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Stein (Gertrude) Four Saints in Three Acts, first edition, two signed presentation inscriptions from the author, the first "Who says and said what he feels to nicely" the second wishing Merry Christmas, both to endpaper, ex-libris blind-stamp of Hugh R. Best to half-title, spine ends and corners rather worn, dust-jacket light browning to spine and panel margins, some minor chipping to spine ends and corners, but an excellent example overall, [Wilson A21a], 8vo, New York, Random House, 1934.

Capote (Truman) Other Voices, Other Rooms, first edition, signed presentation inscription from the author "For David [Diamond], who is very kind - with Truman's admiration. March 12 1948" to endpaper, blind-stamp to David Diamond to head of title, dust-jacket, light browning to spine and lower panel, very minor chipping to spine ends, light rubbing to head and foot, but a near-fine example overall, 8vo, New York, Random House, [1948].⁂ The author's first novel, a southern gothic bildungsroman, inscribed in the year of publication to the composer David Diamond. David Diamond (1915-2005), composer, active in artistic and literary circles, part of a complex love triangle with Carson and Reeve McCullers. For more on Diamond see lot 315 also lots 165, 312 and 316.

Attributed to Johan Georg Bergmuller (1688-1762)Bozzetto for a painted ceiling, lightly impressed with oval blind stamp collector's mark, pen, ink and grey wash heightened in white, 23 x 30cm

A Baxter print - The Love letter, printed in colours with blind stamp to the margin, 45 x 32cm, maple frame; and four further prints (5)

A late 19th Century gilt brass mantel clockWith a silvered dial, black Roman numerals and a blind pendulum aperture flanked by spiral columns,Footnotes:Provenance: Hugo von Hofmannsthal, Schloss Rodaun, Vienna.For further information on this lot please visit Bonhams.com

A charming Flemish mythological tapestry depicting the story of Narcissus and Tiresius,late 17th century, based on Book III of Ovid's Metamorphosesthe scene shows the naiad Liriope carrying her young son Narcissus as they meet the blind soothsayer Tiresius who foretells Narcissus' tragic fate, the figures are framed by a beautiful pastoral scene, with intricately detailed trees and foliage in the foreground, with a town visible in the far distance, within intricate foliate border, 324cm wide, 210cm high (127 1/2in wide, 82 1/2in high) Footnotes:Provenance: Bonhams, Important Design, New Bond Street, London, 27 November 2019, lot 113 and previously acquired from Keshishian, where it was purchased for £34,200, 30th Jan 1995.Literary sources: Tiresias is a name generally applied to soothsayers in the mythological tales of Ancient Greece. Usually his foretellings are given in short maxims which are all correct even though they appear cryptic or indecipherable at first.Often the name of Tiresias is attached to a specific mythical prophecy. It is used as a device to lend a personality to the generic role of the seer, usually in tragic stories. In the story of Narcissus, it is Tiresias who warns his mother, the naiad Liriope, that her son will thrive as long as he never knows himself. Like most oracles, Tiresius is hesitant to offer up everything he sees in his visions.Bk III: 339-358 Echo sees Narcissus'Famous throughout all the Aonian cities, Tiresias gave faultless answers to people who consulted him. Dusky Liriope, the Naiad, was the first to test the truth and the accuracy of his words, whom once the river-god Cephisus clasped in his winding streams, and took by force under the waves. This loveliest of nymphs gave birth at full term to a child whom, even then, one could fall in love with, called Narcissus. Being consulted as to whether the child would live a long life, to a ripe old age, the seer with prophetic vision replied 'If he ne'er know himself'.For a long time the augur's pronouncement appeared empty words. But in the end it proved true: the outcome, and the cause of his death, and the strangeness of his passion.'In B. Phillip's 'Tapestry,' (included with the lot) the cartoon of this tapestry is shown with the caption: 'Pastoral Tapestry, woven at Aubusson in France during the 18th century.' Aubusson weavers used coarse yarn to weave their popular verdures and pastoral scenes, which were often copies of those woven earlier in at the Gobelins and Beauvais.'Literature: B. Phillips, 'Tapestry,' Phaidon, 1994, p. 110.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III carved Mahogany Gainsborough ArmchairLate 18th CenturyWith blind fret decorated arms enclosing a rectangular back and seat, on blind fret decorated square chamfered legs, fret carved decoration possibly later, 68cm wide x 76cm deep x 99cm high, (26 1/2in wide x 29 1/2in deep x 38 1/2in high)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Rowland Langmaid (1897-1956) Atlantic Fleet Battleships at Sea, signed pencil bottom right, blind stamp bottom left, measurements 17 x 35 cm (PL)

