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Holy Bible Biblia [c]um summariorum apparatu pleno quadrupliciq?repertorio ..., November 1524, Lugduni, Vulgate latin bible, title page in red and black, top edge wormed with loss of letter `c` in title, early annotation, rubrication in the form of underlining throughout, some early annotation to title and margins, early blind-stamped vellum with brass clasps

Nightingale (Florence) Notes of Nursing: What it Is, and What it is Not, nd., Harrison & Sons, 79 pages, translation notice below imprint, undated adverts, yellow endpapers (one cropped), original blind-stamped cloth with gilt lettering

Cutlers` Catalogues James Dixon & Sons, Trade Price List of Electro Plate Spoons, Forks, &c., October 1864, litho plates, morocco, with upper board blind-stamped `James Dixon & Sons, Show Room, 1868` (functional re-back and corners, extensive mould growth, waterstaining) idem, Catalogue, nd., extra illustrated with photographs, some cropping, leather worn; Joseph Rodgers & Sons, oblong folio, illustrated catalogue, wraps (edges, outer leaves and wraps are well worn); idem, Price List of Illustrated Pattern Book of Cutlery, nd., oblong 4to., wraps (well worn and torn); John Watts, Price List of Fine Cutlery, nd., 4to., illustrated, wraps; Needham, Veall & Tyzack, Taylor`s Witness Cutlery, List A, 4to., illustrated catalogue, cloth (damp stained); Needham, Veall & Tyzack, Taylor`s Witness Cutlery, 4to., illustrated catalogue, original cloth binder (damp stained); A. Lejeune, Couvert & Orfevrerie, Catalogue General, nd., illustrated catalogue, original cloth; with a quantity of others, many in poor condition (qty)

Fleming (Ian) Goldfinger, 1959, Cape, first edition, black cloth, blind-stamped skull with gold coin eyes to upper board, dust wrapper (priced 15s.)

Fleming (Ian) The Spy Who Loved Me, 1962, Cape, first edition, dark brown cloth with silver and blind-stamped dagger to upper board, dust wrapper (priced 15s.)

Fleming (Ian) Thunderball, 1961, Cape first edition, dark brown cloth with gilt lettering and blind-stamped skeletal hand, dust wrapper (priced 15s.)

A French gilt brass grande sonnerie striking carriage clock with push-button repeat and alarm. Unsigned, circa 1900. The eight-day two train movement striking the hours followed by the quarters on a pair of gongs every quarter of an hour, with original silvered platform lever escapement and numbered 1865 to backplate, the dial with white enamel Arabic numeral chapter ring set into an elaborate gilt foliate chased blind fret decorated rectangular mask incorporating conforming subsidiary alarm setting dial to lower margin, the gilt pillars bevel glazed case with hinged carrying handle above moulded cornice and fluted three quarter column uprights to angles, on conforming moulded base with squab feet, the underside with Grande Sonnerie, Petite Sonnerie and Silence selection lever, 15cm (6ins) high excluding handle; with original leather covered outer travelling case.

A mahogany domestic longcase regulator. Barraud, London, early 19th century and later, the case circa 1760. The five pillar movement now with deadbeat escapement, Harrison’s maintaining power, wood-rod pendulum and striking the hours on a gong, the 12 inch cream painted Roman numeral break-arch dial with subsidiary seconds dial to centre, STRIKE/ONE/SILENT selection lever at 12 o’clock and with gilt floral spray painted decoration to spandrels beneath arch signed BARRAUD, London, now in a break-arch case with foliate scroll pierced blind fret to frieze and brass stop-fluted Corinthian pilasters to hood above break-arch door to trunk, on plinth base with moulded double skirt, 230cm (90.5ins) high. Paul Philip Barraud is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Liveryman of the Clockmakers’ Company in 1796 and appointed Master in 1810. He is listed as a fine watch and chronometer maker who worked in partnership with W. Howells and G. Jamisen for making Mudge’s timepkeepers. He had two sons; Frederick Joseph (worked 1806-25) and John (worked from 1813), with whom he formed a partnership in 1811 which lasted until his death in 1820. The firm was continued by his son taking John Richard Lund into partnership in 1838. The business was finally wound up in 1925. The going train of the current lot was upgraded from a relatively standard eight-day longcase movement to regulator specification and the strike train converted from bell striking to gong striking during the mid to late 19th century. The dial has been expertly re-touched however images of the dial prior to restoration are included with the clock, and serve to suggest that the Barraud name is original to the dial. The case is a good early George III London-made mahogany example in sound condition.

