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A CHINESE CABINET on stand, the panel doors inset with famille verte porcelain panels, each with lake, boat house and mountain scenes within a blind fret carved surround, the stand with single shelf and carved frieze,19th Century 47" x 51"

An Edwardian Chippendale revival mahogany envelope card table, featuring blind fret carving, width 56cm

A 19th century mahogany Gainsborough type opensided armchair, with good quality needlepoint upholstered back and seat panels and blind fret carving (illustrated)

A faux rosewood, mahogany framed, early Victorian chaise longue, the shaped rest with button back and scroll end, blind carved decoration, raised on reeded and turned supports capped with castors, upholstered in dark pink velvet, well worn.

A PAIR OF 19TH C GREEN GLAZED AND MOULDED EARTHENWARE PLATES WITH FLOWER SPRAYS IN BLIND TRELLIS BORDER

A Georgian mahogany chest on chest with blind fret carved frieze and stiles

AMENDMENT TO CATALOGUE ROD WALKER One window blind (NOT TWO). Oil on canvas. Signed. 93 x 120cm.

BOB BOURNE A window blind. Oil on canvas. 91 x 105cm.

CERI RICHARDS Abstract. Ink sketch. Artist's blind stamp. 18.5 x 26.5cm. (See illustration)

HELEN BRADLEY Figures at a lake. Colour print. Signed in pencil by the artist. Blind stamp. 38 x 55cm.

A 19th century engraving. Blind Man's Buff. Published by The London Fine Art Association, 14th Feb 1887. 38 x 60.5cm. and a lithograph. Monks at work in a kitchen.

CINEMA: Collection of original unsigned 10 x 8 Front of House stills for various British films, all partial sets, including Room at the Top (7), The League of Gentlemen, A Taste of Honey, Blind Date (7), Very Important Person (5), The Man in the Sky, The L-Shaped Room (6), Look Back in Anger, Darling (6) etc. G to VG, 78

A TORTOISESHELL MOUNTED OPTICIAN`S FIVE COLOUR GLASS FOLDING LENSE and one blind; a three lense horn folding magnifying glass and a brass folding magnifying glass (3)

an Edwardian mahogany chiming longcase clock the eight-day duration movement striking the hours on a gong and the quarters on a set of sixteen Gloria gongs set in four runs of four, the twelve-inch break-arch dial having a raised, silvered chapter ring with Arabic numerals, subsidiary seconds dial to the centre and with ‘strike/silent’ and ‘chime/silent’ subsidiary dials within the arch, the mahogany case having a shaped, glazed trunk door, a shaped raised panel to the base, canted corners to the trunk and base with blind fretwork, the hood with a swan-neck pediment with fretwork below and pillars with brass capitals, standing on bracket feet, height 226cm.

A 17th Century carved oak open armchair the back with fret cut top rail, gouged geometric navette band and twin moulded lozenge and blind fret cruciform panels with stylised foliage, having a solid seat on turned legs, united by plain stretchers.

A pair of Chinese carved wood half round side tables the shaped and moulded aprons with blind fret foliate and cloud band ornament, on shaped square section legs with similar blind fret panels, united by later irregular lattice pattern undertiers, 122.5cm (4ft 0 1/4in) across, 87cm (2ft 10 1/4in) high.

Mahogany display cabinet, blind fretwork frieze, two glazed doors with lancet bars, short cabriole legs.

Frank Brangwyn, signed lithograph, landscape with figures by a stone bridge, with blind stamp, 20ins x 16ins

George III mahogany tallboy, with a moulded and blind fretwork cornice above two short and six long graduated drawers with oval brass handles and escutcheons raised on ogee bracket supports

19th Century mahogany silver table in Chippendale style, with a blind fretwork frieze raised on blind fretwork and pierced supports

Good quality late Victorian mahogany side table with a gadroon top above a blind fretted frieze with single drawer, raised on triple column cluster supports with crossover stretcher

AFTER WILLIAM RUSSELL FLINT (1880-1969) "A young woman in an interior admiring a picture on an easel", coloured limited edition print No'd. 307/850, bears blind stamp, 39 cm x 57 cm (ILLUSTRATED) (ARR)

