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Early 20th century side cabinet, storage compartment over a blind two door cabinet,

Oak cabinet, egg and dart border and leaded glazed cabinet over a blind cabinet

Good quality solid oak sideboard , upper section with carved frieze and cup and cover supports, lower section with two drawers over a blind cabinet, continuous stretcher with cup and cover supports

Oak sideboard, upper section with egg an dart frieze, lower section with two apron drawers over a blind two door cabinet

After M Chapman - 2 signed prints by M. Chapman depicting scenes with children, both with blind stamp lower left, signed in pencil to the margin, lower right, mounted and framed under glass, image size 30 cm x 23 cm (2)

After William Russell Flint (1880-1969), 'La Voulte Sur Rhone' colour print pencil signed, blind stamped; with 'the Interior at Chichester ltd. edition 29/300 (2)

After Helen Bradley (1990-79) 'April Boating Lake', graphite signed in lower margin colour print, with blind stamp, 37.5 x 55.5cm.

After Helen Bradley (1900-79) 'On a Beautiful Winter's Day', graphite signed in lower right margin, with blind stamp, 27 x 37cm.

Gerald Coulson, 'Solitude', signed in pencil and blind stamped, colour print, I.50.5 x 67cm; together with another similar pencil signed print of a spitfire by Geoff Hunt; and another by Robert Taylor. Condition Report: 'Solitude' has fading. Spitfire is not faded. Robert Taylor print has fading. Frames have only minor damage.

Montague Dawson, 'Thermopylae', signed in pencil and blind stamped, colour print, I.51 x 76cm.

Montague Dawson, 'The Battle of Trafalgar', signed in pencil, blind stamped, colour print, I.73.5 x 91cm. Condition Report: Small tear to mount edge and small scratch to picture - (top left). Rippling to paper. Dust and detritus to corners.Measures: 118cm x 102cm (including frame).

AFTER SIR WILIAM RUSSELL FLINT "Reclining figure", colour print, limited edition no'd 713/850. bears artist blind studio stamp lower left

AFTER SIR WILLIAM RUSSELL FLINT "Bathers", colour print,limited edition no'd 376/850, studio blind stamp lower left CONDITION REPORTS General wear and tear conducive with age and use to include some marks to the mount at the bottom. See images for more details. Measures 49.5cm x 78cm inc frame, 29.5cm x 58cm visible picture only.

Late Victorian oak table cabinet fitted two blind panel doors and standing on bun feet Condition:

Victorian stripped pine linen press, the upper section fitted three slides enclosed by a pair of blind panel doors, the base fitted three long drawers and standing on splayed bracket feet Condition:

Edwardian inlaid and crossbanded mahogany music cabinet fitted nine shelves enclosed by a pair of blind panel doors and standing on spade feet Condition:

Antique oak blanket box having a fielded panelled top, blind panel front and sides and standing on bracket feet Condition:

Sale Item: PRINT THE BLIND FIDDLER (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT @ 20%

A Worcester "Blind Earl" pattern plate of typical form, with raised and painted decoration of leaves and roses, 19cm diameter CONDITION REPORT: Surface scratches and impurities in the glaze, no obvious signs of restoration, gilding rubbed, minor chip to the rim,

A contemporary mahogany display chest, hinged glazed top enclosing felt interior, four blind drawers above, two short drawers, plinth base

AFTER CLIFFORD R. JAMES, a colour print of boys being welcomed home, signed in pencil and bearing blind stamp, plate size approximately 50cm x 63cm

DAVID SHEPHERD (BRITISH b.1931) 'OVER THE FORTH', a signed limited edition print no 120/850, blind stamp, signed in pencil and in felt tip verso, 57cm x 80cm

Ω  A Regency rosewood side cabinet , circa 1820, with blind frieze drawer, 93cm high, 99cm wide, 45cm deep Please note , this lot may be subject to CITES regulations if exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

A Louis Phillipe walnut marble top commode , circa 1840, the mottled grey marble top above chest base with blind frieze drawer, 98cm high, 128cm wide, 57cm deep

Helen Bradley (1900 - 1979) 'The Fair at Daisy Nook' Lithograph, blind stamp and signed in pencil, published by Helen Bradley Prints Limited 1978, 50cm x 76cm

A Spanish style cross-frame armchair, carved with lion heads and Romanesque jewelled blind fretwork, with suspended upholstered back and scroll legs joined by turned stretchers

EDWIN LANDSEER COLOURED ETCHING 'THE MILL' PRINT- BEARING BLIND STAMP

A MAGNUM BURNE-JONES CO WIRELESS FOR THE BLIND FUND RADIO

19th Century mahogany narrow, bow front chest of five long drawers, with blind panelled cupboard doors, on splay legs.(B.P. 24% incl. VAT)

Edwardian mahogany inlaid, blind panelled, two door pot cupboard.(B.P. 24% incl. VAT)

18th Century oak freestanding, blind panelled corner unit or cupboard with four fielded and moulded panels to the top.(B.P. 24% incl. VAT)

Reproduction oak glazed standing corner cabinet with blind cupboard base.(B.P. 24% incl. VAT)

Late Georgian mahogany blind panelled hanging corner cupboard.(B.P. 24% incl. VAT)

An Edwardian mahogany bedside or lamp table, the lower section enclosed by a carved and panelled door and with open alcove with applied blind fit mouldings etc.