An Edwardian mahogany musical longcase clock, silvered dial, signed - Stevenson & Sons, Manchester, with engraved fretted gilt foliate fascia, subsidiary second dial and chime dials to the lunette, three chain movement, striking Whittington, Westminster and St Michael`s chimes on eight gongs, the case with pagoda hood, gadrooning, volute scrolls and blind fretwork, glazed door flanked by Corinthian quadrants, resting in blind fretwork piers, panelled base section with applied moulding, ball and claw feet, 246cms, (97"),

A George III style mahogany hanging corner cupboard with astragal glazed doors and blind fretwork frieze

Two similar Chippendale revival mahogany side tables, 19th century and later, each with a rectangular grey and white veined marble top, above a blind fret frieze, one table fitted with a pair of drawers, raised on square blind fret legs, 80cm high, 137cm wide, 64cm deep, the other with a smaller marble top, both on square chamfered blind fret legs, 79cm high, 129cm wide, 60cm deep

A George III mahogany gentleman’s wardrobe, circa 1800, dentil carved and blind fret cornice over pair of cupboard doors and two drawers, blind fret carved legs and block feet, lacking three interior trays, 180cm high, 118cm wide, 52cm deep

*Allen Jones RA (b.1937), `THE TREE`, FROM `THE ISLAND` SERIES Lithograph printed in colours, signed in pencil and numbered 7/60, shell blind stamp 75 x 106cm

*After Georges Braque (French 1888-1963), COUPE DE FRUITS Collotype, circa 1955, signed in pencil l.r., blind stamp for Guy Spitzer numbered 47 of 300 l.l. image 23.5 x 35cm

*After Bernard Buffet, `POISSON` Lithograph printed in colours, numbered 42/220 in pencil; Hans Fischer (Swiss 1909-1958), `LE CHAT` Lithograph, signed and numbered 182/200 in pencil; Gabriel Zendel (French 1906-1992), STILL LIFE Lithograph printed in colours, signed and numbered 54/200 in pencil, with blind stamp for Guy Spitzer; Francis Tailleux (French 1913-1981), INTERIOR WITH A GIRL IN A CHAIR Lithograph printed in colours, signed and numbered 179/200 in pencil, with Guilde de la Gravure blindstamp; Jacques Houplain (French b.1920), KNIGHTS FIGHTING ON HORSEBACK Etching, signed and numbered 51/900 in pencil, with Guilde de la Gravure blindstamp, various image and paper sizes, unframed (5)

A 1996 Umbro International tournament programme run by Nottingham Forest and played at the City ground Nottingham, featuring Ajax, Nottingham Forest, Chelsea, Manchester United, signed by Danny Blind, also a Mitre V Tactic autographed football signed by the entire Ajax squad (2) (illustrated)

An Edwardian walnut music cabinet, the raised superstructure with low three quarter gallery and blind fret frieze above two open fronted shelves, the base section featuring six short sheet music drawers, raised on four inner chamfered supports united by an X-stretcher, width 76cm

LAURENCE STEPHEN LOWRY RA (1887-1976) - The Lonely House, coloured print, signed in pencil by the artist and with Guild blind stamp to margin, 26.5cms x 50cms

David Shepherd: a print of Rhino Reserve, signed and numbered 618/850, 23 by 40cm, and Cool Cats, blind stamped, signed in pencil, 213/850, 27 by 40cm. (2)

David Shepherd: a print of Tiger Sketch, blind CDF, 236/850, signed in pencil, 14 by 25cm, Lion sketch, 236/850, and two signed prints of a lion and elephant, 9 by 13cm. (4)

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "The finest view in Europe", a modern reproduction colour print, and "Sandown-asking `em the question", modern reproduction colour print bearing Snaffle bit blind studio stamp

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "1915-16 That far, far away echo", chromolithgraph, signed in pencil, bearing Snaffle bit blind studio stamp (ILLUSTRATED)

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967"Happy are they who hunt for their own pleasure, and not to astonish others", coloured print with coloured cartouche, signed in pencil, bears blind stamp, published by Richard Wyman & Co.

