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Stanhope Alexander FORBES (1857-1947) The Viaduct at Perranwell, Falmouth, Cornwall Print, signed in graphite lower right, blind-stamped, 46cm x 58cm, 70cm x 83.5cm framed.

Mackenzie THORPE (1956) Best Car in the World Photo-lithograph, signed and titled, edition 520/600, COA verso, Washington Green blind-stamp seal, 27cm x 40.5cm, 53cm x 66cm framed.

Mackenzie THORPE (1956) Lunchtime in South Bank Photolithograph, signed and titled, edition 81/850, COA verso, Washington Green blind-stamp, 49.5 x 39.5 cm, 65.5cm x 74cm.

Mackenzie THORPE (1956) You Only Need Love Photolithograph, signed and titled, edition 678/850, COA verso, Washington Green blind-stamp, 41cm x 43cm, 69cm x 79.5cm framed.

A Chinese bottle vase, underglaze blue and white decorated with playful scenes of hide and seek and blind man's bluff, six character marks to base, 25cm high

A Chippendale Revival flamed mahogany dressing table, dished top holding protective glass top, one long drawer to frieze, flanked by two graduated drawers to left, blind drawers cupboard door to right, acanthus capped cabriole legs, hairy ball and claw feet, 80cm x 128cm x 58cm

Ca. 18th century AD . An Arabic manuscript on paper, xxff., each folio with 14ll. of black thuluth script, plus five flyleaves, the opening bifolio with fine and elaborate gold and polychrome illumination, the subsequent folio heading with gold and polychrome illumination, the text within cloud bands reserved against gold, in gold and black rules, chapter headings, vocalisation and marginal marks in red, catchwords, in gold and black rules, blue and gold stellar marginal markers, library stamp marked 1011, blue ink marginal note dated 1298AH (1881), in more recent maroon blind-tooled binding, the folio 21.5m x 12cm., the text panel 16.5cm x 8.5cm. Size: 220mm x 130mm; Weight: 1.03kg Provenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Vinyl - Over 80 Rock & Pop LPs to include Janis Joplin, It's A Beautiful Day x 2, INXS, Lenny Kravitz, Joni Mitchell, John Fahey, Tom Petty, Bo Diddley, Blind Faith, The Beach Boys, UB40, Billie Holiday, Toni Childs, Billy Fury, Joan Armatrading, Johnny Winter, The Big Dish and more. Ex overall

AFTER ARCHIBALD THORBURN (1860-1935)'Kingfisher' print, signed in pencil in the margin, blind stamp,37 x 27cm.Three Others, 'Pigeons', 'Pintails' and 'Mallards', all signed in pencil. (4)

FRENCH CARRIAGE CLOCK, LATE 19TH CENTURY with single train movement, the white enamel chapter ring with Arabic numerals, blind fret mounted dial, fluted pillared five glass case with swing handle15cm highCondition generally good. Case with age related wear. Movement starts ticking then stops, will require attention.

Edwardian mahogany pedestal stand, moulded square top on tapered pedestal decorated with blind fretwork, on stepped and moulded square baseDimensions: Height: 110cm  Length/Width: 33cm  Depth/Diameter: 33cm

Registration: Y215MDK VIN: SARRJZLLMYM119841 Mileage Showing: 133,000 Transmission: Automatic MOT: 28/10/20252.5 Litre V6Connoisseur specAutomatic gearboxRare colourFirst registered April 2001 this 2.5 litre petrol V6 model in Connoisseur spec including heated leather seats, leather steering wheel and electric rear sun blind shows 133,000 miles and MOT till October next year. Sold with original book pack including 9 service stamps including record of timing belt and water pump.PLEASE NOTE - Buyer to apply for V5Please see our walk around video for more information and engine start upGUIDE PRICE - NO RESERVE

George III mahogany chest-on-chest, projecting dentil cornice over blind fretwork frieze, fitted with two short and six long cock-beaded drawers, ornately cast swan neck handles and circular beaded plates, on splayed ogee bracket feet Dimensions: Height: 184cm  Length/Width: 115cm  Depth/Diameter: 59cm

