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L S Lowry (1887-1976), by and after, The Family, coloured print, 26.5 x 21cm, blind stamp

Eichberg (German, late 19th/early 20th century), a pair, brown patinated bronzes, Victory and Justice, standing semi-naked, the winged Victory standing holding a wreath and a rose, Justice, blind folded, rouge and black marble stepped cylindrical columns, 30cm high

A 19th century Black Forest cuckoo clock, 10.5cm dial with Roman numerals, twin winding holes, eight day movement, striking on a gong, pointed architectural case of typical form, pierced leafy fretwork, blind tracery, 45cm high, c.1880

A George III mahogany bureau, the fall front enclosing an interior fitted with drawers, door and pigeon holes above four long graduated drawers, the whole outlined and bordered with blind fret, cast brass swing handles and escutcheon, bracket feet, 107cm wide, 115cm high, c.1780

A George III mahogany Pembroke table, the rounded rectangular top with fall sides, frieze drawer, ivory escutcheon, blind to verso, tapered square legs, brass socket casters, outlined with boxwood stringing, 96cm deep, 98cm wide, 72cm high, c.1810

A George III oval mahogany kingwood crossbanded Pembroke table, drawer to frieze, blind to verso, tapered square legs, brass barrel casters, 86cm deep, 100cm wide, 71cm high, c.1780

A George IV mahogany work table, the hinged top crossbanded above two blind and two long drawers, ebony kite shaped escutcheons, turned handles and legs, 49cm wide, 73c, high, c.1830

A Regency mahogany work table, the rounded rectangular top with fall leaves, above two drawers, blind to verso, brass flowerheads drum handles, incurved rectangular columns, gadrooned socle, sabre legs, brass socket casters, 75cm wide, 74cm high, c.1820

A Regency rosewood sofa table, the rounded rectangular top with fall sides, outlined with ebony stringing, frieze drawers, draught turned handles, blind to verso, tapered rectangular end supports, acanthus carved trestle bases, scroll feet, 95cm wide, 74cm high, c.1820

A Victorian rosewood work table, the rounded rectangular top with fall sides, above two graduated cockbeaded drawers, turned handles, blind to verso, tapered octagonal column, turned socle, incurved canted rectangular pedestal, 81cm wide open, 73cm high, c.1840

A Victorian walnut and marquetry davenport, concaved rectangular superstructure, domed hinged cover enclosing well apertures, pen tray and stationery divisions, hinged top with tooled and leather writing surface enclosing pigeon holes, four drawers to sides, blind to verso, turned wooded handles, bun feet, inlaid in coloured woods with leafy scrolls, burr walnut banding and boxwood and ebony stringing, 53cm wide, 82cm high, c.1870

A Victorian walnut davenport, incurved rectangular superstructure with domed cover enclosing a lift out tray, pen rests, well apertures and stationery divisions, hinged sloping top with inset leather writing surface enclosing small drawers and pigeon holes, four drawers to side, blind to verso, turned wooden handles, outlined with banding, bun feet, brown ceramic castors, 55cm wide, 84cm high, c.1870

An 18th century oak dresser, the back fitted with alternating blind and serpentine spice drawers, the base with four deep cockbeaded drawers divided by a kneehole and one shallow drawer, pierced brass bat shaped escutcheons, shaped vasular legs, 231cm wide, 103cm high, c.1750

An early 19th century mahogany Lancaster type chest, hinged top with moulded edge above two blind cockbeaded drawer and three short and two long cockbeaded drawers, fluted angles, ogee bracket feet, 123cm wide, 112cm high, c.1830

A late 19th century square top mahogany bijouterie table with blind fret decoration, on square tapering legs with undertier, width 16.5"

After L S Lowry: "View of a Town", artist signed print with FATG blind stamp, 18" x 21.5", framed and glazed

The Holy Bible, 1875, commentaries by Scott & Henry, leather binding with gilt blind decorations, front cover loose. (w.a.f.). (1).

DeQuincy; "Histoire de Raphael", gilt and decoration to covers, gilt decorations to covers, gilt decorated spine, leather bound, (a.e.g.), Saucie; "Histoire de la Literature Francaise" 1851, gilt and blind decorations to covers and spine, (a.e.g.); Almanac Royal 1779, leather bound and 59 miscellaneous French text books, many leather bound. (62).

