wide. Illustrated

Painted pine blind panelled bed cupboard

Reproduction mahogany blind panelled drinks cabinet

Modern pine blind panelled double wardrobe