AFTER WILLIAM RUSSELL FLINT (1880-1969) "Waves", coloured artist's proof print, signed in pencil in the margin, published by Frost & Reed Limited of Bristol and London, bears blind stamp, 49 cm x 63 cm (ILLUSTRATED) (ARR)

AFTER SIR WILLIAM RUSSELL FLINT (1880-1969) "Female washing at the well", coloured artist's proof print, signed in pencil in the margin, bears blind stamp, 52 cm x 68 cm (ILLUSTRATED) (ARR)

AFTER SNAFFLES (CHARLES JOHNSON PAYNE) (1884-1967) "Merry England and worth a guinea a minute", chromolithograph, signed in pencil bottom left and with Snaffle bit blind studio stamp (ILLUSTRATED) (ARR) CONDITION REPORTS Overall quite heavily worn and quite a lot of yellowing, dirt and stains, some creasing, and undulations to paper, quite a lot fo foxing and some scuffs.

AFTER HERBERT DICKSEE (1862-1942) "Leopard on the prowl", black and white etching, bearing blind stamp, signed in pencil in the margin, 20 cm x 42 cm (ILLUSTRATED) (ARR) CONDITION REPORTS Is under glass so we are unable to comment on the condition underneath the mount, however frame is slightly mis-shapen along the bottom edge and is dropping slightly in the centre, appears slightly dirty, there is some even yellowing/browning throughout the etching particularly on the outer mount, otherwise appears OK.

AFTER HERBERT DICKSEE (1862-1942) "Tiger gnawing at a bone", black and white etching, bearing blind stamp and signed in pencil in the margin, 21 cm x 47 cm (ILLUSTRATED) (ARR) CONDITION REPORTS Slight, but quite even, browning throughout the etching, mount is particularly browned, it is unframed, when the mount is lifted up it is very discoloured towards the edge of the backing card, with some "splodges" of water damage down the left-hand edge of the backing card, there is clearly some paper attached to the backing card where the mount has been glued down and pulled away. The etching itself is glued down securely onto the card and would be difficult to remove, white edging is quite dirty with some blackening towards the edges, although the main image itself appears in sound condition with some slight discolouration.

A COLLECTION OF MISC. COINS INCL. AN 1888 SILVER FLORIN, 1889 AND 1890 SILVER CROWNS TOGETHER WITH A HALLMARKED SILVER MEDAL " NATIONAL INSTITUTE FOR THE BLIND " AND A PAIR OF VINTAGE GLASSES

After Tom Dodson (1910-1991), When I was Ten, artist signed in pencil to the margin, publishers blind stamp, coloured reproduction, 282/500, 50cm by 75cm

After Laurence Stephen Lowry (1887-1976), Huddersfield, artist signed in pencil to the margin, Fine Art Trade Guild blind stamp, coloured reproduction, 47.5cm by 58cm

Large and impressive English ebonised double fusee bracket clock, the movement striking the hours and quarters on two bells, the back plated inlaid with a classical vase attended by two birds, the 8.5" square brass and silvered arched dial signed Roger Dunster on an oval plate to the matted centre with calendar apertures showing the month, day and date, with moon phase to the arch, within a pillared stepped case with blind pierced foliate panels, surmounted by a bell top and five ball and spire finials, 26" high (a.f)

Mahogany eight day longcase clock, the 12" painted arched dial signed George White, Bristol on the arch above a moon phase, seconds dial and calendar aperture, the case with long flamed wavy moulded door and the hood surmounted by a moulded swan neck pediment, brass ball and eagle finial over blind fret foliate carved panels, 96" high

Good oak and mahogany crossbanded thirty hour longcase clock, the 10" square brass dial signed Archer, Stow on the brass chapter ring enclosing a foliate engraved centre and single iron hand, the case with long door and the hood surmounted by a moulded stepped pediment over a blind foliate fret carved frieze, 78" high

Oak thirty hour longcase clock, the 11.75" square brass dial signed Jacob Lovelace, Exon on the brass chapter ring enclosing a matted centre engraved with birds in flight, the case with long door and the hood surmounted by a moulded stepped cornice over a blind foliate fret carved panel, 76" high

A George III mahogany linen press, with a blind fretwork frieze, over an inlaid cupboard enclosing five internal slides, and over two short and two long drawers, 128cm wide, 204cm high (approximately)

