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Charlie Johnson Payne, 'Snaffles' (British, 1884-1967)The Bonnie Blue Bonnets-Frae ower the bordersigned hand coloured print44cm x 45cmtogether with 'Anzac', The Canadian and The 'Gunner'all with snaffles blind stamp,largest 43cmx 33cm (3).For further information on this lot please visit Bonhams.com

Charlie Johnson Payne, 'Snaffles' (British, 1884-1967)A Heilan Lada hand coloured print43.5cm x 34cmtogether with Jock (K.I) and Jock - a sergeant of the Seaforth Highlanderslargest 44cm x 33.5cmall with snaffles blind stamp.(3)For further information on this lot please visit Bonhams.com

ALICE BARNWELL. BRITISH 1910-1980 Head of a Terrier; head of a spaniel (2). Etchings with Rembrandt Guild artist's proof blind stamps. Signed in pencil. 5 7/8' x 4¼' plate size. Mounted, unframed

Richard Wood Junior, Salop, longcase clock Richard Wood Junior, Salop, longcase clock, 8-day movement striking on single bell, brass two-piece arched dial applied with makers name and spandrels, chapter ring surrounding secondary minute and date aperture, engraved with Shropshire Star, case with canopy decorated with blind fretwork, trunk with full-length door, box base, bracket feet.width 43cm (17"), depth 25cm (10"), height 218cm (86")Clock movement would benefit from restoration, highly polished dial. Incorrect pendulum, one weight missing.

Edwardian envelope table Edwardian mahogany envelope card table, four flaps opening to reveal green baize lined interior with sovereign scoops, frieze drawer with blind fretwork decoration, original brass bail handles all standing on four French legs united "X" shaped stretcher.56cm (22") square, height 74cm (29")Overall condition good, minor scuffs to top.

A pair of wide oak framed antique large format coloured prints, one entitled 'The Village Festival,' the other 'The Blind Fiddler' - sold with a quantity of assorted prints

A 1.55m vintage oak desk with blind frieze drawer and flanking slides with seven auto-locking pedestal drawers

A 20th Century ebonised longcase clock with blind fretwork decoration and brassed arched dial with Arabic numerals and chime/silent regulator, with spring driven eight day chiming movement

A late Georgian mahogany longcase clock with blind fretwork decoration to hood, the 32.5cm brass and silver square dial marked for Charles Smith, Dublin and with date aperture, with eight day bell striking movement - some moulding loss, some included

An early 20th century wardrobe hand-gilded and lacquered in 18th century Chinese design: blind fret frieze above two elaborately japanned doors decorated with exterior water scenes and within shaped frames, two half-width drawers below similarly decorated and raised on bracket feet with pierced ear-pieces (130 cm wide x 57 cm deep x 194 cm high)

Demas Nwoko (Nigerian, born 1935)Baba Kokoro signed and dated 'Demas Nwoko/ 16/11/65' (lower left); further signed and dated 'Demas Nwoko/ 1965' (verso)gouache on paper56 x 38cm (22 1/16 x 14 15/16in).Footnotes:ProvenanceAcquired directly from the artist;A private collection. Demas Nwoko, a leading figure in Nigerian modernism, is best known as a founding member of the Zaria Art Society, a student group at the Nigerian College of Art, Science and Technology, Zaria that became key players in the development of postcolonial modernism in Nigeria in the early 1960s. The groups significance lies in its insistence on developing a new art based on Nigerian and African traditional aesthetics, forms and processes, but with a modernist sensibility similar to that of the European avant-garde. This idea, theorized by his friend, Professor Uche-Okeke, as Natural Synthesis defined Nwoko's work as a painter, sculptor, teacher, theatre director, designer and architect. In this 1965 painting, Nwoko presents an image of reminiscent of the well-known musician and entertainer of the day, Baba Kokoro. Kokoro (Omoba Benjamin Aderounmu, 1925-2009), was a widely known blind entertainer from Lagos, Nigeria. He was born into a royal family in Owo, Ondo State, and became blind when he was aged ten. He developed a unique style of singing accompanied first by a drum, later by a tambourine. He moved to Lagos in 1947, where he became exposed to major local musicians such as Ayinde Bakare, Bobby Benson and Victor Olaiya. In the 1960s and 1970s he featured regularly on Federal and local radio stations and was widely respected for the depth and wisdom of his lyrics. An early pioneer of Jùjú music, he sang in Yoruba about love, money, conflicts and urban decadence.For further information on this lot please visit Bonhams.com