K Varler (Eastern European 20th-21st Century) Descending Angel, woodcut, signed, dated '01 and numbered 11/45 in pencil bottom right, measurements 32 x 18 cm (i), frame 57 x 37 cm.Together with a further woodcut titled Knows Where to Fly, signed in pencil and dated '90 bottom right, numbered 4/10, measurements 18 x 30 cm (PL), frame 45.3 x 51 cm, and a coloured etching of a woman holding a lightbulb, initialled BW and numbered 10/10 bottom right, blind stamp below, measurements 12 x 14 cm (PL), frame 47 x 37 cm (3)Provenance: Purchased in Tallin, Estonia, consigned from the private collection of an art therapist

Ronnie Wood (British b.1947) Howlin Wolf, screenprint, signed pencil bottom right, Ronnie Wood Scream Art blind stamp bottom right numbered 86/250, measurements 59 x 42 cm (PL), 72 x 53 cm (SH)Please Note- this lot is subject to VAT on the hammer price

An 18th century and later oak cupboard with a beaded and panelled door, enclosing two later shelves beneath a blind fretwork frieze of trailing foliage and an egg and dart carved cornice, restorations, 59cm wide x 26cm deep x 77cm highCondition report: Later elements including back, shelves and possibly cornice. Chips, dents and scratches. Overall - nice colour and figuring. Door - two planks, but filleted' at some point.

Great Britain 1980 10p Yellow-Brown Block 25, Sq U190 'Var' Blind Perfs cyl 2 phos 20 Kampf Perforator

A Victorian gold fob seal, with blind cornelian matrix, Birmingham 1893

A Dresden Centrepiece of five figures playing blind man's bluff, with oval base, 17in W

Beryl Cook signed print In The Snug, with gallery blind stamp lower left, 68 x 48cm, in modern frame

Beryl Cook signed print Shall We Dance, with gallery blind stamp lower left, 59 x 48cm, in modern frame

Mahogany two door blind panelled table top cabinet, the interior revealing nine fitted drawers. (B.P. 21% + VAT)

Two similar pine single door blind panelled cupboards, the interior revealing fitted shelf with glass fluted and faceted handles. (2) (B.P. 21% + VAT) Dimensions -  58 x 51 x 87 cm  and 62 x 45 x 86 cm Approx. 

Vintage pine sideboard, the moulded top above two fitted drawers and two blind panelled doors. 116 x 45 x 79cm approx.(B.P. 21% + VAT)

Late 19th Century pine single door blind panelled pot cupboard. (B.P. 21% + VAT)  Dimentions 45 x 37 x 84 cm Approx.Has two shelfs inside.

Late Victorian pine kitchen cupboard or sideboard the moulded top above two fitted drawers and two blind panelled doors with brass knob handles. 114 x 46 x 94cm approx. (B.P. 21% + VAT) Staining, indentations and wear to top. Replacement handles, knobs and fittings. Evidence of damp to underside of drawer. Splits in door panels. Signs of age and odour of damp. No obvious visible worm holes.

Late Victorian pine single door blind panelled cupboard, the interior revealing three adjustable shelves. (B.P. 21% + VAT)

Blind single door glazed bookcase or display cabinet with shaped gallery on bracket feet. (B.P. 21% + VAT)

Edwardian stained mahogany and pine two door blind panelled cabinet on projecting base, the interior revealing two fitted shelves. (B.P. 21% + VAT) Dimensions - 77 x 37 x 92 Approx. 

Late 19th/early 20th Century mahogany two door blind panelled free standing cabinet, the interior revealing fitted shelves and the drawers with brass recessed campaign style handles. (B.P. 21% + VAT) Dimensions - 90 x 38 x 104 cm Approx. 

Late 19th/early 20th Century pine two stage kitchen dresser or bookcase, the moulded cornice above ten compartments and two large blind panelled doors with replacement handles. 205 x 37 x 240cm approx.(B.P. 21% + VAT)

Late Victorian pine single door blind panelled free standing corner cupboard, together with another pine two door glazed free standing corner cabinet. (2)(B.P. 21% + VAT)

Pine two stage cabinet back dresser, the moulded cornice above four glazed doors, the projecting moulded base with four fitted drawers with turned handles and four blind panelled doors on a projecting base. 168 x 46 x 215cm approx. (B.P. 21% + VAT)

Reproduction oak two door blind panelled hall cupboard.(B.P. 21% + VAT)

