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An approximate 160 x 90cm blackout roller blind and a quantity of bags etc

After Hannington Bird, pencil signed print of a horse with blind stamp to margin

'Its a Dogs life' by G W Woods signed in Pencil with blind stamp

After Andy Warhol (American 1928-1987) Marilyn (burgundy) Screenprint in colours on wove Numbered 86/100 in pencil, and stamped with artist's signature Stamped Leo Castelli, New York, stamped 530 West 25th Street New York on a loose inset Published by Leo Castelli Gallery, New York, in collaboration with George Israel Editeur, bearing their blind stamp on a loose inset Dimensions: (Frame) 26.5 in. (H) x 23.5 in. (W)  (Image) 17 in. (H) x 14.25 in. (W)

Beryl Cook (British, 1926-2008) Four colour reproduction prints Publ. by Alexander Gallery Publications Ltd, Bristol To include: [a] Bathing Pool, edition of 850, signed in pencil, with publisher's blind stamp in margin [b] Dancing on the Bar, edition 333/850, signed and numbered in pencil [c] The Birthday Cake, edition 468/650, signed and numbered in pencil [d] Lunchtime Refreshment, signed in pencil, with publisher's blind stamp in margin Property of a nobleman

ARR AFTER LAURENCE STEPHEN LOWRY (1887-1976) *ARR'The Harbour' print, signed in pencil in the margin, blind stamp, published in 1972 by Venture Prints,45 x 58cm. Good condition, no particular areas of fading - frame is a little tired.

ARR AFTER EDWIN PENNY (1930-2016) *ARR'Turtle Doves' 1/500, 'Goldfinches, 'Kingfishers' and 'Magpies', signed prints, published by Venture Prints Ltd, blind stamps to margins, Frost and Reed labels verso, one has no glass,54 x 39cm. (4)

ARR AFTER LAURENCE STEPHEN LOWRY (1887-1976) *ARR'The Cart', print, signed in pencil to the margin, blind stamp,52 x 40cm.

A continental white metal goblet, engraved with blind cartouche, on turned stem and circular platform foot, 12.5cm high, 130g

SHAKESPEARE (WILLIAM) Pyramus & Thisbe, images by Chris Nurse, published by THE OLD STILE PRESS, 2003, limited edition 30/160, signed by the artist, all the images, single and two-colour are woodcuts by Chris Nurse and were printed from the wood, the book is half-bound in brown leather with heavy boards covered with printed papers with designs by the artist, further designs, together with titling, are blind-blocked on the leather.Auctioneer's Note: The Old Stile Press in Monmouthshire was started by Frances and Nicolas McDowall in 1979. Well known internationally for the quality of their books. Books are designed and printed by Nicholas McDowall, working collaboratively with the artists. All the printing is letterpress and leaf printing, and using wood blocks, wood engravings and lino blocks. The Old Stile Press is a well-known private press and publishing house that specializes in creating limited-edition, finely crafted books. Founded by British printer and publisher Nicolas McDowall in the early 1980s, the Old Stile Press is highly regarded.Provenance: private collection Vale of GlamorganComments: a fine example

Beryl Cook (British,1926-2008) - The Bathing Pool - a limited edition colour lithograph on paper. Signed in pencil to lower right. Blind stamp to lower left corner. Limited edition of 850. Published by Alexander Gallery, Bristol. Mounted, framed & glazed.Measures approx. 77cm x 63cm including frame.

Beryl Cook (British,1926-2008) - Street Market - a limited edition colour lithograph on paper. Signed in pencil to lower right. Blind mark to left lower corner. Published by Alexander Gallery, Bristol. Mounted, framed & glazed.Measures approx. 62cm x 60cm including frame.

Beryl Cook (British,1926-2008) - Lunchtime Refreshments - a limited edition colour lithograph on paper. Signed to lower right in pencil. Blind stamp to lower left corner. Published by Alexander Gallery, Bristol. Mounted, framed & glazed.Measures approx. 76cm x 86cm including frame.

Beryl Cook (British,1926-2008)- Two on a Stool - a limited edition colour lithograph on paper. Signed in pencil to lower right. Blind stamp to lower left corner. Published by Alexander Gallery, Bristol. Mounted, framed & glazed.Measures approx. 65cm x 49cm including frame.

Banksy (1974, after): 'Girl with Balloon', multiple, ed. 19/200Work: 100 x 70 cm Frame: 117 x 87 cm The work with in the right bottom corner a blind stamp of 'P.O.W. Printmaking' (P.O.W. or Pictures On Walls, the main publisher of Banksy prints).

