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Buckingham (J.S.). The Slave States of America, 2 vols., 1st ed., [1842], eight eng. plts., orig. blind-stamped cloth gilt, rubbed and some wear to spines, 8vo, together with Williams (Gomer), History of the Liverpool Privateers and Letters of Marque, With an Account of the Liverpool Slave Trade, 1st ed., 1897, folding frontis., three facsimile documents at rear, orig. cloth gilt, rubbed on spine, 8vo, with other history and biographies, etc., including slave trade interest (6 shelves )

Lee (Edwin). Cheltenham and its Resources: Mineral Waters, Climate, etc., Considered Chiefly in a Sanative Point of View, 1851, commercial ads. both front and rear, orig. blind-stamped cloth gilt, a little worn at head and foot of spine, small 8vo, together with Daubeny (Ulric), Ancient Cotswold Churches of Cheltenham, [1921], b & w illusts. from photos and drawings, orig. cloth, lettered and blocked in black, a little rubbed on spine, 4to, plus Stark (Freya), The Lycian Shore, 1st ed., 1956, b & w illusts. from photos, orig. cloth in d.j., 8vo, plus other travel, topography and natural history etc., mostly 20th-c. hardback publications, many in d.j, mostly G/VG (6 shelves)

*Dugmore (Major A. Radclyffe). Caribou Stag, Newfoundland, 1907, vintage platinum print, pencil inscription by the photographer(?) to verso, Ô9 yards away, photographed from a blind. My hands were frozen through having to keep still for so long & I could not focus the camera but had to wait until the stag came within the distance at which the camera had been set`, 430 x 355 mm, mat mount (1)

A 19thC mahogany veneered pine chest of drawers with blind frieze drawer and two drawers below and three graduated with applied columns on plinth, 131cm wide x 115cm high.

Frank Martin (1921-2005): `Norma Talmadge`, limited edition etching signed titled and numbered 33/100, blind stamp `Seen Editions London` 45cm x 30cm

A twin handled oval comport: Highland Music (418) and another similar: The Blind Fiddler (417) both with oak leaf and acorn borders with profuse gilt decoration (2)

Blind Man’s Buff (246) framed

A GEORGE III MAHOGANY BUREAU BOOKCASE, the upper section with blind fretwork carved frieze above a pair of astragal glazed doors, enclosing shelves, the lower section with a slant front, opening to reveal a fitted interior, above a pair of short drawers flanking a central drawer over three long graduated drawers, raised on bracket feet. 2.32m by 1.10m by 0.51m

Lionel Edwards - Hunting Scene, with the field following hounds up across the downs, photographic colour print, 36cm by 50.5cm; `The Essex 1928`, photographic colour print, 36.5cm by 51cm; `The Middleton Hunt at Stittenham Wood, photographic colour print, 38.5cm by 52cm, all signed in pencil in the margins with Fine Art Trade Guild blind stamps, framed (3)

Archibald Thorburn - Wigeon in Flight, signed colour print, Fie Art Trade Guild blind stamp, 43cm by 30cm; P Cromack - Geese in Flight, signed and dated (19)92, oil on canvas, 49cm by 59cm (2)

Lionel Edwards - `The Devon and Somerset Stag Hounds. The Lay-on`; `The Bramham Moor at Bickerton Bar`; `VWH at Coln St. Aldwyn`, with hound remarque to the margin, all signed colour prints with Fine Art Trade Guild blind stamps and published by Eyre & Spottiswoode, 38cm by 52cm (3)

Cecil Aldin - Grand National - The Canal Turn, and The First Open Ditch, a pair of colour prints, signed in pencil and with Artist Proof blind stamps numbered 228 in the margins, published by Richard Wyman, in glazed oak frames, labels to verso, 36.5cm by 65cm;

A DERBY PLATE boldly painted in bright enamels with a Dishevelled Bird observed by a smaller bird, its tree perch growing from a clump of ferns and foliage, the shaped and moulded blind diaper border with puce and blue florets, in gilt rim, 21cm diam, c1765-70 A similar example is illustrated Rice (D G), Derby Porcelain The Golden Years 1750-1770, 1983, plt 108 (a). ++In fine condition with pin hed nick on underside of rim at 9 o`clock

A PAIR OF CROWN DERBY FIGURES OF A BOY AND GIRL PLAYING BLIND MAN`S BLUFF probably modelled by William Stephan, in a two tone blue spotted dress or coat and yellow striped skirt or brown breeches, on oval gilt base, 18cm h, printed mark, c1878-80 ++Boy - hands restored. Girl - hairline crack in left wrist and flat chip on side of base

A MAHOGANY BLIND FRET CARVED DISPLAY TABLE the shelved superstructure enclosed by a glazed door, on square tapered legs with undertier, 141cm h; 42 x 58cm, early 20th c ++In good condition