Adams (Douglas) [The Hitchhiker's Guide to the Galaxy series], 5 vol., comprising The Hitch Hiker's Guide to the Galaxy, jacket second state without advertisement, 1979; The Restaurant at the End of the Universe, faints spotting to endpapers and fore-edge, jacket with slight creasing to spine tips and light spotting to flaps, 1980; Life the Universe and Everything, ownership blind-stamp of Michael George Feehily, jacket price-clipped, slight toning to spine, slight creasing to head of spine, 1982; So Long, and Thanks for All the Fish, signed by the author and dated in year of publication on endpaper, ink stamp "1861" to endpaper, 1984; Mostly Harmless, light toning to margins, jacket with minor chipping to spine tips and corners, 1992, first or first hardback editions, original boards, dust-jackets, a near-fine set, 8vo.

Fleming (Ian) Goldfinger, first edition, original boards with skull design in gilt and blind, spine lettered in gilt, dust-jacket, extremities very lightly chipped and nicked, light toning and few toning marks to lower panel, spine a little faded, overall still sharp and excellent, 8vo, 1959.

Blackwood (Algernon) The Dance of Death, first edition, light toning strip on endpapers, original blind-stamped cloth, dust-jacket, spine faded, light chipping to extremities but excellent overall, 1927 § The Listener, new edition, book-label, endpapers toned, original boards, dented, dust-jacket, chips to extremities, toning to spine and on panels, spine ends frayed and creased, 1930 § Thompson (Stanbury) Tales of the Supernatural, light spots to jacket, light nicks to spine head, otherwise an excellent and sharp copy, 1963; and 6 others, weird fiction, 8vo (9)

Le Queux (William) Mysteries, foxing on half-title, original blind-stamped cloth, soiled and stained, 1913 § Vickers (Roy) Murder Will Out, ownership stamp on endpapers, 1950 § Belloc Lowndes (Mrs) The Chianti Flask,  cloth soiled and stained, 1935, first editions, original cloth; and 7 others, weird fiction, 8vo (10) 

Fleming (Ian) Thunderball, first edition, few marginal spots, original boards with skeletal hand in blind to upper cover, spine lettered in gilt, fore-edge a little spotted, dust-jacket, fractional nicks to spine ends and corners, otherwise a fine copy, 8vo, 1961.

Fleming (Ian) The Spy Who Loved Me, first edition, few spots to endpapers, original boards with dagger motif blocked to front board in silver and blind, spine lettered in silver, fine, dust-jacket, a few spots, spine head fractionally nicked, otherwise an excellent copy, 8vo, 1962.

Kerouac (Jack).- Williams (Tennessee) The Roman Spring of Mrs. Stone, first English edition, Jack Kerouac's copy with blind and ink stamps to front free endpaper, light toning to text, original cloth, fading to spine ends, spine tips and corners a little bumped, dust-jacket, toning to spine, chipped, torn and worn, old tape repair to verso, 8vo, 1950.*** Kerouac's copy of Williams' only novel. 

Kerouac (Jack).- Behan (Brendan) The Scarperer, first American edition, Jack Kerouac's copy with blind and ink stamps to front free endpaper, original cloth, light rubbing to spine tips and corners, dust-jacket, light toning, spine chipped at head, 1 or 2 short nicks or closed tears with creasing, 8vo, New York, 1964.

Stoker (Bram) Dracula's Guest and Other Weird Stories, first edition, light toning on endpapers, spotting to title and occasionally throughout, original blind-stamped cloth, slightly discoloured, spine a little faded, extremities bumped, very slight shelf-lean, fore-edge a little spotted, 8vo, 1914.

Colours B&Q grey blind, 160 cm (brand new)

Maharajpoor Star 1843 (Private John Barey H.M. 40th Regt.) fitted with adapted silver bar suspension, good very fine £360-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- John Barey was born in Tralee, County Kerry, Ireland. He attested for the 40th Foot at Dublin in January 1841, and was discharged in August 1845, due to becoming blind in the left eye.