Vintage stripped pine two door blind panelled press type cupboard, the interior revealing fitted drawers and compartments. 125 x 46 x 218cm approx. (B.P. 21% + VAT)

A 19th Century Mahogany Low Chest, the moulded top above a blind fretwork frieze and four drawers with brass handles and escutcheons raised upon chamfered legs, 109 cms wide, 53 cms deep, 81 cms high

Ɵ Rules of the Confraternity of the Cross, in Italian, manuscript on paper [Italy, dated Rome, 13 October 1570] To view a video of this lot, click here. 12 leaves (plus a pastedown and an endleaf at front and back reused from original paperstock), complete, collation: i-iii4, single column of about 27 lines in an italic hand, catchwords on every page and contemporary foliation, titles in capitals, frontispiece with line-drawing of the Cross and the instruments of the Passion, text ending with calligraphic flourishes, watermark of anchor with a circle topped by a six-pointed star (a common type with several Italian examples, see Briquet nos. 477-96, ranging there from c. 1500 to 1565), 'Serra Petrona' in faded ink on frontispiece in contemporary hand (see below), these leaves once kept rolled up and lightly folded at their vertical midpoint, thus small holes and wear there, small spots and stains, else good condition, 260 by 193mm.; in a remboîtage binding, retooled with arms of Catherine de Medici, this most probably in the nineteenth century (see below), scuffs, stains and penmarks, nineteenth-century English armorial bookplate (but this much more foxed than surrounding sixteenth-paper; see below)Sotheby's, 5 December 2000, lot 58.These confraternity rules must have been written in 1570 for a new member of the confraternity, perhaps in Rome, and then stored among his archives and papers, rolled up and slightly flattened, probably in the castle of Serrapetrona, near Camerino in central eastern Italy. Then, three centuries later, they were put into the current binding, with that produced from a blind-tooled binding for a book half the size of these leaves (traces of elaborate tooling on front board), taken off its original volume for its antique leather, turned sideways (hence the dark stain from the original spine running horizontally across the present boards), its original tooling flattened out as much as possible, and then retooled in gilt with floral borders around the crowned arms of Catherine de Medici. The added armorial bookplate of the little-known English collector John Nicholls Browne (part owner of Grenfell, Brown & Co., and recorded as acting for them in a legal dispute in 1837; his bookplate elsewhere recorded by E.R.J. Gambier Howe, Catalogue of British and American Bookplates Bequeathed to the Trustees of the British Museum by Sir Augustus Woolaston Franks, I, 1903, no. 4065) may have come from the volume the leather was reclaimed from, and might suggest a date and place for this forged binding. The nineteenth century saw other attempts to forge Catherine de Medici bindings: see that by Louis Hagué, made c. 1822, and now Folger Library, 227-140q.

Leaf from an early copy of Arator, De Actibus Apostolorum, in Latin verse, with an apparently unrecorded Carolingian commentary, decorated manuscript on parchment [Germany, second half of tenth century] Single leaf, with single column of 23 lines in a short and square late Carolingian minuscule (last two lines of the heading for ch. 1, followed by the whole of ch. 1, excluding line 22 which has been cut away, the heading for ch. 2 and the first two lines of that chapter), using et-ligature integrally within words, a tall capital 'e' with a long tongue ending in a wedge-stroke and an uncial 'R' (compare hand of a contemporary Jerome: Munich, BSB., Clm 6313: Pracht auf Pergament, 2012, no. 21), near-contemporary interlinear gloss in a tiny hand, this also adding some punctuation, each line beginning with an initial offset in the margin, simple red initials, blind-ruled with this causing lifting of parchment along those lines, somewhat scuffed and discoloured, and with a small hole (without affect to text), trimmed at base with loss of a single line there, overall fair and presentable condition, 163 by 138mm. Provenance:Acquired in 2015 from Australian trade. Text:The sixth-century poet Arator rubbed shoulders with the greatest rulers and scholars of Early Medieval Italy. He served as a lawyer in the Gothic imperial capital of Ravenna, where he was treated with distinction by Emperor Theodoric the Goth (454-526), and protected by Cassiodorus (c. 484-c. 585), the intellectual titan of his age. He left the court about 544, and entered papal service as archdeacon of the Church. It was there he composed this work, a versification of the Acts of the Apostles that attempts to draw out the mystical and moral meanings of the texts. By papal order it was read aloud in the church of San Pietro in Vincoli, Rome, over a number of days, and in written form quickly spread across the empire.The earliest witnesses all come from a sudden bloom of interest in the ninth century, with A.P. McKinley listing twenty examples of that century, four of the ninth or tenth century and eight of the tenth century (Arator. The Codices, 1942, pp. 69-70, and perhaps also 'Membra disiecta of manuscripts of Arator', Speculum, 15, 1940, pp. 95-8). That focus of interest also produced four distinct commentaries in the ninth and tenth centuries (see 'Latin commentaries on Arator', Scriptorium, 6, 1952, pp. 151-156), some in interlinear form as here. The script of the commentary here is scuffed in places and wanting, but enough survives to note that it is not any of those catalogued by McKinley. It may well be another, as yet unstudied, Carolingian interlinear commentary.The text is rare on the market in any form, with the Schoenberg Database recording only two manuscript codices as ever having come to the open market, and none of those in the last century: (i) a fourteenth-century codex offered in Sotheby's, 2 March 1837, lot 974, probably the same reappearing in the same rooms, 20 June 1900, lot 7; (ii) a copy of c. 1450 sold by Evans, 6 February 1832, lot 150, reappearing in Thomas Thorpe's famous catalogue of 1200 manuscripts (1832), no. 63, and then again in Evans, 29 June 1839, lot 1369, to he bookseller Thomas Rodd, his cat. of 1841, no. 91; and to these should be added another fifteenth-century copy once owned by the infamous Guglielmo Libri and sold by him to the Ashburnham collection (no. 951 in the 1853 catalogue), and a late fifteenth-century German witness acquired privately by Thomas E. Marston and from him to the Beinecke Library, Yale, in 1964. Only one fragment is known to us, a mid-ninth century fragment in Quaritch, cat. 1036, Bookhands of the Middle Ages (1984), no. 123.