Pieter Hugo Naudé (South African, 1869-1941)Untitled signed 'Naudé' (lower right)oil on board29 x 37.8cm (11 7/16 x 14 7/8in).(framed)Footnotes:Drawing on Naudé's European training, the present lot embodies the impressionist motifs of his time whilst acting as a pioneer for Neorealism back in his home of Worcester. His broad, impasto brushstrokes display his focus on form and colour, while the scene encapsulates Naudé deciphering who he was as an artist. We see him here breaking away from his training in portraiture and celebrating the vibrancy of his homelands landscape. Coming from a family of farmers who affectionately referred to him as 'Artist', Naudé allowed his love of the environment and the surrounding vivid landscape to define his palette, 'changing his European palette to one saturated in sunshine and colour' .His student, Jan Juta, noted Naudé's emphasis on the importance that they 'must feel as well as see' , in order to portray the experience of a scene. It could be said that this focus of embodying feeling within his art was inspired by his work with the Worcester School for the Blind who, when visiting his family's farm, would experience their surrounding nature beyond its visual realism. Bibliography Adele Naudé, Hugo Naudé, (South African Art Library, 1974), p. 14. Adele Naudé, Hugo Naudé, (South African Art Library, 1974), p. 20.For further information on this lot please visit Bonhams.com

A Chippendale Revival mahogany display side cabinet, blind fretwork frieze, ball and claw feet, 125.5cm high, 139.5cm wide, 41cm deep, c.1925

Schreiber (Lady Charlotte). Fans and Fan Leaves, English/Foreign, 2 volumes, London: John Murray, 1888-1890, half-titles present, 161 and 153 plates respectively, very occasional light finger marks (plates generally clean), printed in double-column, both volumes with oval ink library stamp to verso of title-page, head of B1, verso of plate leaf at rear, and pastedowns, top edges gilt, volume 1 in original red morocco-backed gilt and blind decorated bevel-edged cloth, rubbed spine frayed at ends, upper joint splitting at foot, covers a little finger-soiled in places, volume 2 rebound in red library buckram, finger-soiled and partially faded, some fraying to extremities, upper joint worn and splitting at foot, folio (57 x 40 cm/22.5 x 15.75 ins) QTY: (2)NOTE:Scarce set of both volumes of this landmark work on the subject of fans.

A piece of fabric, Francis Price screen print, "Delamere", approx. 122cm wide x 2m 34cm long, a Francis Price screen print "Sunflower", 121cm wide x 1m 78cm long, a Francis Price screen print, "Delamere", 121cm wide x 187cm long and a blind made from a piece of A Time Present Fabric "Actium" designed by John Drummond for Hull Traders Ltd, 1958. 119cm wide x 106cm long (4)

CREAM CORNER LINEN BASKET BY BLIND-CRAFT

Burton, Richard F. A Mission to Gelele King of Dahome, in two volumes, London: Tinsley Brothers, 1864. Octavo, modern half-calf. Two wood-engraved frontispieces, Vol. I: xvii, 386pp.; Vol. II: vi, 406pp., both volumes blind-stamped Sleaford Literary Institute

Wells, H. G. The War of the Worlds, first edition, first issue with 16pp. publisher's advertisements at rear, Autumn 1897, London: William Heinemann, 1898. Octavo, publisher's grey cloth lettered in black, publisher's advertisement for Six Shilling Novels to verso of half-title, viii, 303pp., 16pp. publisher's Autumn Announcements 1897. Contents very good, incredibly light spots/marks in places, untrimmed edges with some pages jagged from having been opened when uncut, endpapers with some general toning & pale spotting, ffep with blind-stamp for W H Smith & Son, London; binding solid with some shelf-lean, the cloth in good order with some discolouration & marks to spine, very slight bumping & wear to extreme corners/edges