Laurence Stephen Lowry R.A. (British, 1887-1976), St Lukes, London, signed l.r., blind stamp l.l., offset lithograph in colours, published 1973, No.449/850, 61 by 46cm, framed. Note: Artist Resale Rights apply

Attributed to Shapland and Petter, an Arts & Crafts oak dresser, base with two central drawers over a shelf and two flanking side cupboards, the panelled doors inlaid with Art Nouveau style poppy head motifs, below a bowed breakfront top supported by three brackets, the mirror panelled rack features a central leaded glass cupboard after the Glasgow school, flanked by two recessed panelled plate racks, topped with a demi-lune arched pediment with central blind porthole inset with the repeated inlaid stylized poppy head form, 206cm high, 152cm wide, 64cm deep

A French repeating carriage clock, late 19th Century, gilt brass and paste set corniche case, visible platform lever escapement, Arabic numerals dial on a blind fretwork ground with garden balustrade, corinthian columns, raised on a plinth, the movement striking on a gong, 20cm high, 10cm wide, (key)

JOHN JOHNSTONE SSA (SCOTTISH b. 1941), BLIND GUIDES oil on board, signed, titled label versoframedimage size 107cm x 89cm, overall size 114cm x 94cm Handwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).

PHOTOGRAPHY. A collection of mounted albumen prints comprising: Robert Rive (British, 1817-1868), four architectural views of Pisa & Florence, albumen photographs measuring approx. 19.5 x 25.5cm, each card mount bearing blind-stamp, "Robert Rive, Naples"; Giuseppe Incorpora (Italian, 1834-1914), seven architectural & topographical views of Palermo [Sicily], approx. 20.5 x 25.5cm; Giorgio Sommer (German, 1834-1914), four images of sculptures in the Napoli Museo [National Archaeological Museum of Naples], an architectural view of Tempio di Nettuno [Temple of Neptune], and two scenic Italian views. The photographs are very well-preserved, wide margins on large card mounts, a couple of the mounts have wear/loss at corners (18) 

CHINESE AND JAPANESE ART, MISCELLANY - Chinese Porcelain. The S. C. Ko Tianminlou Collection, Hong Kong, 1987, 2 volumes, 4to, coloured plates, original dark blue silk boards, slipcase. FIRST EDITION. With 9 other works in 12 volumes. (14)CHINESE AND JAPANESE ART, MISCELLANY - Chinese Porcelain. The S. C. Ko Tianminlou Collection. Hong Kong: Hong Kong Museum of Art, 1987. 2 volumes, 4to (352 x260mm). Coloured plates. Original dark blue silk boards, the upper covers with Chinese characters stamped in blind, the spines lettered in silver, slipcase. FIRST EDITION. With 9 other works of related interest in 12 volumes, namely Les Hautes Époques de l' Art Chinoir d' après les Collections du Musée Cernuschi (Paris, [n.d.], 4to, plates loose as issued in original portfolio, ties), Collection of Rare Old Chinese Porcelains Collected by Sir William Bennett, K.C.V.O., Purchased and Exhibited by Gorer (London, 1910, 8vo, coloured plates, original green cloth gilt, [?]lacks front free endpaper), Helen White's Snuff Bottles from China. The Victoria and Albert Museum Collection (London, 1990, 4to, coloured plates, original silk boards, dust-jacket, slipcase, FIRST EDITION), Wang Shixiang's Connoisseurship of Chinese Furniture. Ming and Early Dynasties (Hong Kong, 1990, 2 volumes, 4to, coloured plates, original buckram, slipcase, trade edition); and including 4 volumes (only) from The Baur Collection (namely, Pierre-F. Schneeberger's Chinese Jades and Other Hardstones (Geneva, 1976), B. W. Robinson's Japanese Sword-Fittings and Associated Metalwork (1980), John Ayers' Japanese Ceramics (1982) and Pierre-F. Scheeberger's Japanese Lacquer (1984)); and the catalogue of The Duke and Duchess of Windsor (New York, Sotheby's, September 11-19, 1997, 3 volumes, coloured illustrations, original wrappers, slipcase, price-list loosely-inserted). (14)