A GEORGE III MAHOGANY OPEN ARMCHAIR C.1770 the serpentine top rail carved with leaves and scrolls, the pierced back with three flowerhead paterae and further acanthus carved scrolls, the conforming arms above a later green leather covered seat, the frieze with blind fret decoration, on cluster column front legs

A GEORGE III MAHOGANY CARD TABLE IN CHINESE CHIPPENDALE STYLE, C.1770 with blind fret carved decoration, the fold-over top with a baize lined playing surface, on twin gate supports and chamfered legs 73cm high, 83.5cm wide, 41.3cm deep

AN EARLY GEORGE III MAHOGANY SECRETAIRE CHEST ON CHEST NORTH COUNTRY, C.1760 the moulded cornice above an archaded frieze, with guttae pendants, above two short and six long drawers, with Rococo brass handles, the upper section with blind fretwork canted angles, with ash banded plinths, the base with fluted split pilasters and architectural quoin detailing, on ogee bracket feet, the secretaire fitted with an arrangement of pigeonholes and eight drawers, flanking an ash banded cupboard with a pair of secret pilaster compartments 178.3cm high, 118.9cm wide, 57cm deep Provenance By family repute, this chest has been in the vendor's family, based in Cumberland, since 1815 when it was gifted to them as a wedding present.

Miscellaneous Tokens and Checks, Transport: Sheffield Corporation Tramways, rectangular brass, for the use of blind person only, stamped 122, 41 x 28mm (Smith 685 –; cf. DNW 127, 2989), square brass 10 Shillings, stamped 134, 30mm (Smith 685 –; cf. DNW 127, 2989); Sheffield Transport Department, brass, for the use of blind person only, trace of name of recipient, 39mm (Smith 685 –; cf. DNW 127, 2989), brass 10 Shillings (2), stamped 93 and 179, both 31mm (Smith 685 –; cf. DNW 127, 2989) [5]. Varied state, all very rare £60-£80

A circa 1930's oak refectory dining table of small proportions, the planked rectangular top over blind fret carved frieze, on reeded, turned and block supports, united by a box stretcher, 76 x 182 x 91cm

Bernard McMullen Limited Edition Print 'Belle Vue Memories' Signed in Pencil Double Blind Stamp 210/1000 - 51cm h x 72cm w

Bernard McMullen Limited Edition Print 'Farewell to Main Road' Signed in Pencil Double Blind Stamp 941 - 51cm h x 72cm w

DAVID SHEPHERD (BRITISH 1931-2017) 'GRANDPA'S WORKSHOP' a limited edition print of a small boy helping his grandad to build a model train, signed to lower margin with blind stamp, 313/850 - no certificate, mounted framed and glazed, image size approximately 58cm x 70cm

A GEORGE III MAHOGANY CHEST ON CHEST, the dentil moulded cornice above a blind fret-work carved frieze over two short above three long graduated drawers, flanked by blind fret-work carved canted corners, the base with slide over three long graduated drawers, all fitted with brass swan-neck handles, raised on bracket feet. 194cm high by 116cm wide by 60cm deep

Georgian style 20th century mahogany chest fitted with four drawers, canted corners with blind fretwork decoration, on bracket feetDimensions: Height: 80cm  Length/Width: 63cm  Depth/Diameter: 46cm

Four framed French floral prints J Marchand a framed and glazed antique print The Blind Girl of the Environs of Rome, pair of Barlottzi style portraits.