THE BOX OFFICE ROLLER BLIND with printed lettering on red fabric, presently situated above entrance door, 246cm wide (Cafe/Box Office)

An 18th Century oak longcase clock by John Snatt of Ashford, the 12ins arched brass dial with wide silvered chapter ring with Roman and Arabic numerals, subsidiary seconds dial and date aperture, the matted dial centre engraved with birds and urn of flowers to the eight day two train movement striking on a bell, contained in oak case inlaid with chequered bandings, with deep moulded cornice, blind fret frieze and plain turned pillars to hood, arched trunk door and conforming panel to plinth, 84ins high Note : John Snatt recorded working Ashford, Kent, died 1780

A mahogany tallboy of George III design with blind fret ornament, moulded cornice and with canted front corners, fitted nine drawers with crossbanded front and brushing slide, on bracket feet, 34ins wide x 20ins deep x 65ins high

Ashley Bolch, British, b. 1950- "Harbour Hastings"; etching with aquatint printed in colours, signed, titled, and inscribed 133/250 in pencil, 29.5x40cm: together with two further etchings with aquatint printed in colours by the same artist entitled "Rye Harbour" and "Jack & Jill"; both signed, titled and inscribed in pencil, 29.5x40cm and 49.5x52cm respectively: Mark Spain, British, late 20th/early 21st century- "Valley Path"; aquatint printed in colours with embossing and hand colouring, signed, titled and inscribed 28/200, 33x45cm: together with another aquatint printed in colours with embossing and hand colouring entitled "Hill Crest", signed, titled and inscribed 39/200, 33x45cm: Michael Pettersson, British, b. 1938- "Elmswell Church"; etching with aquatint printed in colours, signed, titled, dated `86 and inscribed 46/150, 26x40cm: together with four further etchings with aquatint printed in colours by the same artist, entitled "Riverside Inn", "Stour", "Elmswell Church" and "Orwell", all signed, titled and inscribed, some with blind stamp, various sizes: Linda Hill, British, late 20th/early 21st century- "Calm Winds"; screenprint, signed, titled and inscribed 26/200, 28x12.3cm: together with a similar screenprint by the same artist, entitled "Tranquil Waters", signed, titled and inscribed 25/200, 28x12.3cm: Bob Saunders, British, b.1945- "Purbeck"; screenprint, signed, titled, inscribed 138/175 and embossed with publishers blind stamp, 18.5x22cm: together with three further screenprints by the same artist from the same series entitled "Cheviots", "Clevelands" and "Quantocks", all signed, titled, inscribed and embossed with publishers blind stamp, ea. 19.5x22cm: Clive Harris, British, late 20th/early 21st century- "Sheep Track"; screenprint, signed, titled and inscribed 6/50, 18x24.4cm: together with another screen print by the same artist entitled "Twilight", signed, titled and inscribed 4/45, 18x24.4cm, (unframed), (18), (may be subject to Droit de Suite).

F J Aldridge, British, 20th century- "South Downs"; etching with aquatint printed in colours, signed, titled and inscribed 7/80 in pencil, 32x26cm: together with eleven further etchings with aquatint printed in colour by the same artist, entitled, "Cottage in Perigord", "St Sulpice, Dordogne", "Lusignac, Dordogne", "Window on French Farm", "Purple Fig", "Tamarisk Tree", "Pink Mimosa", "Hanging Garden", "Adventure Balloons", "Farnham Church" and "Hartney Wintney", all signed, titled and inscribed in pencil, various sizes: David Bowyer, British, b.1950- "Greenwich Reach"; etching with aquatint printed in colours, signed, titled, dated `87 and inscribed 8/50, 6.5x9.7cm: together with seven further etchings with aquatint printed in colours by the same artist, entitled "Green Field", "Cliffs", "Church Tower", "Stubble Field", "Drake Teal", "Six Ducks", "Ducks Passing and Departing", all signed, titled and inscribed in pencil, some with artists blind stamp, various sizes,(unframed), (20), (may be subject to Droit de Suite).