[DEFOE, Daniel ([?]1661-1731)]. The Fortunate Mistress, London, 1724, 8vo, fine engraved frontispiece captioned "The Famous Roxana" (some spotting and staining), contemporary calf. THE VERY RARE FIRST EDITION of Defoe's last novel, published anonymously.[DEFOE, Daniel ([?]1661-1731)].  The Fortunate Mistress: Or, A History of the Life and Vast Variety of Fortunes of Mademoiselle de Beleau, Afterwards Call'd The Countess de Wintselheim, in Germany. Being the Person known by the Name of the Lady Roxana, in the Time of King Charles II. London: "Printed for T. Warner at the Black-Boy in Peter-Noster Row; W. Meadows ... W. Pepper ... S. Harding ... and T. Edlin," 1724. 8vo (192 x 118mm). Fine engraved frontispiece captioned "The Famous Roxana", title within double-rule border, woodcut headpieces, initials and ornaments to the Preface and the opening of the novel, woodcut ornament at the foot of the recto of the final leaf ([Dd4] (i.e. p.407) (some usual seepage of woodcut ornaments to their rectos or versos not affecting legibility, printer's crease to one leaf affecting a few letters [see illustration of p.399], occasional light spotting, staining and browning, more pronounced to the lower margins of the second half of the novel, a few darker spots, mainly at gutters, but the text generally crisp and clean). Contemporary polished panelled calf, the spine with five raised bands and red morocco lettering-piece (the left part of the lettering piece torn away with the loss of two letters, a small patch of abrasion to the upper cover with the loss of one blind-stamped fleuron, possibly re-backed at some point preserving the old spine and lettering-piece, but, if so, barely discernibly, some ink staining to the spine, some light rubbing to the extremities, some staining to the endpapers). FIRST EDITION of Defoe's last novel, a proto-feminist work which features one of "... the strongest and most important women characters in the history of literature" (DNB). It was first published anonymously, probably because of its scandalous nature, and was not widely attributed to Defoe until 1775; the present, first, edition was the only one published in the author's lifetime. "This purports to be the autobiography of Mlle. Beleau, the beautiful daughter of French Protestant refugees, brought up in England and married to a London brewer, who, having squandered his property, deserts her and her five children. She enters upon a career of prosperous wickedness, passing from one protector to another in England, France and Holland, amassing much wealth, and receiving the name Roxana by accident, in consequence of a dance she performs. She is accompanied in her adventures by a faithful maid, Amy, a very human figure. She finally marries a Dutch merchant and lives as a person of consequence in Holland, until he discovers her deceit. He shortly afterwards dies, leaving her only a small sum of money. She is imprisoned for debt, and dies in a state of penitence" (The Oxford Companion to English Literature, ed. Drabble, 1985). Furbank & Owens A Critical Bibliography of Daniel Defoe 218; Rothschild 780. ESTC lists only three copies in UK institutions. RARE.

BINDING - Liturgia, London, 1670, 8vo, engraved portrait of Charles II and 47 engraved illustrations, rubricated throughout, attractively bound in contemporary black calf elaborately decorated in gilt and blind, gauffered edges.BINDING - Liturgia, seu liber precum communium, et administrationis sacramentorium, alirumque rituum atque ceremoniarum ecclesiæ, juxta usum ecclesiæ Anglicanæ: unà cum psalterio seu psalmis Davidis. London: "Excudit Rogerus Nortonus," 1670. 8vo (175 x 110mm). Engraved portrait of Charles II, tables, 47 engraved illustrations, rubricated throughout (some light mainly marginal spotting and staining, a few short tears without loss, some signatures or leaves loose or detached). Attractively bound in contemporary black panelled calf gilt, the central panel on each cover elaborately tooled in blind, gilt and blind foliate cornerpieces, gauffered edges, marbled endpapers. Provenance: From the Collection of Ludwig Messel, Nymans, West Sussex; "Bettesworth Sale ... 29 Jan, [18]88" (pencil inscription on rear endpaper); loosely-inserted is a one-page typed-letter referring to the book, on paper headed "Express and Star ... Wolverhampton", dated 22nd June, 1960, stating, "Dear Miss Dengate, We are now returning the Latin Prayer Book which Col. Linley Messel so kindly loaned to our Charles II Exhibition. Please convey to Col. Messel our sincere thanks for his co-operation. We are pleased to tell you that the Exhibition was a success and over 6,000 people visited Moseley Old Hall during the fortnight. Yours sincerely, J. Corbett." 