"The Devil Upon Two Sticks" 1791, 4 volumes, tree calf binding with gilt decorations, "The Rights of the Christian Church" part I, 1706, leather bound, blind decorations to covers, title in gilt on red leather to spine, Collins; "The Scheme" 1727, leather binding with gilt decorations and 24 miscellaneous books, many leather bound. (27).

Hoofer; "The Works of" in eight books bound in 1 volume, 1682, leather bound with blind decorations to cover and spine, brass clasps. (1).

A mahogany bow fronted Chest, the raised back and frieze, with blind fret carved decoration above three long and two short graduated drawers on compressed bun feet. 3` 6" (107cms) wide.

A Victorian carved oak collector`s cabinet, the top and sides with Gothic style blind fret decoration, the hinged door centred a crown with union symbols to the corners, initialed HS and dated 1875, the interior with 13 numbered shallow drawers, 16in (40.5cm) h, 16.5in (42cm) w, 10in (25.5cm) d.

A 19th century mahogany secretaire bookcase, the blind fret cornice above a pair of astragal glazed doors enclosing three adjustable shelves, the secretaire with pigeon holes and satinwood veneered drawers to a leather writing surface, with cupboard doors below enclosing two adjustable shelves, on bracket feet, 97.25in (247cm) h, 50.5in (128cm) w, 23.5in (59.7cm) d. Cracks, losses and replacements.

Victorian Golden Oak Chiffonier, pair of domed doors on plinth base, 1 long frieze drawer, superstructure with 2 shelves, blind panelled backs with barley twist column supports, 32"W x 19"D x 38" to top & 18" superstructure

Late Regency Rosewood Chiffonier with plinth base, square panelled doors, superstructure with turned & carved uprights, blind panelled back with small upstand to rear, carved corbels

Oak Cased Grandmother Clock, shaped plinth base, dome panelled door with blind fret carved decoration, silvered dial with gilt centre, spandrels, 3 train movement

DE LATOUR, CHARLOTTE-LE LANGAGE DES FLEURS, CIRCA 1855 FULL LEATHER BLIND STAMPED WITH GILT DECORATION. AEG. HAND COLOURED PLATES

ANONYMOUS (THOMAS LOVE PEACOCK) NIGHTMARE ABBEY BY THE AUTHOR HEAD LONG HALL. LONDON 1818 FIRST EDITION EARLY FULL CALF BINDING BLIND-STAMPED WITH GILT DECORATION

After Helen Bradley, September, coloured reproduction, signed in pencil by the artist with blind stamp for the Fine Arts Trade Guild, 15" x 22", gilt frame.

Georgian style inlaid mahogany wardrobe having a stepped dentil cornice, blind panel door, one long drawer to the base and standing on splayed bracket feet, 113cm wide

Victorian lady`s inlaid figured walnut secretaire/music cabinet, the upper section having a fitted interior with slide enclosed by a pair of blind panel doors, the lower section fitted three shelves with tooled leather titles and enclosed by a cabinet door, 62.5cm wide

Bradley, Helen (1900-1979) - Signed coloured print - Evening On The Promenade, signed in pencil and with blind stamp, 45cm x 60cm

A George III oak tallboy top only, with blind Greek key cornice above two short and four long graduated drawers with brass swans neck drop handles lock escutcheons and cockbeading to each drawer front, flanked by fluted quarter column corners with moulding below and raised on bracket feet. Width 44 ins.

A George III mahogany turnover top games table, the rectangular top with moulded edge supported by a recessed blind fretwork carved frieze and raised on four chamfered legs also with blind fretwork carving and corner spandrels. Width 36 ins.

A Victorian overmantle mirror, giltwood and gesso with applied foliate mouldings to the oval mirror frame, with beaded edge and repeating decoration, with blind trellis, scroll spandrels and flat moulded base. Width 59 ins (see illustration).

A mahogany display case, early 20th century, with rear upstand to the flat top with moulded edge with canted sides, with blind fretwork carved frieze above a drawer and panelled cupboard door flanked on either side by a thirteen pane glazed cupboard door enclosing shelves and raised on foliate carved cabriole legs terminating in claw and ball feet. Width 55 ins.

A George III oak tallboy in two sections, the top half with a moulded Greek key cornice above a blind fretwork frieze in turn above two short and three long graduated drawers with wooden knob handles and flanked by fluted quarter column corners, the base fitted with three drawers, with moulding below and raised on bracket feet. Width 41 ins.