An Edwardian mahogany overmantle mirror with rectangular bevelled edge plate flanked by moulded arch panels beneath a blind fretwork frieze together with two others

MATTHIOLUS. "Neu Volkcommenes Krauter-Buch." ed J. Camerarius, B. Verzascha, red and black title, add title & port (both def.) several pages professionally repaired but appears comp, cont blind stamped vellum, folio, Basel, 1678

William Smith (1813-1859) The Daughter and the Blind Man, 1840, oil on canvas 46cm x 53cm (canvas size)

Three new and boxed wooden slatted window blinds along with a new roller blind.

A Gerald Coulson limited edition print 'The Last Glow'.  Numbered 617/850, with Solomon & Whitbread blind stamp, signed and framed. 93.5 x 31cm.

A complete bedroom suite of soft furnishings in voile with black and cream trimmed appliqué flower heads, comprising lined curtains, each 190 x 240 cm drop, a Roman blind, (107 cm wide), contrasting linen blend pelmet, five feather filled cushions and two cord tassel tie-backs

Henri de Toulouse Lautrec, (1864-1901), La Clownesse Assise Mademoiselle Cha-u-Kao, Deux Femmes and Femme au Tub, lithograph, each limited edition 1156/1250 inscribed in pencil, each with a Toulouse Lautrec Circle blind stamp, 50 x 39cm each (3)

After Peter Scott, birds in flight, a print, gallery blind stamp to lower left corner and pencil signed by the artist, 38cm x 53cm, glazed in a wooden frame.

A George IV giltwood and gesso landscape overmantel mirror with single bevelled hexagonal glass. The blind fret scrolling frame, having a pair of vertical glazing bar,s is ground with a border of hatch cut mirror panels, 1m 24cm wide. Condition Report. To be used as a guide only. Damage to the hatched border glass. Central glass with one large imperfection.

A Victorian mahogany pot cupboard with blind fret carving, 88cm. Condition Report. To be used as a guide only. Some scuff marks to the polish.

An aneroid barometer in blind fret carved mahogany case, signed A.Franks Ltd, Optician, Manchester

L S Lowry 1887-1976 Artist Signed Limited Edition Colour Lithograph Print titled 'A Street Scene, near a factory'. Edition of 850. Stamped and numbered lower left. Fine Art Guild blind stamp. Signed by L S Lowry in pencil to margin. Published by Adam Collection Ltd - 1973. Print size only 11.5 by 9.5 inches. Mounted and framed behind glass. No fading. Excellent condition.

Tom Dodson 1910 - 1991 Artist Signed In Pencil Ltd and Numbered Edition Colour Print. No 450 of 850 Pieces. Titled ' Childhood Memories of Salford ' Blind Art Trade Stamped, No Fading ( Excellent ) Mounted and Framed Behind Glass. Print Size Only 0 13.25 x 16.5 Inches.

A George III eight day oak longcase clock, circa 1770, the dial inscribed 'William Glover, Worcester', the hood with a blind fretwork cornice and supported by turned columns, the face door opening to reveal a brass dial and black Roman numerals, the case with a single door, raised on a projecting base and standing on bracket feet, 210cm high, complete with key

A 1930s Art Deco Walnut veneered , eight day mantle clock, having a Westminster chime, the case with blind fretwork decoration

An original 18th-century Insurance Policy, dated 1750, No. 165144, from an area of Leicester where the bones of Richard III were discovered, Friar Lane. Laid/chain-lined paper bearing manufacturer's watermark, engraved image, blind embossed official seals, ink signatures. Presented within a Hogarth style frame.Condition Report: General discolouration, some wear/loss around fold-lines. Unexamined out of frame.

Hermès Togo Leather And Canvas Birkin Bag 35. Pallidum hardware, interior slot and zipper pockets. Signed, blind stamp J in square - 2006. Very light soiling on fabric. Measures 11" H x 13-1/4" x 8". Original rain protector and fabric dust bag included. Shipping $95.00 (estimate $8000-$9000)

Hermes Rouge Casaque Lindy 34 Clemence Bag. Palladium hardware, leather interior with 2 side pockets. Marked appropriately, blind stamp K in square (2007). Gently used with only light wear on bottom edges. Orange dust bag included. Measures 13" L x 9" H x 7" D. Shipping $95.00 (estimate $3000-$4000)

Robert Lenkiewicz (1941-2002), four exhibition posters including 'The Mary Notebook' paintings painted blind and vagrancy, largest 65cm x 42cm (4).