René Magritte (1898-1967, after): 'Les Amants', lithograph in colours, ed. 101/275, dated 2011Work: 51 x 38 cmFrame: 82,5 x 68,5 cm The lithograph based on the painting 'Les Amants' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner).

René Magritte (1898-1967, after): 'La nuit de Pise', lithograph in colours, ed. 117/275, dated 2011Work: 51 x 38 cmPaper: ca. 56 x 43,5 cmFrame: 82,5 x 69 cmThe lithograph based on the painting 'La nuit de Pise' by Rene Magritte and edited by Philippe Moreno, with the authorisation and under control of the ADAGP, representing 'La Succession Magritte' (see also the blind stamps in the left and right bottom corner). 

Roberto Catena-Tonnelata (British 20th Century) : 'Orwell Bridge', watercolour signed with initials and dated '01, 27cm x 43cm Provenance: exh.'Wall to Wall' Richmond 2010; a charity auction - many artists used a pseudonym to maintain anonymity. Donor's comment: "This watercolour of the elegant bridge over the Orwell estuary was painted by an old friend in Suffolk. Like a number of talented artists, he is clinically colour-blind, which explains the astonishing palette."

Paul Rebeyrolle, L'Oiseau Noir, 1973, lithograph, signed in the plate, blind stamp of Maeght, sheet 90cm x 60cm, unframedGood condition

Dumas (Alexander) The Count of Monte-Cristo, 2 vol., first English edition, 20 wood-engraved plates after M. Valentin, frontispiece to vol.1 trimmed and laid down, some light scattered spotting and patches of damp-staining, slightly heavier to plates in places, hinges splitting, original cloth, sympathetically rebacked preserving portions of original spine, light surface markings, preserved in custom-made drop-back box, 8vo, Chapman and Hall, 1846.*** An attractive set of this cornerstone of French literature, rare in original cloth.The Count of Monte-Cristo first appeared in English as an illustrated serial in the London Journal earlier this same year. No translator’s name is provided, yet almost every successive English edition has been based upon this work. There seem to be three variant cloths by Chapman and Hall with no priority discernible. This copy in the plain blind-stamped cinnamon cloth without the central gilt medallion, as in the Manney copy. 

England & Wales.- Ordnance Survey.- [Ordnance Survey of England and Wales, on the Scale of One Inch to a Mile], 81 map sheets only (of 88: lacking 77, 78, 80, 81, 82, 87 & 88: Anglesey, Cheshire, N.Derbyshire & S.Yorkshire) and Index sheet in 22 boxes, engravings, each sheet c.650 x 960mm., dissected and mounted on linen edged in blue silk with numbered vellum thumb tabs (one or two missing), with pink diamond paper stickers to versos, occasional soiling, folding into 22 black straight-grain morocco boxes with decorative borders in gilt & blind and pull-off lids, spines titled and numbered in gilt, gold paper edges, a little rubbed and scuffed, some corners damaged, but a handsome set, large 8vo, Lt.Col. Mudge [& Colby], The Tower, 1805-24.*** The maps cover the whole of Southern England and Wales, ending at the River Humber in the north. The Index sheet (dated 1824) extends only to sheet 84 (North Lincolnshire) with 80 & 81 (listed as Northwich and Buxton) appearing blank. This set contains 85 & 86 up to the Humber but lacks 87 & 88 (listed as S.Yorkshire on spine of box).

Tanner (Robin) The Memorial Portfolio: Twelve Etchings, with accompanying booklet by John Russell Taylor, number 31 of 110 sets, 12 etchings by Tanner, each numbered in pencil with blind-stamp to corner, tissue guards, loose as issued in original cloth drop-back box, paper label to upper cover, booklet in original wrappers loose in pocket inside lid, folio, Merivale Editions, 1989.

Sammelband.- Aristotle. Physicorum libri, collation: *-**8 a2 b-n8 o4, multiple ink ownership inscriptions to title in early hand and a library stamp, 1558, bound with De caelo libri quatuor, collation: a-g8 h2 *6 **4, 1553 and De generatione et corruptione libri duo, collation: aa-dd8 ee2, 1558 and Meteorologicorum libri quatuor, collation: A-K8, woodcut illustrations or diagrams, 1558 and De anima libri tres, collation: a-f8 g6, 1558 and De sensu et sensili, memoria et reminiscentia..., collation: a-i8 k6, lacking k6 (presumably blank), 1558, together 6 works in 1, all titles with woodcut printer's devices, occasional ink underlining or line markings and small notes to margins, more frequent to first work, works 2 & 3 with manuscript ink alteration to title imprint date, generally clean with occasional instances of light foxing, later ink inscription to front endpaper and pastedown, contemporary pigskin over wooden boards, stamped in blind in a panel design surrounding a central oval of a male head in profile, presumably intended to be Aristotle, paper labels to spine, an instance of neat (?early) repair to lower cover, some staining, brass clasps, housed within a custom-made modern drop-back box, 8vo (c.163 x 108mm.), Lyon, Antoine Vincent. *** An excellent sammelband of six important Aristotelian works of natural philosophy and more scientific areas in an ornate contemporary binding, covering physics, the heavens, ontology and biology, meteorology, the soul, and the senses and memory among others. Seemingly a scarce imprint, all by  Calvinist bookseller Antoine Vincent in Lyon, with USTC listing no copies of any in the UK.