After Sir William Russell Flint (Scottish 1880-1969),"Sensitive Plants",Limited edition print on paper,Unsigned, blind stamped and numbered "70/753" to lower margin,31cm x 42cm,Framed and glazed,With two monk prints after W. Dendy Sadler, 29.5cm x 60cm and 32.5cm x 60cm, in matching glazed frames (3)

A Victorian mahogany demi lune side table, the moulded top above a frieze applied with a blind fretwork border, raised upon a front cabriole support relief carved with foliate detail and extending to a paw foot, united to the barley twist rear supports by a shaped plinth base upon bun feet, 80cm H x 105cm W x 50cm DCondition reportMinor scratches, water marks and stains to the table top, full width joint split 5cm from the back of the top.Two 16cm lengths of beading missing from the lower frieze, otherwise general wear commensurate with age and use 

Houston [(Matilda C.)] TEXAS AND THE GULF OF MEXICO OR YACHTING IN THE NEW WORLD 2 vol. in 1, engraved frontispieces with tissue guards and 8 engraved plates, some spotting, publisher's cloth stamped in blind and gilt, worn with front joint split, 8vo, 1844

Tennent (Emmerson) THE NATURAL HISTORY OF CEYLON engraved frontispiece with tissue guards, in-text illustrations, publisher's cloth stamped in blind and gilt, 8vo, 1861

Francisco José de Goya y Lucientes (1746-1828)El Cantor Ciego (The Blind Singer)Etching, aquatint and drypoint, circa 1818-23, on thick wove paper without watermark, numbered '165' in the upper right corner, platemark 187 x 120 mm (7 1/4 x 4 3/4 in), sheet 307 x 233 mm (12 1/8 x 9 1/4 in), exposure lines from previous mount with minor toning (unframed)Literature:Delteil 30; Harris 35

After Laurence Stephen Lowry: print "People Standing About", blind stamp, signed in pencil, framed and glazed.

A PAIR OF EARLY GEORGE III MAHOGANY COMMODES, c. 1770, the rectangular tops above two drawers, on a blind fret carved stands and on conforming chamfered square legs with spade feet,  each 118cm wide, 56cm deep, 84cm highCondition Report: Handles presumably replaced

A GEORGE III MAHOGANY CASED LONGCASE CLOCK, by Thomas Hunter of London, the pagoda topped hood with blind fretwork panel and two spherical brass finials, over an arched glazed panel door, flanked by columns and enclosing a brass dial with enamel inset inscribed 'Thos. Hunter, London', having pierced spandrels around the enamel chapter ring with Roman numerals and seconds subsidiary dial, the waisted trunk with arched door and moulded rim, flanked by fluted columns with brass capitals, raised on platform base. 235cm high

After Cecil Aldin (1870-1935), two lithographs of horse races. Each artist proof signed lower left in pencil, both published by Richard Wyman & Co, each bearing blind stamp with Artist's Proof No. 327, framed, 36.8cm x 64cm exc.frame (2)

Four boxes of assorted music related items including books, DVD's, video's etc - artist's include Jerry Lee Lewis, Hollies, Pink Floyd, Cream, Blind Faith, Yardbirds and Adam Faith

(Staffordshire Pot lid potlid Prattware) Blind Man’s Buff (246) Snap-dragon (253) and Children Sailing Boats (263) (3)

Early 20th Century British School. Portrait of a monk. Watercolour. 55cm x 41cm. Blind E.S.K. stamp for Examined South Kensington.