MUNNINGS ALFRED: (1878-1959) English Painter, famous for his images of horses. A.L.S., Alfred Munnings, four pages, 8vo, Dedham, Essex, 20th September 1946, to a friend (name illegible), evidently a young artist. Munnings states that he is pleased to hear that his correspondent is now aware of the 'racket….of the French artists & dealers' and urges him to obtain a copy of Addled Art by Lionel Lindsay, explaining 'You must get this whatever happens. He is an old Australian friend of mine. The book has been reviewed and I am afraid sold out'. Munnings continues to write that he is concerned at what his correspondent has written of the autumn and comments 'Millais, the great Millais, always worked in Scotland every year until the winter drove him home. 'Chill October' a 50 x 40 landscape was painted by the Tay out of doors day by day, 'Murthly Moss' the same 'Over the Hills & Far Away', a snow picture…'Blow Blow Thou Winter Wind' - Superb. What a fellow he was! At 23 he had painted 'The Order of Release' at the same age 'The Blind Girl' in Birmingham now. He did great landscapes every autumn. 'Autumn Leaves' another. Every year he began about now to get on with great pictures' and further adds 'You should by now have found a place where you would have battled it out right through & really set down the scene of English fields….Autumn is the best time of all & you are wrong & young to speak of “discordant” colors of autumn. Nature is never discordant….If you had found a place in Suffolk instead of going to France you would have been well on by now'. Munnings enquires about the academy his correspondent is affiliated to, warning 'Unless you do good work & can show the results you will not be able to go on with it. So begin in earnest' and in concluding writes 'I will send you the Life of Millais if you wish. It is a great book to read with many of his pictures in it.' In a postscript the painter reflects 'What I would give to be young again & no ties - no responsibilities & find a Suffolk scene & just go on painting there - no letters - no meetings & nothing but work'. A letter of fine content, not least for its references to Millais and his work. About EX John Everett Millais (1829-1896) English Painter and Illustrator, one of the founders of the Pre-Raphaelite Brotherhood.  Lionel Lindsay (1874-1961) Australian Artist who published Addled Art in 1942. The work was a vituperative and anti-semitic attack on modernism in art. Munnings, too, was an outspoken critic of Modernism.

DICKENS CHARLES: (1812-1870) English Novelist. Autograph envelope signed, Charles Dickens, addressed in his hand to Mrs. Morson at Urania Cottage, Shepherds Bush. The envelope has had the postage stamp neatly removed and there are two weak postal cancellations to the recto and verso, October 1851. The verso bears Dickens' blind embossed initials. Some light staining and a few small tears to edges, not affecting text or signature. About G Mrs. Morson was employed as superintendent at Urania Cottage, a home for fallen women, which had been established by Dickens and Angela Burdett-Coutts at Shepherds Bush.

REYNOLDS JOSHUA: (1723-1792) English Portrait Painter, the founder and first president of the Royal Academy of Arts. A good D.S., J Reynolds, one page, slim oblong 8vo, n.p., 18th August 1786. The manuscript document, entirely in the hand of the painter, is a receipt for the sum of 'two hundred and sixty one pounds ten shillings' received from Woodcock 'for Pictures done for the late Earl of Tenet, in full of all demands'. Signed by Reynolds at the foot and with a blind embossed revenue stamp to the left of the document. Some very light, minor overall age wear and a few very small, neat tears to the edges of the folds, not affecting the text or signature, about VG Sackville Tufton (1733-1786) 8th Earl of Thanet, Lord Thanet ('Tenet') English Nobleman, the hereditary High Sheriff of Westmorland 1753-86. In their work A History of the Works of Sir Joshua Reynolds P.R.A. (Volume III, published by Henry Graves & Co. Ltd., London, 1899) Algernon Graves and William Vine Cronin record the existence of the present receipt and note that it was probably made by the executors of the Earl of Thanet (who had died in April 1786) and was most likely in payment for the whole length canvas painting of Mary, Countess of Thanet (the daughter of Lord John Sackville, Mary had married Lord Thanet in 1767 and died in September 1778) and that of the Hon. John Tufton (1773-1799, English Cricketer and Politician, son of Lord and Lady Thanet) and their accompanying frames. The painting of Lady Thanet is described by Graves and Cronin as being a profile pose against a landscape background, depicting her wearing a white dress, trimmed with gold, as she looks to her left, leaning her right arm on a pedestal, on which are some flowers, with her left hand holding her robe. Interestingly, Lady Thanet is recorded as having sat twice for Reynolds, in the February of 1770 and again in the same month the following year, some fifteen years before the artist received his payment. The painting was exhibited at the British Institution in 1833.  The portrait of the young John Tufton depicts him in a playful full length pose accompanied by a dog who stands on his hind legs and rests his front paws in Tufton's hands. Wearing a simple green tunic and standing barefoot, Tufton looks directly towards the viewer as he poses by a tree. The painting has been described as a 'work of pre-eminent importance in Reynolds' oeuvre' and gives a 'reassuring view of… [Tufton]… in the untroubled contentment of the leisured class, a picture of health and happiness'. John Tufton's portrait is recorded as being the outcome of a single sitting, also some years before the present receipt was signed, on 3rd February 1777. The work was also exhibited at the British Institution in 1833. Reynolds enjoyed a good working relationship with the Thanet family. Indeed, in addition to the portraits of Lady Thanet and her son, the artist had also previously painted two elder brothers (in 1766-67) and Nelly O'Brien, the mistress of Lord Thanet (on two occasions between 1762-64). The executor referred to in the present document may have been the solicitor Edward Woodcock (d.1790) who was based at Lincolns Inn. The National Portrait Gallery hold three mezzotints of Woodcock by the engraver and printer Samuel William Reynolds (1773-1835), after Joshua Reynolds, published in 1838 by Hodgson & Graves. Provenance: The present receipt was formerly part of the inventory of the noted American autograph dealer Robert Batchelder (1927-2007) and is accompanied by his original catalogue description. Manuscript documents signed by Reynolds relating to the sale of his paintings rarely appear at auction; American Book Prices Current record only one other example having been previously sold, in 2005.