Fleming (Ian) Diamonds are Forever, first edition, one or two spots to fore-edge, otherwise internally fine, original boards with upper cover decorated in blind with silver diamond to centre, spine lettered in silver, lower corner bumped, dust-jacket, some light and expert restoration and retouching to spine head and upper edge, in effect a very sharp and excellent copy, 8vo, 1956.

Shakespeare Head Press.- Spenser (Edmund) The Works..., 8 vol., one of 375 copies on hand-made paper, printed in red, blue and black, hand-coloured wood-engraved illustrations and decorations by Hilda Quick, lettering for titles, headings and initials designed by Joscelyne Gaskin and engraved by Quick, bound in black goatskin, upper covers with lattice ruled in blind and tooled in gilt with large floral device to centres and three smaller flower heads at four intersections with small gilt squares along lattice lines, spines titled in gilt with three flower heads to head & foot and black goatskin labels with author's name in large gilt letters as on titles, mustard silk doublures and flyleaves, turn-ins tooled in gilt, t.e.g., others uncut, spines a little faded, very slight rubbing to head of spines and some gilding, a handsome set, 4to, Oxford, Shakespeare Head Press, 1930-32.

Oxford.- Ackermann (Rudolph, publisher) A History of the University of Oxford, 2 vol., first edition, list of subscriber's, engraved portrait of the Chancellor Lord Grenville, 114 hand-coloured plates comprising 64 aquatint views by Buck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others and 17 stipple-engraved plates of academic costumes and with the 33 portraits of the Founders (often lacking), vol. 2 half-title with short tears at gutter and expert repairs, occasional off-setting, handsome contemporary black straight grain morocco, expertly rebacked retaining original backstrips, gilt doublet filet, edges with broad gilt roll and narrow blind roll, large gilt diamond with floral corners and blind triangles with floral corners, 5 raised spine bands, richly gilt spines, [Abbey Scenery 280; Tooley 5], large 4to, 1814.

Fitzgerald (F. Scott) The Great Gatsby, first edition, first issue with 'northern' to p. 119, 'it's' to p. 165, 'chatter' to p. 60, 'sick in tired' to p. 205, and 'Union Street station' to p. 211, faint spotting to half-title, title and final page, with a few spots from fore-edge straying onto the odd internal page but largely very clean, original blind-stamped cloth, extremities bumped, spine a little faded but overall an excellent and very sharp copy, 8vo, New York, 1925.

Fleming (Ian) Goldfinger, first edition, ink mark removed leaving some abrasion to corner of front free endpaper, original boards with skull design in gilt and blind, spine lettered in silver, dust-jacket, spine toned, the odd nick to edges, corners and extremities a little creased and chipped, 8vo, 1959.

*** Please note, the description of this lot has changed *** Chaucer (Geoffrey) The Workes of Geffray Chaucer newly printed, with dyvers workes whiche were never in print before, [edited by William Thynne], double column, black letter, both titles within woodcut architectural borders, B1r with woodcut of the Knight before castle, E6v with woodcut of the Squire, woodcut decorative initials, lacking 3G6, 3Q1 and final blank, 2B3&4 and X4 supplied from another copy and on different paper stock, ownership inscription of Bishop Hobhouse of Nelson to front free endpaper, title with ownership inscription dated 1583 and few ink smudges, title and colophon f. with date supplied in early ink manuscript, a few instances of early ink passage-marking or annotation, E1&2 small loss to fore-edge affecting some letters, trimmed, sometimes into text at fore-edge and affecting some headlines/pagination, occasional light soiling or small staining, some light browning, 19th century blind-tooled calf, neatly rebacked preserving original backstrip, lightly rubbed, [Pforzheimer 175; STC 5074], folio (277 x 174mm.), [Nicholas Hill] for Robart Toye, [c.1550].  *** A good and largely complete copy of the undated fourth collected edition, one of four variants to be published simultaneously by four London booksellers (William Bonham, Richard Kele, Thomas Petit and Robert Toye), each variant bearing a different colophon. This is the last edition of Thynne's highly regarded version of The Workes. 