A mahogany wardrobe, J S Henry, London, early 20th c, with blind fret carved detail and a marble topped washstand en suite, wardrobe 197cm h; 48 x 109cm (2) Silvering on mirror slightly spotted, washstand originally with superstructure now lacking and marble slab broken in two and re-stuck

An English oak thirty hour longcase clock, Dav'd Collier Gattley, c1760, the 11" brass dial with engraved and matted centre, date sector, pierced steel hand and mask spandrels, in modified flat topped case with blind fret cornice, pillars flanking the glazed door, the crossbanded trunk enclosed by moulded door, pendulum and weight, 201cm h Much dust and dirt with cobwebs, etc, movement seated on two chamfered pieces of timber that rest on the cheeks, hands replaced and slightly rusty, silvering marked, old damage to blind fret

An English walnut thirty hour longcase clock, F Bayley Uttoxeter, c1730, the 11" brass dial with matted centre, date segment, pierced steel hands and mask spandrels, in step top case with blind fret cornice and pillars flanking the glazed door, the trunk enclosed by a breakarched crossbanded and star-inlaid door, on bracket feet, pendulum and weight, 203cm h Much dust and cobwebs, seat board not packed, case with some old veneer repairs, blind fret work worn and lost in places

An English oak thirty hour longcase clock, Will Snow, c1770, the 11" engraved brass dial with silvered date sector and chapter ring, pierced hands and rococo spandrels, in flat topped case with blind fret cornice and pillars flanking the glazed door, the trunk enclosed by a moulded door, on panelled base, pendulum and weight, 207cm h Much dust and cobwebs, etc, in basically good condition

Claire Eva Burton Limited Edition coloured print No.76 of 600, titled ' Goodwood ', with blind stamp signed in pencil by the artist, 19ins x 24ins

Toni Goffe, Limited Edition coloured print titled ' All Mine ', No. 324 of 600, bearing blind stamp and signed in pencil by the artist, 7.5ins x 21ins,

Mahogany longcase clock, the square hood with a blind fretwork pediment and flanking pilasters, above a rectangular moulded door and conforming plinth, the 11in brass dial with Roman numerals and single hand, signed William Rout, Enfield, the thirty hour movement striking on a bell

George III mahogany tallboy, the moulded dentil and blind fretwork cornice above two short and three long drawers flanked by blind fretwork canted corners, the base with a brushing slide above three further drawers, all with original gilt brass handles, raised on bracket feet, 44ins wideSome veneer and moulding repairs needed. Light in colour, no patina.

Mahogany open arm Gainsborough chair, the upholstered back, arms and stuffover seat covered in a red stripe fabric, the arm supports with acanthus leaf carvings, the front square cut supports decorated with blind fretwork, 36ins x 25.5insHeight of seat 15ins

A rectangular stool with overstuffed upholstered seat, blind fretwork decoration to the frieze and on shell carved cabriole legs, 137cm long x 69cm deep x 45cm highThe upholstery with minor marks. The paintwork slightly distressed and with marks as part of the decorative scheme. In generally good condition overall.

Football Daley Blind 16x12 overall Manchester United mounted signature piece includes signed album page and a colour photo pictured in action for Manchester United. Daley Blind is a Dutch professional footballer.

Two boxes of cushions, curtain poles and blind

QUANTITY OF MISCELLANEOUS, to include a vintage sled, a rise and fall blind, a three tier glass and metal stand, two white painted balusters, and a painted wall light (condition - paint worn to balusters ad light) (6)

A Chippendale revival mahogany dressing stool with needlework drop in seat and blind fret carving, width 53cm, height 47cm

After Sir William Russell Flint  Colour print  "Camelita Proof State" dated March 1962 from the Fine Arts Society Ltd Colour print Untitled, unsigned, 123/850 in pencil in margin lower right and studio blind stamp on left in margin Colour print Untitled, 755/850, all framed and glazed (3) 

Miscellaneous items comprising: a GER small steel Paperweight; 4 GWR twin shield Forks; LNER script Knife & Fork; a couple of Signalbox Lever Plates, one brass, one bakelite; a GWR Key stamped with company initials and having a stamped brass tag Iron Stores; a GWR stamped brass sliding bolt; a small Paytin contaning 8 assorted Paychecks; a length of GWR green leatherette window blind with multiple GWR roundel logos and measuring 39in long and 16.5in wide; 3 modern souvenir type Horsebrasses. (16 items)