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "If there is paradise on earth-it is this! it is this!! it is this!!!", chromolithograph, signed in pencil bottom right and with Snaffle bit blind studio stamp (ILLUSTRATED)

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "Carpet beaters the bobbery wallahs", polo scenes, modern colour print bearing Snaffle bit blind studio stamp

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "Great banks there was below in the fields", depicting Edith Somerville and Martin Ross, chromolithograph, signed in pencil bottom left and with Snaffle bit blind studio stamp (ILLUSTRATED)

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "A National candidate-by goom ! canna that ow`d chestnut `oss joomp", chromolithograph heightened with white, signed in pencil bottom left and with Snaffle bit blind studio stamp

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) 1884-1967 "The staff college drag hunt", chromolithograph with seven cartouches, signed in pencil bottom right and with Snaffle bit blind studio stamp (ILLUSTRATED)

George III mahogany chest on chest having a moulded cornice with blind fret frieze below, the upper section fitted two short and three long drawers flanked by reeded chamfers, the base fitted slide with three long drawers below and standing on ogee bracket feet, 105cm wide

Laurence Stephen Lowry (1887-1976) - Signed coloured print - The Contraption, signed in pencil and with Fine Art Trade Guild blind stamp JBA (No.711), 32cm x 30cm A.R. Margin is extremely slightly yellowed - General condition consistent with age **

AFTER PABLO PICASSO Girl Playing Mandolin, a Print, originally painted in 1910, edition published by The Pallas Gallery, London, bearing gallery blind stamp, 60 x 43cm in plain glazed wood frame

A GEORGIAN KNEEHOLE DESK (with later alterations) having plank top with moulded edge over a single long drawer, twin pedestals, each with three drawers and central three drawers, all with blind fret carved fronts, raised on bracket feet

A George III mahogany Pembroke table, with single drawer, blind fretwork decoration and carved and chamfered legs (old repairs and casters missing), 54cm wide (leaves closed), 72.5cm high

A GEORGE III MAHOGANY KNEEHOLE DESK having a rectangular top fitted seven drawers with central cupboard having blind fret decoration, 41" wide

Beryl Cook (British, 1926-2008) Meadow Suite, signed in pencil in the margin, blind stamp, published by the Alexander Gallery, lithograph in colour, 12 ¼" x 16"

Wendy Mcbride (British, 20th Century) Blue Vista II, signed in the margin in pencil, numbered 184/500, blind stamped, Giclee in colours, 18" x 17 ¼" and Wendy Mcbride (British, 20th Century),Blue Vista I, signed in the margin in pencil, numbered 184/500, blind stamped, Giclee in colours, 18" x 17 ¼" (2)

Sidney Perrin (British, 1891-1971) Fishing village under grey clouds, signed in pencil in the margin, HJK blind stamp, limited edition colour print, 14" x 21"

A Regency gilt gesso framed pier mirror with a blind fretwork frieze flanked by lion masks above two Corinthian column pilasters with stiff leaf sprays, approx 132cm x 99cm.

A George III mahogany chest-on-chest, the moulded pediment with a blind fretwork frieze above an arrangement of two short drawers, six long drawers and a brushing slide, raised on ogee bracket feet, height approx 196cm, width approx 113cm (faults).

An early 19thC mahogany caddy top chest of drawers, the rosewood and chequer banded top above a brushing slide and four graduated drawers flanked by blind fret canted corners on bracket feet, 91cm wide

After Fred Thomas Smith AN ACADEMY PROOF PRINT of a majestic recumbent lion, signed in pencil to margin beside a blind academy proof stamp, within a gilt slip and oak frame under glass. 60cm x 87cmSome slight discolouration, backing boards held with tape.

A 19TH CENTURY MAHOGANY PEDESTAL PEMBROKE TABLE, the rectangular top and rounded flaps over a blind frieze drawer, on a well turned column and four down-swept legs with foliate cast brass caps and castors. 71cm(h) x 99cm(w) x 58cm(d)Minor marks and scratches, some edge knocks and small depletions, cracks and repairs to column but generally ok for age.

Mahogany full tester single bedstead, with a dentil moulded cornice, blind and fretwork frieze, fluted columns, panelled head and footboard, block feet.