Scotland.- McIan (R.R.) & James Logan. Picturesque Gatherings of the Scottish Highlanders at Home, on the Heath, the River, and the Loch, 24 hand-coloured lithographic plates, some heightened with gum arabic, some plates trimmed fractionally touching imprint, some spotting, green morocco by Bayntun-Riviere, with decorative thistle corner-pieces blind-stamped in gilt over purple onlays, with same motif in compartments on spine, folio, Ackermann and co., 1848.

Levant.- Hobhouse (John Cam, 1st Baron Broughton) A Journey through Albania and other provinces of Turkey in Europe and Asia, to Constantinople, first edition, engraved frontispiece, 17 hand-coloured aquatints (7 double-page), 2 folding maps, one with short splits to foldlines, one plan, 2 facsimiles, 2 plates of sheet music, E1 with short marginal tear, occasional marginal water-staining, scattered spotting, ex-library with neat blind-stamp to title, later half plum morocco, sunned spine, Nottingham Library blind-stamp to upper cover, fractional bumping to corners and extremities, [Blackmer 821], 4to, 1813. *** "Hobhouse was an intimate friend of Byron, with whom he made the journey described in this book. He returned to England in 1810 and became involved in politics on the liberal platform. In 1823 he became active in support of the London Greek Committee and may have played some part in Byron's decision to return to Greece." (Blackmer)

MAHOGANY CIRCULAR OCCASIONAL TABLE, with blind fretted frieze, on triple cluster column legs67cm diameter The top has an ageing split. All corner fretwork sections at tops of legs are present though at two legs these are held in place with old masking tape, would appear to be an easy enough fix. One of those corner frets is missing a small oval 'loop' shape. See added images for details.

GEORGE III STYLE MAHOGANY CHEST ON CHEST, 20TH CENTURY with blind fret frieze over drawers and on bracket feet, in two sections60cm wide, 167cm high

A George III mahogany three-compartment tea caddy, having military style brass mounts, side handles and gilt-and-blind-embossed claret morocco lid lining, 32 cm x 17 cm x 14 cm

After Ezra "Elmer" Keene (1853 - 1929)A pair of blustery seascapes with waves violently crashing onto the sharp rocks, as seagulls circle the tempestuous skies, prints, bearing Louis Wolff & Co of London blind embossed mark, late 19th Century / early 20th Century, uniformly framed in gilt slips and ebonised frames under glass, 44 cm x 58 cm overall[Keene was born in Nottinghamshire and during the 1870s abandoned his profession as a miller and baker to become an artist and photographer. He produced images for postcards depicting coastal, rural and moonlight scenes.]

The Rolling Stones - 6 LP Records: The Rolling Stones LK 4605 3rd Press 1A/4A, No2 LK 4661 -2A/-2A Unboxed Logo 'Blind Man' text on sleeve (Sleeve damaged), Big Hits Vol 1 & 2 Mono 1st Pressings, Vol 2 in Octagonal sleeve Unboxed Logo -1A/-3A, The Rolling Stones In Concert 2xLP Dutch Press and Rolled Gold 2xLP.

Jazz; Yama & Jiro’s Wave – Girl Talk LP Record, Three Blind Mice TBM2559, 1975 Japanese Release, No Obe or Booklet.       

After Beryl Cook (1926-2008), 'Dog in the Dolphin', a limited-edition coloured print, no.305, signed by artist with pencil within the margin, 27.5 x 55.5cm, blind stamp, with certificate of authenticity.

ROCK; thirty-three albums including U2 'Under a Blood Red Sky', 'The Unforgettable Fire' and 'The Joshua Tree', Kate Bush 'Hounds of Love', John Mayall 'USA Union', 'Bottom Line' and 'Back to the Roots', The Smiths 'The Queen is Dead', Mick Fleetwood 'The Visitor', Fleetwood Mac, 'Tusk' double album and 'Then Play On', Jimi Hendrix 'The Story of Jimi Hendrix' double album German pressing, 'The Who 'Tommy' double album and 'Who are You', Canned Heat 'Future Blues', The Rolling Stones, 'Get Yer Ya-Ya's Out!', 'Emotional Rescue' and 'It's Only Rock 'n' Roll', Captain Beefheart 'Strictly Personal' on Sunset Records, Blind Faith self-titled album on Polydor, etc.Condition Report: Blind Faith gatefold sleeve has detached.