A Regency mahogany longcase clock by John Hamilton Glasgow, with moulded dentil cornice above an arched glazed door flanked by blind fretwork spandrels, with spiral twist turned columns to left and right, with brass dial with silvered chapter ring with Roman numerals, with subsidiary seconds, date aperture and eight day striking movement, with circular plaque to arch "John Hamilton, Glasgow", with rectangular trunk door flanked by quarter column corners and conforming base. Height 82 ins (see illustration).

A Regency/William IV rosewood Canterbury, with three divisions and fitted with two frieze drawers, with blind fretwork carving and ivory knob handles, raised on splayed feet with castors beneath. Width 20 ins (see illustration).

An Edwardian mahogany bookcase, having a rear blind latticework pediment above a shelf and blind fretwork frieze in turn above a pair of glazed doors, with ogee moulded wooden astragals enclosing adjustable shelves, with moulding below and raised on bracket feet. Width 48 ins.

A George III mahogany hanging corner cupboard, with moulded cornice above a blind fretwork frieze, with panelled cupboard door beneath with applied mouldings enclosing green painted shelves, flanked by canted fluted angles, with moulding beneath. Width 26 ins (see illustration).

AFTER LAURENCE STEPHEN LOWRY RA, BRITISH (1887-1976) Two Brothers, limited edition colour print, signed in pencil, pub. C. 1972 from an edition of 850, with Trade Guild blind stamps, image size 60.5 x 30cms. See illustration

A GEORGE III FIGURED MAHOGANY SERPENTINE NIGHT CABINET having a blind fretwork frieze and canted corners, two door cupboard above two drawers, cockbeaded, pierced circular back plates and swing handles, on shaped bracket feet, 73.5cms wide x 57cms deep x 81cms high. See illustration

A pair of early 19th Century mahogany hall chairs with blind fret carved backs and panel seats, on reeded supports

An Edwardian mahogany linen press with blind fretwork decoration, the dentil moulded pediment above a pair of panelled doors enclosing sliding trays, the base fitted with two short and two long drawers, on bracket feet, height approx 201cm.

A TOILET TRAY, maker Walker & Hall, Sheffield 1914, of oblong form with blind oval cartouche on embossed scroll ground, 10 1/2" wide, 10ozs

A VICTORIAN VESTA/SOVEREIGN CASE, maker R.B.S.?, Birmingham 1897, of oblong form with blind scroll cartouche on a ground of chased leaves, hinged front to hold full and half sovereign coins, 2 1/4" long

A VICTORIAN PORRINGER, maker Walter & John Barnard, London 1888, of half fluted circular form with beaded scroll loop handles, gadrooned girdle embossed with scrolls around a blind cartouche, 7 1/4" wide, 9ozs (Illustrated)

A LATE VICTORIAN TOILET TRAY, maker George Nathan & Ridley Hayes, Chester 1900, of oblong form with gadrooned rim, embossed with blind shield cartouche on a ground of roses and scrolling, 10 1/2" wide, 10ozs

HELEN BRADLEY (1900-1979), "Oh Just Look Said Mother" and "Oh Dear Emily", a pair, reproductions in colour, limited editions, signed in pencil with blind stamp, 12 1/2" x 10 1/4", gilt frames

GEOFFREY WOLSEY BIRKS (1929-1993), "The Red Train", reproduction in colours, signed in pencil, numbered 314/375, 16 1/4" x 13 1/4", another "A Pennine Town" signed in pencil numbered 103/250, 13 1/4" x 18 1/2", and another "News and Views", signed in pencil, numbered 82/375, blind stamp, 13 1/2" x 20 1/4", unframed (3)

GEOFFREY WOLSEY BIRKS (1929-1993), "School Doctor Next", numbered 68/375, "Three of the Best", numbered 158/375, "School Dentist", numbered A/P/3/10, all reproductions in colours, each signed in pencil, with blind stamp, 6 3/4" x 4 1/4", unframed (3)

MACKENZIE THORPE (1956 - ), "Twins", reproduction in colours, initialled, titled and numbered in pencil, 406/850, blind stamped, 15" x 18", framed, with certificate of authenticity