Pangnirtung Co-operative, Inuit School, Canadian, mid-late 20th century- "Bird"; stonecut in colours, signed, titled, numbered 42/50 and dated 74 in pencil, bears publisher`s blind stamp, 53x79.5cm

Yoshito Hirano, Japanese, b.1938- "Spanish View"; screenprint, signed, titled and inscribed 180/250 in pencil, 39x39cm: Barry Moscrop, British, late 20th/early 21st century- "Deck Chairs"; screenprint, signed, titled, dated 1982 and inscribed 10/50, with publishers blind stamp, 28.5x46cm: Anita Ford, British, b.1948- "Saturation Point"; screenprint, signed, titled, dated `79 and inscribed 9/28, 38x56.5cm: together with three other screenprints by the same artist, entitled "Totem", "Sectional Four" and "Sectional Three"; all signed, titled, dated and inscribed, various sizes, (unframed), (6), (may be subject to Droit de Suite).

A Victorian mahogany bracket clock, 19th century, the break arch case with brass loop handle, the shaped rectangular case with central circular Roman numeral enamelled dial, blind pierced foliate panels, raised on four bracket feet, the eight day movement striking on a gong, height 24 cm.

A SILVER ALBERT, MOUNTED WITH COINS AND A GILTMETAL SEAL WITH BLIND MATRIX, 19TH C AND A LATER CHROMIUM PLATED SERVICES SCOUT KEYLESS LEVER WATCH

AN 18TH C ENGLISH LEATHER COVERED WOOD BOX, THE LID TOOLED IN BLIND WITH ROYAL CIPHER GR AND CROWN, BRASS HOOKS, THE INTERIOR LINED IN MARBLED PAPER

A mahogany side table in the Chippendale taste, the plain top with serpentine front and ribbon carved edging over a serpentine frieze raised on flower head patterae medallion capped square tapered legs to block feet, together with an associated cabinet top, the fretwork carved galleried cornice with side urn finials over two glazed panelled doors within blind fretwork decorated frames enclosing a velvet-lined interior with two shelves

CHRIS SIMS (twentieth century) ARTIST SIGNED LIMITED EDITION COLOUR PRINT `Before the kick-of` (2/4) signed, titled in pencil and with blind stamp 8 1/4" x 10 3/4" (21cm x 27.3cm)

CHRIS SIMS (twentieth century) ARTIST SIGNED LIMITED EDITION COLOUR PRINT `Mates` (3/4) signed, titled in pencil and with blind stamp 91/2" x 7" (24.1cm x 17.8cm)

TOM DODSON ARTIST SIGNED LIMITED EDITION COLOUR PRINT Backyard III Children Dressing Up (87/850) Signed and numbered in pencil, Art Gallery Blind stamp 18" x 14" (45.7cm x 35.5cm)

TOM DODSON ARTIST SIGNED LIMITED EDITION COLOUR PRINT Backyard II, The Brown Window (545/850) Signed and numbered in pencil and wash Blind Stamp 18" x 14" (45.7cm x 35.5cm)

TOM DODSON ARTIST SIGNED COLOUR PRINT `The Backyard` with rabbit hutch Signed in pencil and with blind stamp 18" x 14" (45.7cm x 35.5cm)

A Victorian mahogany library table with inset leather scriber, two frieze drawers and two blind frieze drawers, supported on two trestle ends, united by a turned stretcher on four circular feet, 28 1/2" x 42" x 23 3/4"

A Victorian ebonised over mantel with blind fret decoration and gilt outlines, 122cm wide, 89cm high.

L. S. LOWRY (1887-1976), ARTIST SIGNED COLOUR PRINT, ‘The Two Brothers’, signed in pencil and guild blind stamp, 24” x 12” (61cm x 30.5)

After Beryl Cook `FAIRY BELLS`, Framed, coloured print, 44.5 x 41cm, signed by artist with pencil in margin, blind stamp, published by Alexander Gallery Publications Ltd.

Good quality Edwardian Chippendale revival mahogany display table with blind fretwork decoration, rising glazed lid and glazed sides with circular undertier, joined by stretchers on carved cabriole legs on claw and ball feet, 79cm wide, 77cm high

Good quality Edwardian, Georgian-style mahogany cabinet of rectangular form with two end doors, glass shelf and mirrored bottom shelf on stand with blind fretwork frieze, on cabriole legs with shell carved knees on claw and ball feet, 78cm wide, 45cm deep, 136cm high