A collection of vinyl LPs comprising 'Country Blues Classics' Vol 1, 2 and 3, 'The Immortal Charlie Patton' No.1 and 2, 'The Country Blue' Vol 2, 'Henry Thomas Sings the Texas Blues', 'The Rural Blues Xtra', 'The Story of the Blues' (a documentary history of the blues on record compiled by Paul Oliver), 'Blues Rediscoveries' Compiled and Edited by Samuel B Charters, 'Blind Willie McTell: 1940, The Legendary Library of Congress session', Bukka 'White Mississippi Blues' Vol 1, Frank Stokes with Dan Sane and Will Batts Roots RL-308, 'Portraits in Blues Vol 7' Big Joe Williams, Woody Guthrie 'Bound For Glory, Really! The Country Blue 1927-1933' Limited Edition, 'The Mississippi Blues 1940 Vol 5', 'Just Jimmy Reed', 'The Country Blues Edited by Samuel B Charters', and 'In The Spirit N.Two OJL13'.

† LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a limited edition lithograph, 'His Family', signed in pencil lower right, Fine Art Trade Guild blind stamp lower left EJB (472), further printed 503, published by Adam Collection Ltd ref. no. ASP9L72, 55 x 72cm.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgThere is discolouration to the print caused by sun damage and a further stain lower left and tape marks to the top edge and corners.

A quantity of vinyl LPs to include Peter Cetera 'Solitude/Solitaire', Gerry Rafferty 'North and South', Ozzy Osbourne 'Bark at the Moon', Bon Jovi '7800° Fahrenheit', Ozzy Osbourne 'The Ultimate Sin', Starship 'Knee Deep in the Hoopla', Journey 'Raised on Radio', Mr. Mister 'Welcome to the Real World', Meat Loaf 'Blind Before I Stop', Pat Benatar 'Seven the Hard Way', Van Morrison 'No Guru, No Method, No Teacher', Alice Cooper 'Constrictor', Styx 'Cornerstone', Tears for Fears 'The Hurting', Bonnie Tyler 'Secret Dreams and Forbidden Fire', Madonna 'The First Album', The Rolling Stones 'Emotional Rescue', with two posters, Blue Oyster Cult 'Cultosaurus Erectus', Elton John 'Jump Up', Bon Jovi 'Slippery When Wet', Magnum 'Marauder', The Alan Parsons Project 'Ammonia Avenue', Genesis 'Abacab', Dire Straits 'Love over Gold', Eric Clapton 'Money and Cigarettes', Kim Wilde 'Water on Glass', ACDC 'Who Made Who', Mr. Mister 'I Wear the Face', Eurythmics 'Revenge', George Benson 'While the City Sleeps...', A-ha 'Hunting High and Low', Sting 'The Dream of the Turtles', Icehouse 'Man of Colours', The The 'Infected', Alice Cooper 'Special Forces', Meat Loaf self-titled album, Warren Zevon 'The Envoy', Eurythmics 'Touch Dance', Mike Oldfield 'Ommadawn', Kool & The Gang 'Emergency', David Essex 'All the Fun of the Fair', Jackson Browne 'Lives in the Balance', The Tubes 'Outside Inside', Journey 'Departure', Rainbow 'Straight Between the Eyes', Van Morrison 'Beautiful Vision', 'Toto IV', Bryan Adams 'Cuts Like a Knife', Talking Heads 'Stop Making Sense', Eric Clapton 'Behind the Sun', Tom Petty and the Heartbreakers 'Southern Accent', ZZ Top 'Afterburner', Bryan Adams 'Reckless', Southside Johnny & The Asbury Jukes 'Love is a Sacrifice', Supertramp '...Famous Last Words...', Dan Hartman 'Relight My Fire', Kevin Rowland and Dexys Midnight Runners 'Too-Rye-Ay', the Steve Miller Band 'Abracadabra', etc.