COLLINS, Wilkie. The Life of William Collins, Esq. London: Longman, Brown, Green, and Longmans, 1848. 2 vols., first edition, 8vo (198 x 123mm.) Engraved portrait, 2 additional engraved titles, 32pp. publisher’s catalogue to the rear of vol. 1. (Lacking front endpapers and preliminaries to both volumes, adhesive remains to pastedowns, spotting to additional titles.) Original brown blind-stamped cloth (fading and wear to spine ends, staining). Note: Wilkie Collins’ first book. Provenance: Elisabeth Smart (ink name to title of vol. 2). – And a further ten volumes by Wilkie Collins (including ‘The Moonstone’, [lacking preliminaries], 1890, 8vo) (12).

BOËTHIUS, Gerda. Anders Zorn. Stockholm: Nordisk Rotogravyr, 1954. Limited edition, this being number 680 of 1200 copies, 4to (288 x 211mm.) Tipped-in colour plates, numerous black and white illustrations. (Toned, slight marginal damp-stain to preliminaries.) Original brown full morocco, Zorn’s blind-stamped signature to upper cover, red and green morocco lettering pieces to the spine, t.e.g. (minor staining to covers).

METCALF, John. The Life of John Metcalf, Commonly Called Blind Jack of Knaresborough. With Many Entertaining Anecdotes of his Exploits in Hunting, Card-Playing, &c. Some Particulars relative to the Expedition against the Rebels in 1745… And also a Succinct Account of his various Contracts for Making Roads, Erecting Bridges, and Other Undertakings in Yorkshire, Lancashire, Derbyshire, and Cheshire. York: E. and R. Peck, 1795. First edition, 12mo (165 x 95mm.) Engraved portrait frontispiece by J.R. Smith. (Marginal loss to frontispiece affecting image, some loss to B6 text affected, tear to G1, browning and spotting throughout, lacking blanks.) Contemporary half calf (worn). Note: the extra-ordinary autobiography of John Metcalf who was rendered blind by smallpox at the age of six but who went on to become an expert horseman, soldier, cock-fighter, card-player and musician, as well as building over 180 miles of road. – And to include a lead plaque of John Metcalf (2).

DARWIN, Charles. On the Origin of the Species… (forty-first thousand). London: John Murray, 1891. Sixth edition, 8vo (189 x 121mm.) 1 folding plan, index, 1p. publisher’s advertisement. (Lacking front-free endpaper, marginal pencil mark to p.xv.) Original green blind-stamped cloth, gilt lettering to spine (some spotting to covers). – And a further volume by Charles Darwin (‘A Naturalist’s Voyage. Journal of Researches into the Natural History and Geology of the Countries Visited During the Voyage of H.M.S. ‘Beagle’ Round the World’, 1890, 8vo) (2).

COLLINS, Wilkie. Blind Love. London: Chatto & Windus, 1890. 8vo (190 x 122mm.) 16 engraved plates by A. Forestier, 32pp. publisher’s advertisements to rear. (Toning, spotting verso front-free endpaper and frontispiece.) Original green cloth, blocked in black, gilt to spine (inner hinge slightly weakened, lightly rubbed). Note: published the same year as the three volume first edition. – And a further eight volumes by Wilkie Collins (including ‘Jezebel’s Daughter’, 1887, 8vo, and ‘The Evil Genius’, 1887, 8vo, and ‘Poor Miss Finch’, 1875, 8vo, and ‘The Legacy of Cain’, 1889, 8vo, and ‘The Dead Secret’, 1889, 8vo, and ‘The Law and the Lady’, 1889, 8vo, and ‘The Two Destinies’, 1878, 8vo, and ‘The Queen of Hearts’, 1885, 8vo) (9).