GEORGE BAXTER (1804-1867), Winter, After W E Jones, oil print No.368, (1859), with blind stamp, 10 1/4" x 15", gilt frame

A CARVED MAHOGANY LOW BOY, late 19th/early 20th century, the moulded edged top with three quarter spindle gallery, blind fret carved tracery to sides, similar fascia with three drawers having brass drop handles, shaped apron, raised on stop fluted club legs with acanthus carved knees and similar pad feet, 29" wide (Illustrated)

A Victorian carved oak quarter-chiming bracket clock, Barraud and Lunds, London, mid 19th century. The substantial triple chain fusee movement with rise/fall regulation, chiming the quarters on eight bells and striking the hour on a gong, with heavy wooden-rod pendulum and signed Barraud & Lunds Cornhill, London, 2149 to backplate, the 8 inch circular silvered brass Roman numeral dial with repeat signature to centre and regulation adjustment square at 12 o’clock, the case with lion mask centred shallow arch capped shaped pediment and spire finials above finely carved foliate blind-fret infill to spandrel areas flanked by conforming masks to the canted angles, the sides with stretched octagonal shaped sound frets, on moulded stepped base with repeating vacant lozenge infill and canted feet with shaped apron between, 69cm high on a slightly later plinth stand with projecting canted angles, 75cm high overall.

A rare Queen Anne ebonised thirty-hour longcase clock. Robert Rouch, Bristol, early 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch square brass dial with herringbone border engraved calendar aperture incorporating pinhole adjustment and rectangular silvered signature plaque Rich’d Rouch, Bristol to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised fleur-de-lys half hour markers, with original pierced steel hands and gilt female mask and scroll cast spandrels to angles, the case with silvered wood ball finials and domed caddy to the blind fret fronted box upstand, above moulded cornice with conforming fret to frieze and integral columns to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 220cm high. Provenance: the property of a private collector. Robert Rouch is recorded in Bellchambers, J.K. Somerset Clockmakers as working in Bristol circa 1725-55, where he is listed as ‘a fine maker’. A single-handed clock by Dennis Chambers of Pucklechurch with identical engraved half-hour markers is illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks Origin & Development 1600-1800 on page 145. The calendar has the unusual feature of pin-hole adjustment for advancing the date at the end of shorter months, a feature normally associated with the workshop of Thomas Tompion and his successor George Graham. The case is a rare survivor and is in good original condition considering its pine construction, and was made by a cabinet maker who successfully captured the feel and proportions of a high-end London case of the period.