Flämischer Meister des 17. JahrhundertsVIER TAFELBILDER EINES FLÜGELALTARESJeweils Öl auf Eichenholz. Altparkettiert.96 x 47 cm.Neuere Rahmen mit Wasserschlagleiste.Die Bildtafeln sind mit Sicherheit Seitenflügel eines Klappaltares, wobei sich auf das Hauptthema des ehemaligen Mittelbildes keine Rückschlüsse ziehen lassen. Die Szenen aus dem Wirken Jesu lassen sich chronologisch ordnen: HEILUNG DES BLINDEN BARTHIMÄUS (Markus 10,46-52; Lukas 18,35-43; Matthäus 20,29-34).JESUS HEILT EINEN KRANKEN („Steh auf, nimm dein Bett und geh!“, Markus 2,1-12).GEFANGENNAHME AUF DEM ÖLBERG, Darstellung mit Petrus, der dem Römer Malchus das Ohr abschlägt. DAS PFINGSTWUNDER. Die vier Szenen sprechen für eine große Anlage, da hier wesentliche Szenen, wie Kreuzigung etc. nicht erhalten sind. Die Heilungsdarstellungen zeigen, dass es sich hier um ein Werk für eine Spitalkirche oder Klosterkirche mit Spitalaufgaben gehandelt hat. Die Hauptfiguren sind jeweils vor einem leicht abgedunkelten Hintergrund mit weiterer Figurenstaffage und Architektur dargestellt. Einige Figuren tragen phrygische Mützen, ein Verweis auf den orientalischen Raum des Geschehens, ferner auch die Darstellung von Priestern um den Hohepriester. Der Malstil zeigt in der Blaufärbung des Hintergrundes noch die Nachwirkungen der flämischen Malerei der vorangehenden Generation. A.R. (14306711) (11)Flemish School, 17th centuryFOUR PANEL PAINTINGS OF A WINGED ALTAR Each oil on oak panel. Old parquetting. 96 x 47 cm.The panel paintings are certainly the side wings of a folding altar, although conclusions regarding the main topic of the former central painting cannot be drawn. The scenes from the ministry of Jesus can be arranged chronologically: HEALING OF THE BLIND BARTIMAEUS (Mark, 10). JESUS HEALING A SICK PERSON (“Get up, take up your bed and walk!”, Mark, 2: 1-12). THE ARREST ON THE MOUNT OF OLIVES, depiction with Peter cutting off the ear of Malchus. THE MIRACLE OF PENTECOST.

Pieter Brueghel d. J., 1564 Brüssel – 1638 AntwerpenDER STURZ DER BLINDENÖl auf Holz. Parkettiert.Durchmesser: 24 cm. Beigegeben ein Gutachten von Drs Luuk Pijl, vom 31. Mai 2022 mit der Nummer 427 welcher das vorliegende Gemälde eindeutig der Hand des genannten Künstlers zuweist. Er weist auch auf die Untersuchung von Prof. Dr. Peter Klein vom 21. Juli 2021 hin der die Holztafel auf kurz nach 1615 datiert. Zug von sechs blinden Männern in einer Landschaft, die aneinander gehalten ihrem Anführer folgen, der jedoch bereits in ein Sumpfloch gefallen ist. Im Hintergrund tiefer liegende Landschaft mit Flusslauf. Die Darstellung entspricht der im Neuen Testament aufgeführten Parabel, die nach Matthäus 15,14 in der niederländischen Malerei häufig zitiert wurde. Zu den Meistern, die sich dem Thema gewidmet und Anregung für Themenbehandlung bei weiteren Malern geliefert haben, zählt Hieronymus Bosch (1450-1516), vor allem aber Pieter Brueghel d. J. (Variationen u. a. in: Museo e Gallerie Nazionali di Capodimonte, Neapel). Die Darstellung ist als Sinnbild für die Blindgläubigkeit der Welt und deren Folgen zu sehen. Darstellung im Rund, aufgeführt und abgebildet im Werkverzeichnis von Klaus Ertz mit Texteintrag: „Freie, gegenüber Pieter I seitenverkehrte Abhandlung des Themas.“. In Amsterdam, bei Mak van Waay (14. Okt. 1942, Nr. 1) als Pieter I. Eine ähnliche Komposition ist im Werkverzeichnis unter Kat.Nr. 45a zu finden. Provenienz: Kunsthandel de Boer, Amsterdam, bis 1934.Sammlung C. Castiglioni, vor 1937.Mak van Way Auktion, 14. April 1942, Lot 1 (als Pieter Brueghel d. J.) Privatbesitz, Europa, seit 1980er-Jahre.Literatur: Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637). Die Gemälde mit kritischem Oeuvrekatalog, Lingen 1988/2000, Bd. I. S. 193, Kat. Nr. A 37.Ausstellungen:Galerie Pieter de Boer, Helsche en fluweelen Bueghel, Amsterdam 1934, Nr. 11 (dort im Katalog als Niederländischer Privatbesitz). (1432041) (†)Pieter Brueghel the Younger, 1564 Brussels – 1638 AntwerpTHE BLIND LEADING THE BLINDOil on panel. Parquetted.Diameter: 24 cm.Enclosed is an expert opinion by Drs. Luuk Pijl, dated 31 May 2022, with the number 427, which clearly attributes the present painting to the hand of the aforementioned artist. He also refers to the investigation by Prof. Dr. Peter Klein, dated 21 July 2021, which dates the wooden panel to shortly after 1615.Provenance: Until 1934 Kunsthandel de Boer, AmsterdamBefore 1937 C. Castiglioni collection.Auction Mak van Way, 14 April 1942, lot 1 (as Pieter Brueghel the Younger) Private collection, Europe, 1980s.Literature: Klaus Ertz, Pieter Brueghel der Jüngere (1564 - 1637). Die Gemälde mit kritischem Oeuvrekatalog, Lingen 1988-2000, vol. I. p. 193, cat. no. A 37.Exhibitions: Amsterdam, Galerie Pieter de Boer, Helsche en fluweelen Bueghel, 1934, no. 11 (as private collection, Netherlands).