KEITH HARING (AMERICAN 1958-1990)Fight AIDS Worldwide,lithograph28 x 21 cm (11 x 8 1/4 in.)framed dimensions: 48.5 x 42 cm (19 1/8 x 16 1/2 in.)inscribed with edition 512/1000 lower left; publishers blind stamp lower rightPROVENANCEPrivate Collection, Harrison, New York

SALVADOR DALI (SPANISH 1904-1989)Swans Reflecting Elephants,colored lithographimage: 37 x 57 cm (14 5/8 x 22 1/2 in.)framed dimensions: 66 x 84 cm (26 x 33 1/8 in.)signed lower right, with inscribed edition 20/300 lower left with blind stamp, all in pencil

Charles 'Snaffles' Johnson Payne (1884-1967), 'Wipers', hand coloured print with blind stamp, signed in pencil, image size 28cm x 20cm, framed, together with four other 'Snaffles' W.W.1 prints: Gunners, Jock, Le Poilu and The Gunner - "Good hunting Old Sportsman", all framed (5)

19th century mahogany Chest on Chest, the top section with with dentil cornice, blind fret frieze and reeded pilasters, the whole on bracket feet, replacement brass handles, W:113cm x H:189cm x D:55cm.

19th century mahogany gate-leg folding Card Table, on chamfered square legs with blind fret decoration, the top with splits, W:90 x H:72cm x D:45cm.

A pair of first period Worcester porcelain 'Blind Earl' sweet meat Dishes, painted with relief moulded brier rose, diameter 16cm, together with a pair of leaf shaped Pickle Dishes, decorated in blue with flowers and fruit, 13cm wide (4)

Tony Stocker (British 1939-2003), 'The Green Blind, Venezia', oil, signed, framed.Qty: 1

James (Henry) The Two Magics. The Turn of the Screw [and] Covering End, first edition, title printed in red and black, 32pp. advertisements at rear, light browning to endpapers, small armorial bookplate of Robert, Earl of Crewe, original issue blue cloth with four irises in blind to upper cover, lettered in gilt, light discolouration to spine, slight bumping to spine tips and corners, extremities a little rubbed, an excellent copy, [Edel & Laurence A52a; Tymn 3-123], 8vo, William Heinemann, 1898.⁂ The first edition in book form of Turn of the Screw, one of the best and most influential ghost stories ever published.

Bentley (E. C.) Trent's Last Case, small ink ownership name to front free endpapers, original blind-stamped cloth, [1913] § Mason (A. E. W.) At the Villa Rose, half-title browned, 1910 § Allingham (Margery) Sweet Danger, 1933, first editions, original cloth, extremities lightly bumped and frayed, spines a little faded, still overall very attractive copies; and 7 others, detective fiction, 8vo (10)⁂ First title is scarce, "one of the three best detective stories ever written" - Agatha Christie.

SAS War Diary 1941-1945. The Anniversary Edition, number 6 of a limited edition, facsimile of original document, colour and black & white illustrations, original blind-stamped leather over boards, two small light stains to upper board, Extraordinary Editions, 2011.

Fleming (Ian) Goldfinger, first edition, original boards, covers with skull design blocked in gilt and blind, spine lettered in gilt, very slight bumping to spine tips, dust-jacket, light toning to spine, spine ends and corners a little chipped, light creasing to head, light rubbing to extremities, an excellent copy, 8vo, 1959.

Fleming (Ian) Thunderball, first edition, original boards with skeletal hand design in blind to upper cover, spine lettered in gilt, original boards, dust-jacket, very slight toning to spine, spine ends and corners a little chipped, light creasing to head and foot, extremities a little rubbed, a very good, bright example, 8vo, 1961.

Fantastic Four 39 Marvel Comics. Marvel comics Group. Vol 1 No.39 The World's Greatest comic magazine Fantastic Four A Blind Man shall lead them. From 1965. This comic magazine is in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.

An Early XX Century Oak Four High Sectional Bookcase, with blind fret frieze, four glazed leaded doors, on square supports (not assembled).