ATLASES. – Samuel LEWIS. A Topographical Dictionary of Scotland. London: S. Lewis and Co., 1846. Supplementary volume, 4to (323 x 247mm.) Large scale map of Scotland on six sheets, hand-coloured in outline, engraved and folding, including the title. (Some browning and light spotting, small tears at creases.) Original brown blind-stamped cloth (sunning to spine, extremities rubbed). – And a further eight atlases (including Drioux et Ch. Leroy’s  ‘Atlas Universel et Classique de Géographie Ancienne, Romaine’, 1873, 4to, and ‘Quicksee Load Line, Zone and Weather Chart’, [1950], 4to, and vol. XXXIV of ‘The New Volumes of the Encyclopaedia Britannica’, 1903, 4to, and a further two related volumes: Samuel Lewis’ ‘A Topographical Dictionary of Ireland’, 2 vols., second edition, 1840, 4to) (11).

A FINE AND IMPORTANT NORTH ITALIAN ENGRAVED THREE-QUARTER CUIRASSIER ARMOUR, CIRCA 1620-30, PROBABLY BRESCIAcomprising Zischagge with one-piece skull rising to a low comb of inverted V-section, fitted at its nape with a plume-holder and at its apex with a bulbous finial on a large quatrefoil washer, projecting forward at the brow to an obtusely-pointed peak with a rectangular staple above it carrying a nasal with elaborately shaped finial and secured by a thumb-screw, and fitted at its rear with a pronounced flared neck-guard of four lames, the lowest of pointed ogee profile (disarticulated at right end), and at each side with a two-piece pendant cheek-piece, fitted at its centre with a domed rivet enclosed by eight radiating rectangular slots within a frame of circular ventilation-holes and stepped at the front top to accommodate the peak; collar of a single plate front and rear, fastened at the right by a stud and key-hole slot; heavy breastplate formed in one piece with a low medial ridge, struck with the proof mark of a bullet at the right of the chest, fitted at each side with a stud to receive a shoulder-strap and a further stud at its centre, a pierced stud at each side to receive a swivel-hook from the back-plate, flanged outward at its base to receive a pair of tassets each of fifteen lames divisible at the eighth; poleyns of four lames the second in each case fitted with a large centrally-puckered wing; backplate matching the breastplate, struck with the proof mark of a bullet, fitted at each shoulder with a leather strap reinforced with four iron scales, at the base with a hook at each side to engage the breastplate, and at its base with a broad culet of seven lames; a pair of full arm-defences comprising a pair of symmetrical pauldrons each of seven lames overlapping outwards from the third, connected by a turner to a pair of vambraces each formed of a tubular upper and lower cannon linked by a couter of four lames with a centrally puckered oval wing at the front, and enclosed at the inside of the elbow by ten lames overlapping inwards from the sixth, the lower cannon fastened at the front by a sprung stud; a pair of gauntlets each with a flared cuff closed at the inside, articulated by a wrist-plate to three metacarpal plates, a shaped knuckle-plate, a hinged thumb-defence and finger-lames (with small restorations); the principle borders of the armour formed with plain inward-turned edges, those of the base of the cullet roped, the whole decorated throughout with engraved trophies-of-arms within elaborate strapwork frames filled with pointié foliage, the turners and gauntlets each with trophies incorporating cannon and artillery tools, a running border of flowers at the principle edges, the secondary borders with a frieze-work of blind arcading, the breastplate with a Patriarchal Cross in the centre at the neck; the inside of the skull and the backplate painted with a white inventory number ‘45’, in clean, stable condition throughout (the bottom edge of the left poleyn with light pitting and small chips, the decoration of the culet with areas of wear, minor disarticulations, expertly releathered, some buckles restored): on a wooden stand with leather boots ProvenancePerhaps one of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 22: ‘A three-quarter suit of Plate Armour, engraved with trophies of arms and fleur-de-lys’. A helmet of very similar form, decorated in the same style, is preserved in the former collection of the Dukes of Este at Konopiště, Czech Republic (inv. no. I.c.D-114, and illustrated Šáda 1986, p. 37, no. 18.t.) The specific inclusion of cannon and artillery tools such as ladles and sponges on the turners and gauntlets may suggest that this was intended for a senior officer of artillery. The Patriarchal Cross, also called the Cross of Lorraine, is probably a reference to the venerated relic of the True Cross in the cathedral at Brescia that is housed within a cross of the same form. Two morions of circa 1570-80, decorated with a similar cross along with the rampant lion of Brescia and attributed to the that town’s guard are respectively preserved in the Metropolitan Museum of Art, New York (acc. no. 14.25.532) and the Museo Civico L. Marzoli, Brescia (inv. no. 330). See Rossi and Di Carpegna 1969, p. 55 cat. no. 120. Another armour of this type, formerly in the collection of Tosio Martinengo, and now in the Museo Civico L. Marzoli, Brescia, is illustrated Rossi, p. 77, cat. No B67. The armour in Brescia has a close helmet in place of Zischagge, a matching stud in the centre of the chest, divisible tassets, enclosed elbows, and similar decoration throughout including the rampant lion of Brescia on the breastplate. A cuirass decorated in a similar manner and attributed to the ownership of one of the Counts Martinengo, is preserved in the Armeria Reale, Turin. See Boccia and Coelho, p. 526, nos. 445, 446 and 448. A slightly later cuirass in the Victoria and Albert Museum (inv. no. 5778-1859), is decorated in a related manner, with the conjoined initials ‘AM’, and a Count’s coronet above a Patriarchal Cross and Orb in the centre. The initials are similar to those on the ricasso of a left-hand dagger attributed to Pietro Antonio Martinengo, Count of Brescia (recorded 1644-1671), now preserved in the Art Institute of Chicago (ref. no. 1982.2150).