BINYON LAURENCE: (1869-1943) English Poet whose most famous work, For the Fallen, is used in Remembrance Sunday Services. Autograph Poem Signed, Laurence Binyon, two pages, 8vo, n.p. (London), n.d., on the blind embossed stationery of the British Museum. Binyon has boldly penned a fair copy of his famous World War I poem Men of Verdun (1917) which comprises ten stanzas using a rhyming scheme, commencing 'There are five men in the moonlight/ That by their shadows stand/ Three hobble, humped on crutches/ And two lack each a hand' and concluding 'For history's hushed before them/ Ane legend springs afresh/ Verdun, the name of thunder/ Is written on their flesh'. Signed by Binyon at the conclusion. An attractively presented poem, and rare in this form. VG Binyon was too old to enlist in World War I and instead volunteered his services at a British hospital for French soldiers, in the summer of 1916 taking care of soldiers who had participated in the Verdun battlefield. His experiences inspired several poems including Fetching the Wounded and The Distant Guns. The present poem differs slightly to other published versions - in the present example, Binyon commences the seventh stanza with the line 'The shadows, moving by them', whereas other published text reads 'The shadows, maimed and antic'. Manuscript copies of Binyon's poems rarely appear at auction  - American Book Prices Current record only four others having been offered in the last forty years, including a manuscript draft of the fourth stanza of Binyon's other famous war poem, For the Fallen, which was sold by Bonhams as part of The Roy Davids Collection (Part III, Lot 50, 10th April 2013, hammer price £8000).

A roll of Laura Ashley velvet and a fabric blind

Gregynog Press. The Star of Seville: A Drama in Three Acts and In Verse attributed to Lope de Vega translated out of Spanish by Henry Thomas, Gregynog Press, 1935, title with vignette printed in red, blue, orange and black, text printed in red and black, top edge gilt, remainder untrimmed, original blind and gilt decorated black full morocco, joints rubbed, with early inscription to front endpaper 'Ex Libris Thomas Artemus Jones To "D.J.", with love, Mildred Artemus-Jones, September 1945', 8vo, limited edition 50/175, together with Orpheus Press. Rainer Maria Rilke, Die Sonette an Orpheus, geschrieben als ein grab-mal fur Wera Ouckama Knoop, illustrationen von Rigby Graham, Munich, Orpheus Press, 1960, colour linocuts by Rigby Graham, original light brown full morocco, large 8vo, limited edition of 25 copies, this being number 1, signed by Rigby Graham and Douglas Martin, plus Fanfrolico Press, The Complete Poetry of Gaius Catullus translated by Jack Lindsay, Fanfrolico Press, [1929], wood engraved illustations by Lionel Ellis, top edge gilt, original tan full morocco, some marks to extremities, and spine lightly faded, large 8vo, limited edition 170/325 signed by Jack Lindsay Harrop 32 for the first title. Sir Thomas Artemus Jones (1871-1943), journalist, judge and historian married his wife Mildred in 1927, and a volume of his articles was edited by her for posthumous publication in 1944, entitled without my wig. (3)

Michael Love, after, Jumping the Gate, signed in pencil, artists blind proof