An Important burr walnut longcase clock of three month duration with pull quarter-repeat on six bells. Simon DeCharmes, London, with movement and dial supplied for the clock by Claude DuChesne, dated 1717. The substantial eight finned-pillar rack and bell striking movement with five-wheel trains, rise/fall pendulum regulation and pull-quarter repeat on six bells, the 24 hour wheel inscribed Claudius Du Chesne Londini, 24th May 1717, the 12 inch gilt brass break-arch dial with calendar aperture, turned collets for the winding holes, pierced steel hands and silvered subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the outer track, the angles with gilt cast mask-and-scroll spandrels, beneath arch with central domed silvered boss boldly signed Simon DeCharmes, London, flanked by subsidiary strike/silent and regulation dials with matted centres and within conforming foliate scroll relief infill, the case of impressive proportions and fine colour, with tall ogee domed caddy applied with three cast brass ball-and-spire finials above blind fret break-fronted box upstand incorporating ogee moulded break-arch frieze with conforming fret infill, the hood door with applied half-round gilt brass dial surround flanked by integral columns with gilt caps and bases, the sides with brass-edged large rectangular windows and dressed with quarter columns backed onto bargeboards to the rear edges, the trunk with book-matched veneers to the concave throat and unusual applied break-arch mouldings above herringbone banded finely figured trunk door, on conforming banded panel plinth base with double skirt, 253cm excluding finials, 271cm high overall. Provenance: The property of a Lady. Claude DuChesne and Simon DeCharmes were both of French Huguenot immigrant extraction. DuChesne originated from Paris and was made Free of the Clockmakers Company in 1693, De Charmes was made a Free brother in 1691. Both specialised in producing very distinctive high quality clocks usually of complex specification, often playing music or with astronomical features, many for export to Northern Europe. When the work of both makers is compared it becomes apparent that they must have had a close working relationship. A good example illustrating the similarities of both makers work, can be seen when comparing two japanned musical table clocks sold at Sotheby’s in 2006/7. The first example, by DuChesne, sold in London on 14/12/06 (lot 66) the second, by DeCharmes, also sold in London, on 25/04/07 (lot 81). Both these clocks are of similar specification and are in near identical cases, only differing slightly in detail. The dial layout of the current lot with two subsidiary dials beneath a central feature (either signature plaque or third dial) appears to have been the favoured format of DuChesne at this period. This coupled with the use of fitted disc collets around the winding holes (also favoured by DuChesne) and the fact that the 24 hour wheel is signed by him confirms that the movement was supplied by DuChesne to DeCharmes for use in this clock, complete with the finished dial to which he had only to add a signed boss. The case on the other hand exhibits details which appear to be unique to DeCharmes, most noticeably the unusual break-arch moulding above the trunk door. This feature (coupled with directly comparable caddy configurations and break-arch detail immediately above the arch of the case) can be seen on two other examples by DeCharmes. The first (now with later marquetry) was sold by Sotheby’s, London on 19/12/00 (lot 335) the second also sold by Sotheby’s in London on 23/03/99 lot 252. The case can also be compared with a marquetry example housing a grande sonnerie movement by Quare (number 145) illustrated in Robinson, Tom The LONGCASE CLOCK pages144-5 which Robinson dates to 1716-18. The brass half-round moulding applied to the front door and side windows of the hood is also a feature often found on examples by Quare. Clocks of three month duration are extremely rare, especially example which also strike the hours due to the enormous power reserve required to operate for a full three months. To tackle this problem Joseph Knibb developed Roman striking, (a coded form of hour notation on two bells one representing the ‘I’ on a dial the other ‘V’) in order to reduce the amount of power required. The current lot however, in addition to striking the full hours for the entire three-month period also has reserve built into the hour train to allow reasonable operation of the pull-quarter repeat over that period. Both . The movement and case are of suitably substantial construction to accommodate the strains and stresses created by the heavy driving weights. The extraordinary specification of the movement coupled with the complex dial layout and impressive proportions of the case suggests that this magnificent clock was made for an extremely wealthy client who wished to express his high status in the most appropriate manner.

A fine Queen Anne ebonised eight-day longcase clock. John Knibb, Oxford, early 18th century. The fully-latched five finned-pillar inside countwheel bell-striking movement with separate shaped-cock for the pallet arbor and backplate cut for the pallets, long crutch and 11.75 inch square gilt brass dial with delicate border engraved calendar aperture, silvered subsidiary seconds ring and blued-steel hands to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes and signed John Knibb, Oxon to lower edge, the angles applied with gilt twin cherub and crown pattern spandrels, the case with Knibb type button-capped giltwood centre finial flanked by conforming brass examples to the domed caddy upstand with blind fret infill beneath, with moulded cornice with conforming fret to frieze and integral columns with gilt brass caps and bases to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 229cm high excluding top finial, 241cm overall. Provenance: The property of a private collector. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took-on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Throughout the latter three decades of the 17th century John and Joseph worked in parallel, however when the products from both workshops are examined, it is evident that they had a close working relationship. Joseph Knibb retired in 1697 selling-up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb continued in business until his death in 1722. The movement of the current lot is fully latched and has the feature of separate cock for the pallet arbor (and cut-out for the pallets in the backplate) normally found on earlier clocks by Joseph with butterfly-nut pendulum regulation, however the casting for the pendulum hanging cock differs from those found on earlier clocks and the use of internal countwheel for striking the hours certainly dates it towards the end of the century. From these observations one could speculate that the movement of the current lot may well have been acquired by John from Joseph’s stock when he retired in 1697 or even on his death in 1711 before finishing and fitting with a dial. The fine proportions of the case closely echoes London work of the period. Despite being provincially made (probably Oxford) the case does exhibit features such as the distinctive spherical finials with button-shaped caps (which are often seen on other longcase clocks by the Knibb family) which set it aside from other provincial examples of the period.

* After Henri De Toulouse-Lautrec 1864-1901- "Pour Toi"; blind stamp for Prandi, numbered 142/200 in pencil, 33x25cm: After Edgar Degar 1834-1917- Dancer; lithograph printed in colours, blind stamp for Prandi: together with other 20th century prints and lithographs after similar hands, (4)