A VENETIAN SCHIAVONA, EARLY 18TH CENTURY ‡ with broad double-edged blade formed with three long fullers on each face, retaining its leather scabbard cover the forte, decorated with a blind flowerhead on the front, iron basket-hilt of characteristic trellised flattened bars, a pair of straight quillons, one forward-canted, thumb-loop, copper alloy shield-shaped pommel formed with a flowerhead moulding on each face and joined to the guard by a later wire ring, and early leather-covered banded grip, in associated leather-covered wooden scabbard with copper-alloy mounts enclosing the sides of the lower half and the chape applied with a relief panel on each face, 97.5 cm blade ProvenanceRobert Brooker Collection inv. no. S356

Howard Hodgkin (British 1923-2017) "Shutter" from 'More Indian Views' Signed and numbered on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

Keith Cardwell (British 1946-) "Rosita, Flamenco" Signed in ink in the margin, with artist's blind stamp, gelatin silver print.image size 33.5 x 22.5cm (framed 47.5 x 37cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two very minor surface marks found on the paper, and the artist's signature is significantly faded. The print is ornately framed and glazed.

Howard Hodgkin (British 1923-2017) "Sky", from 'More Indian Views' Signed, dated 1976 and numbered 18/60 on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 35 x 43.5cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Howard Hodgkin (British 1923-2017) "Moon (Black Version)" Initialled, dated 1987 and numbered P (Proof) in pencil, printed by Solo Press Inc., New York, with blind stamp, hand embellished lithograph. 30.5 x 51.5cm (framed 45 x 64.5cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition. There are one or two slight undulations running horizontally across the sheet. The print is ornately framed and glazed. The frame has some very minor scuffs and knocks commensurate with age.

Keith Cardwell (British 1946-) "Yuette: Girls Zorro Jazz, Havana" Signed in ink in the margin, with artist's blind stamp, gelatin silver print.image size 33 x 22.5cm (framed 47 x 37cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The artist's signature is faded but legible and there are some slight undulations running horizontally across the paper. The print is ornately framed and glazed.

Osvaldo Salas (Cuban 1914-1992) Che Guevara With printed signature and artist's blind stamp in the margin, vintage photograph.image size 39 x 31.5cm (framed 64 x 56.5cm)The print is in very good, original condition. There are some faint surface marks in the margins of the paper. The print is ornately framed and glazed. The frame has one or two minor scuffs and knocks commensurate with age.