John Houston OBE RSA RSW RGI, Scottish 1930-2008- "Temple Garden with Waterfall and Pagoda", 1989; lithograph printed in colours, signed, titled and numbered 6/30 in pencil, bears publisher`s blind stamp, 70x90cm (may be subject to Droit de Suite)

An Edwardian oak vitrine of serpentine fronted form, having a galleried rail over acanthus blind fret carved frieze and glazed door, enclosing four shelves on square moulded supports united by undertier.

An Edwardian mahogany boxwood inlaid and strung vitrine of demi-lune form, having moulded cornice over glazed door and sides enclosing two silk blind shelves, the base with cupboard door on square tapering supports and spade feet united by concave undertier.

An Edwardian mahogany card table, the serpentine fold-over top with florally moulded edge, single gate above an acanthus scrolled blind fret frieze on square moulded tapering supports.

An Edwardian ebonised mirror backed side cabinet, blind fretwork, shaped apron, the central cabinet flanked by shelves

A George III mahogany piecrust tripod table, circa 1770, shaped circular top, fluted and acanthus carved stem, blind fretwork carved downswept legs and pad feet, 71cm high, the top 58cm diameter View on dnfa.com

A pair of mahogany card and tea tables, circa 1770 and later elements, rectangular tops with carved foliate to edge, the carved frieze on blind carved fret legs, card table set and an interior drawer and baize interior, the other lacking drawer, 74cm high, 86cm wide, 43cm deep View on dnfa.com

A mahogany tripod table, circa 1780 and later, piecrust top, fluted and lappet carved stem, three blind fret carved downswept legs and pad feet, 62cm high, 45cm wide; together with another mahogany tripod table in George III style, 19th century, piecrust top, birdcage action, fluted stem, acanthus carved cabriole legs, claw and ball feet, 75cm high, 75cm wide View on dnfa.com

An industrial sewing machine and stand by the Blind Stitch Machine Corporation.

A set of reproduction mahogany hanging wall shelves with blind fret decoration

A mahogany longcase clock, with an 8 day movement striking on a bell, and a brass arched dial with subsidiary seconds dial and crescent shaped date aperture James Reynolds, ROCK BEAR, the corners engraved figures representing the four seasons, the painted moon phase inscribed HIGH WATER AT TOPSAM BARR, the hood with blind fret frieze above a cupid`s bow arched top trunk door, fluted canted corners, above a conforming base panel on bracket feet, 86in (218.5cm) h.

An oak longcase clock, with an 8 day movement striking on a bell, with an 11 inch square brass dial and silvered chapter ring signed John Mercer, HYTHE, the matt centre engraved a bird and with a circular date aperture, the hood with a blind fret frieze and a lenticle trunk door, 77in (195.5cm) h.

An Edwardian mahogany writing table, the raised back with blind fretwork to a tooled cloth surface and a flower carved edge, above three drawers, on moulded supports, 34.75in (87.8cm) h, 42in (106.3cm) w, 21in (53cm) d.

A mahogany bureau cabinet of small proportions, with a detachable blind fret cornice above a pair of glazed astragral glazed doors enclosing adjustable shelves, the bureau with a polished top to a moulded edge fall enclosing pigeon holes and drawers, above four long graduated drawers fitted pierced brass plate handles on bracket feet, with oak sides, 19th century adapted and associated, 80.5in (204.5cm) h, 31in (79cm) w, 23.75in (60cm) d.

Mahogany bow front sideboard, gadrooned outlines, blind fretwork panels over drawers and doors, cabriole legs.

After Montague Dawson: Gale Force Eight artist's proof, blind stamp, signed in margin Chay Blythe

A good set of 18th Century Chippendale style mahogany dining chairs with pierced splats, blind fretwork rails and pierced stretchers.

An early 20th century mahogany plant stand of rectangular form with blind fretwork guilloche decorated frieze raised on barley twist supports united by an undertier

Two Cartons housing all sorts. Sold on Behalf of Guide Dogs for The Blind

LLOYD, Llewelyn. Scandinavian Adventures, during a Residence of Upwards of Twenty Years… second edition. London: 1854. 2 vols., 8vo (255 x 155mm.) 1 map, 12 chromolithographed plates, occasional illustrations. (Plates and adjoining leaves spotted.) Original cloth blocked in gilt and blind (extremities bumped and chipped). Provenance: Henry Ashworth James (armorial bookplate).