Eleganter versilberter SpiegelHöhe: 130 cm. Breite: 110 cm.Frankreich, um 1840.Profilierter Rahmen mit reich vegetabil und figürlich reliefierter, sowie versilberter Oberfläche. Das wohl noch originale Siegelglas facettiert und partiell blind. (1431352) (13))

Late 18th century, stamped NJ. Each with gray marble top above a blind fretword-carved frieze, draped with laurel swags and united by a waterleaf-gilt carving above a curved back support. Height 13 inches, width 4 inches, depth 4 inches. Qty: (4)Chipped gilding.Chipped gilding.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

*** Please note, the description of this lot has changed ***  Gérard (Manuel, binder).- Baudelaire (Charles) Les Fleurs du Mal, number XLIV of 50 copies on Japon Impérial, from an edition limited to 353, mounted colour self-portrait of the author, 33 hand-coloured lithographed plates from the 1935 edition by Mariette Lydis all signed in pencil, tipped in facsimile plate, bound in black goatskin inlaid in various colours, by Manuel Gérard, upper cover with design of evil face surrounded by flames formed by blind rules with inlaid goatskin eyes, lips and wavy strips in red, green, orange and purple, spine titled in gilt, dark red calf doublures, black silk moiré linings, marbled flyleaves, original wrappers bound in, g.e., with half black goatskin chemise and painted board slip-case (rubbed and split at edges, crudely repaired with tape), 4to (binding c.330 x 260mm.), Paris, 1928.

Marius-Michel, binder.- Bourget (Paul) Pastels, number 59 of 200 copies, colour illustrations by Robaudi and Giraldon, finely bound in dark blue goatskin, by Marius-Michel, upper cover titled in gilt with recessed panel of cyclamens inlaid in burgundy, beige, lilac and green goatskin and stems tooled in blind, spine titled in gilt with four raised bands, pink floral silk doublures and linings, doublures within border of gilt fillets and lines of small dots with leafy ornament to corners, signed at foot of front turn-in, marbled flyleaves with bookplate of Louis Barthou and label of Paris Exposition Universelle de 1900, original pictorial wrappers bound in, g.e., board slip-case (slightly rubbed), 8vo (binding c.250 x 170mm.), Paris, 1895.*** Handsome binding by the master binder. Marius-Michel (1846-1925) trained at his father's bindery but soon developed his innovative use of floral and plant motifs in bindings. This Art Nouveau style became the mode and he the supreme practitioner until Legrain's modern Art Deco designs emerged following the First World War, when Georges Cretté took over his master's business. This binding was exhibited at the Paris Exposition Universelle in 1900, at which Marius-Michel was awarded a Grand Prix and Chevalier of the Legion of Honour. An almost identical binding, with variation only in colours, is illustrated in Duncan & de Bartha's Art Nouveau and Art Deco Bookbinding, no.181 p.144.

Mercier (Daniel-Henri, binder).- Morand (Paul) Fermé la Nuit, number 19 of 370 copies, from an edition limited to 407, 5 colour etchings and many illustrations by Jules Pascin, some double-page, bound in intersecting rectangular blocks of dark blue, green, purple and black goatskin, by Daniel-Henri Mercier, with 5 plastic coloured vertical strips lettered "Pascin" onlaid on covers (3 to upper, 2 to lower), upper cover with author's name in blind curving across at head, spine titled in green and gilt, purple or japanese paper doublures and endpapers, signed at foot of front turn-in, original glazed red wrappers bound in, g.e., preserved in half dark blue goatskin chemise and slip-case, small 4to (binding c.245 x 200mm.), Paris, 1925.