Keith Cardwell (British 1946-) "Alberto Díaz Korda" Signed and titled in ink in the margin, with artist's blind stamp, numbered 19/100 on verso, gelatin silver print.image size 22 x 33cm (framed 42.5 x 52.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The artist's signature and title are slightly faded but legible. The print is ornately framed and glazed. The frame has one or two minor scuffs and knocks commensurate with age.

Howard Hodgkin (British 1923-2017) "Window", from 'More Indian Views' Signed and numbered on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

Keith Cardwell (British 1946-) "Fidel Castro, Havana" Signed and numbered 1/100 in ink in the margin, with two artist's blind stamps, gelatin silver print.image size 26 x 38.5cm (framed 52 x 64cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The artist's signature and numbering is slightly faded but legible. The print is ornately framed and glazed.

Robyn Denny (British 1930-2014) "Generations" Signed, dated '78 and inscribed Colour Proof 3 in pencil in the margin, with printer's blind stamp, etching, aquatint and watercolour.52 x 70cm (framed 58 x 76cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

Keith Cardwell (British 1946-) "Jumping Ballerinas, Cuba" Signed in ink in the margin, with artist's blind stamp, gelatin silver print.image size 23 x 34cm (framed 37 x 46cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some slight undulations running vertically across the paper. The print is ornately framed and glazed. The frame has some minor scuffs commensurate with age.

Eve Arnold (American 1913-2012) "Silvana Mangano, Museum of Modern Art, New York City, 1956" Monogrammed in pencil in the margin and dated 2002, with artist's blind stamp, photogravure.image size 20 x 28cm (framed 38 x 48cm)The print is in very good, original condition. There are some very minor spots of foxing in the margins of the paper. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Keith Cardwell (British 1946-) Dancers, Cuba Signed and indistinctly titled in ink in the margin, with artist's blind stamp, gelatin silver print.image size 23 x 34cm (framed 37 x 47.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The artist's signature and title are significantly faded and there is a minor crease in the lower left-hand corner of the paper. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Keith Cardwell (British 1946-) "Bicycle in the Rain, Havana, Cuba" Signed in ink in the margin, numbered 15/100 on verso, with artist's blind stamp, gelatin silver print.image size 22.5 x 33.5cm (framed 37 x 47cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The artist's signature is faded but legible and there are one or two minor undulations running vertically down the paper. The print is ornately framed and glazed.

John Hoyland R.A. (British 1934-2011) "Anking" Signed, dated '79 and numbered P/P in pencil in the margin, with printer's blind stamp, etching and aquatint in colours.plate size 68 x 53.5cm (framed 97 x 72.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The paper has yellowed slightly in most areas, and there are a number of minor spots of foxing found across its surface. The print is framed and glazed.

Osvaldo Salas (Cuban 1914-1992) "Che Guevara" With printed signature and artist's blind stamp in the margin, vintage photograph.image size 31 x 41cm (framed 54 x 64cm)The print is in very good, original condition with no obvious faults to report. The print is ornately framed and glazed.

Perfecto Romero (Cuban 1936-) Che Guevara and Fidel Castro Signed and initialled, with artist's blind stamp, gelatin silver print.image size 35 x 26.5cm (framed 54 x 44cm)The print is in very good, original condition. There are one or two minor surface marks found on the print. The print is ornately framed and glazed.

Howard Hodgkin (British 1923-2017) "Sun", from 'More Indian Views' Signed and dated on verso, with artist's blind stamp, colour lithograph. 22 x 30cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The painting is framed and glazed.

A VICTORIAN WALNUT DAVENPORTwith brass galleried top, the interior with bank of drawers (three blind), side door opening to four drawers, resting on gadrooned bulbous feet, key in drawer, 89cm high x 60cm long x 60cm deep

'Mika Magic: Monaco Grand Prix, 24th May 1988', after Tony Smith, number 32 of 495, signed in pencil and with printer's blind stamp, together with 'Jordan's Conquest: Belgian Grand Prix, Spa, 1998', number 356 of 395, also signed in pencil with printer's blind stamp, both framed and glazed.45cm x 54cm (frames 70cm x 77cm) (2)