TWAIN, Mark. More Tramps Abroad. Chatto & Windus, London. 1897 UK 1st Edition. In original publisher’s cloth. Blind stamp pattern and gilt titling to front board. Gilt titling to spine. Teg. Patterned endpapers. 486pp plus 32pp publisher’s catalogue at end (dated Sept 1897). [1]Condition report: Sun fading to spineSlight crushing to head and tail.

DE BOCK, Thomas. Jacob Maris. The De La More Press, Alexander Moring Limited, Folio, limited to 100 copies on hand made paper. 181pp. With 90 photogravures of the artist’s work throughout the text. In original publisher’s cloth with gilt and blind stamped decoration.Condition report: Covers soiled and stained. Wear to edges.Backstrip detached, held in place with Sellotape.Internally clean.

A Regency mahogany pedestal supper table, having single end blind frieze drawer and raised on four outswept brass capped supports with casters (restored), w.55cm (leaves down), d.93cm, h.72cm

A good small Sunderland orange lustre Bowl, transfer decorated with children playing blind man's buff, 3 1/2'' tall x 6'' diameter.

Scherben um 1720; Dekor um1725/30, kleine birnenförmige Kanne mit gewalztem vergoldetem reich staffiert mit farbigen Chinoiserie Szenen, sehr guter Erhaltungszustand. Kanne weist keine Schäden und Restaurierungen auf, blaue Schwertermarke auf der Glasur. Goldziffer 39, Blindzeichen „X“. Höhe 20 cm. Der Deckel ist wohl nicht original zugehörig, Dekor sehr gut erhalten. Meissen coffee pot, broken glass around 1720; Decor around 1725/30, small pear-shaped can with a bulging gilded richly decorated with colored chinoiserie scenes. Very good condition. Pot shows no damage and restorations. Blue sword mark on the glaze. Gold number 39; Blind sign "X". Height 20 cm. The lid is probably not original. Decor in very good condition.

A SIGNED LIMITED EDITION PRINT AFTER SIR WILLIAM RUSSELL FLINT 'Three Groups' Viviers, with fine art trades guild blind stamp and plain teak frame

AN EDWARDIAN DESIGN SIDE CHEST with blind fret carved upstand over two full width drawers, over two cupboard doors

A Roman blind and 11 various cushions, to include Ralph Lauren and Chelsea textiles

Morestone Three Blind Mice novelty toy / game. Extremely hard to find. Appears very good to excellent in excellent original box.

After William Russell flint, a limited edition print "Mademoiselle Sophie" 686/850 blind stamped, framed and glazed, 46cm x 63cm

After William Russell Flint, a limited edition print entitled "The Trio" pencil signed lower right, FATG blind stamp, framed and glazed, 46cm x 60cm

A 1920’s oak bedroom suite comprising a barley twist dressing chest of drawers and a single wardrobe armoire. The armoire with central mirror door flanked by carved panels. All over a plinth drawer base with flared cornice atop finished with a blind fret worked dentil.Measures, 54 cm H x 93 cm W x 40 cm D

A LATE GEORGE II OR GEORGE III MAHOGANY BACHELORS CHEST OF DRAWERS,, circa 1760, the rectangular top with ogee moulded front and side edges, above a brushing slide with later inset baize writing surface, above two short and three graduated long drawers, all with cockbeading and brass swing handles, flanked by canted blind fretwork angles, above ogee moulded bracket feet, 80cm high x 96cm wide x 52cm deep

A GEORGE III MAHOGANY SECRETAIRE PRESS, late 18th century, with a dentilled cornice and a blind fretwork band, above twin shallow arched panelled doors, opening to slides; the secretaire drawer with fall front above two further panelled doors, on ogee bracket feet, 208cm high; 128cm wide; 64cm deep

A group of four golfing related caricature prints, limited editions with blind stamp, framed and glazed

A box of miscellaneous material, quilts, modern machine stitched quilts and floral blind