Rodin (Auguste).- Mirbeau (Octave) Le Jardin des Supplices, one of 30 copies on chine with an additional suite of plain plates, from an edition limited to 200, 20 lithograph plates by Auguste Rodin signed by the artist on the stone, all but two colour, each bound with additional plain plate and captioned tissue guard, light foxing to a couple of plates, with 2 pencil preparatory drawings by the binder mounted on sheet and bound in at end (one marked with tool numbers), bound in dark purple goatskin, by Charles Lanoë, spine titled in gilt with five raised bands, red goatskin doublures with illustration from title-page tooled in blind to centre, signed at foot of front turn-in, dark red silk moiré linings, marbled flyleaves, original printed wrappers bound in, g.e., preserved in half dark purple goatskin chemise (spine a little rubbed and faded) and board slip-case (very slightly rubbed at edges), [Artist & the Book 261; Artist & the Book in France p.341; Manet to Hockney 19], 4to (binding c.330 x 250mm.), Paris, Ambroise Vollard, 1902.*** Fine copy of Mirbeau's erotic novel, the only work to contain original plates by Rodin.

van Dongen (Kees).- Badreddine-el-Bass Raoui (Hassan) Conte des 1001 Nuits, translated by J.-C.Mardrus, number 272 of 200 copies on Hollande van Gelder, from an edition limited to 310, decorative title, 7 pochoir plates coloured by J.Saudé and numerous illustrations by Kees van Dongen, with the 4 censored erotic plates bound at end, some light offsetting, small stain to corner of first censored plate, bound in dark blue goatskin, by M.Burkhart, upper cover onlaid with two birds in natural and tan calf against a sky tooled with stars in gilt and desert horizon in blind at foot across both boards, spine titled in gilt with stars, original wrappers with pochoir illustrations bound in (spine rubbed and torn, repaired), uncut, board slip-case (slightly rubbed), 4to (binding c.335 x 260mm.), Paris, [1918].*** The first book illustrated by van Dongen, in an attractive binding.

Lanoë (Charles, binder) .- Carco (Francis) Quelques-une, number 22 of 120 copies on Arches, etched plates and illustrations by Louis Legrand, this copy bound for Henri Vever with an original drawing, an additional suite of plates, prospectus and one of the original copper plates inset into front inside cover, with Autograph Letter signed from Legrand to Vever loosely inserted, occasional light foxing to main text, bound in splendid russet brown goatskin tooled in gilt, by Charles Lanoë to a design by Jules Chadel, covers tooled with all-over design of large circles outlined in small gilt dots around a small ornament in gilt & blind, the intervening spaces filled with small inlaid black goatskin shapes tooled in gilt within frames in blind, rows of gilt dots and gilt and blind fillets running across top and bottom of boards, spine with title and ornaments in gilt and ruled in blind, rear doublure tan calf, borders with similar decoration, "Ex Libris Henri Vever" to foot of front turn-in, signed by Chadel and Lanoë at rear, original wrappers bound in, g.e., preserved in half russet brown goatskin chemise (spine slightly faded) and board slip-case (a little rubbed), 4to (binding c.290 x 235mm.), Paris, 1931.*** Superb binding by Charles Lanoë (1881-1959), who worked for both Charles Meunier and Petrus Raban.

German Third Reich WW2 Army Afrika Korps issue sun helmet. A good clean example of green felt material with leather chin strap and edging. Retaining original National and Army metal shields. To the green interior, red skull cap with leather sweat band blind tooled with makers details of "JHS". Minor wear. No breaks, wear to leather edging, cap possibly replaced. GC Payment by Bank Transfer ONLY

A Victorian walnut work or sewing table, the moulded hinged cover opening to a compartmented interior with central covered well, within a tapering body applied with blind fretwork panels and foliate scroll brackets, upon a squat baluster column and four cabriole supports, 70cm H x 49cm W x 38cm D (at fault)

George III mahogany glazed library bookcase, later converted to a gun cabinet, the moulded dentil cornice over a blind fretwork frieze and a pair of glazed doors opening to three adjustable shelves, upon the associated base formed with a brushing slide above a pair of panelled cupboard doors, all upon bracket feet, 220cm H x 117cm W x 38cm D

An Edwardian mahogany bijouterie table, the circular top with blind fretwork edge and with glazed panels all round raised on tapered legs of square section united by a galleried shelf.  Height 76 cm, diameter 51 cm.

An Edwardian inlaid mahogany display cabinet, with moulded blind dentil cornice above a pair of partially glazed and panelled doors opening to shelves and raised on tapered legs of square section terminating in spade feet. Height 169 cm, width 91 cm, depth 36 cm.

A Queen Anne style serpentine fronted chest on chest, the top half with moulded cornice above two short and three long graduated drawers with brass drop handles flanked by blind fretwork canted angles, the base fitted with three further drawers and slide. Slide with bone knob handles and all raised on cabriole legs terminating in pad feet. Height 154 cm, width 62 cm, depth 43 cm.

A 19th century mahogany blind fretwork carved urn stand, with pierced gallery candle slide and moulded legs united by raised stretchers.  Height 68 cm, width 37 cm, depth 37 cm.

An Edwardian mahogany turnover top games table, with blind fretwork carved frieze and raised on carved cabriole legs terminating in scroll feet. Height 75 cm, width 61 cm, depth 40 cm.