A GEORGE III OAK AND CROSSBANDED LANCASHIRE CHEST with panelled lid and fitted with drawers and blind drawers flanked by reeded pilasters, with shaped apron and ogee feet, 94cm h; 53 x 145cm ++Handles replaced, minor shrinkage cracks in side panels

A painted hexagonal hanging lantern, in George III style, double hexagonal knopped finial, shaped top, plain and dentil moulded edge above a band of blind fret carving, glazed side panels incorporating a door, 188cm high, 91.5cm wide

Fleming (Ian) Thunderball, 1961, Cape, first edition, black cloth with blind-stamped skeletal hand, dust wrapper priced 15s. (tape stains to endpapers and flaps)

Mahogany side cabinet vitrine the upper section with swan neck and pierced pediment, single door cabinet over a display cabinet on tapered legs with blind fretwork carving 58cm wide

5 SMALL PRATT WARE POT LIDS DEPICTING ICE SKATING, A LADY READING, CHRISTMAS EVE, BLIND MAN`S BLUFF A/F AND ONE OTHER A/F

VALENTINE CARD, an unused English paper Valentine card, central applied hand-col’d litho scene, bordered in gilt & blind, with integral blank leaf, ca. 1850, 10 x 8ins. (1)

[BINDING] a good ART NOUVEAU pigskin octavo binding (on Verrall’s Collected Literary Essays 1913) tooled in blind with sparing use of gilt, binder’s monogram SP in oval (for SYBIL PYE), some old minor restoration to foot of spine, L., ca. 1915.

APULEIUS (Lucius) Opera…, 4to, engr. frontis, contemp. vellum stamped in blind, Paris, 1688.

SALLUST (C. Crispius) De Coniuratione Catilinae Historia. Eiusdem de Bello Iugurthino, 8vo, pp. 208, (31), last leaf backed & lacking lower third (i.e. the colophon), navy straight grain morocco gilt & blind, bkplate of John Jebb, Paris, Rob. Stephanus, 1544.

HERBERT (J. R.) illustrator: Legends of Venice, 4to, add. pict. engr. title, 10 plates, cloth gilt & blind, L., ca. 1840.

Four handwritten notes from Princess Victoria: "Received from Lt. Col. Phipps the sum of £1 0s 0d, my monthly allowance, Victoria" and dated 1850, 1851, 1852 and 1855, one with Buckingham Palace blind stamp, one with the Princess`s monogram and coronet (4).

A Limited Edition print, after David Shepherd, signed, blind stamped and numbered

A print after L S Lowry, street scene, blind stamped

A vintage paper roller blind

A leather covered panel with applied bronze plaque with relief decoration of a blind man holding a sceptre in a jester`s type outfit and dated 1424 - 1924, East European, the panel signed Simonovsky V. Oliva

HILDA MARY PEMBERTON (exh.1897-1940) - Landscape with brook and Withies, etching, signed in pencil and with Raphael Tuck blind stamp, 19.5cms x 14.5cms

C18th Oak Straight Fronted Hanging Corner Cabinet with single blind panelled door under small cornice

A LATE GEORGIAN MAHOGANY LINEN PRESS, the upper section having moulded pediment with dentil and blind fret frieze, twin doors enclosing five period shelves, on a base with two short and two long drawers, raised on bracket feet, 186cm high x 128cm wid e

Victorian mahogany two section bookcase, the upper section fitted five shelves enclosed by a pair of glazed doors, the base fitted conforming blind panel doors and standing on a plinth base, 137cm wide

19th Century brass bound figured walnut table top chest, fitted three drawers, each having an inset brass handle and enclosed by a pair of blind panel doors, 30cm wide

Art Deco figured walnut eight piece dining suite, comprising: rectangular top table on twin serpentine shaped panel end supports, 183cm long, sideboard, the raised centre section fitted two blind panel doors flanked by a serpentine shaped door to either side, 152cm long and two carver chairs and four standards, all on front sabre supports

Early 18th Century oak box seat settle, South West Yorkshire region, the back with three carved panels and five blind panels below, open scroll arms, the box seat with a triple panel front, 179cm wide

Laurence Stephen Lowry (1887-1976) - Signed coloured print - Crime Lake, signed in pencil and with Fine Art Trade Guild blind stamp coded for 462, 46cm x 60.5cm A.R.

Helen Bradley MBE (1900-1979), Walking in the Park, a pair of pencil signed colour prints, bears publishers blind stamp, 32cm by 26cm

After David Shepherd, ‘As we remember them in the last days of stream’, print, pencil signed and publishers blind stamp, copyright Solomon and Whitehead Ltd, 48cm by 90cm

A George III style two stage, flat front mahogany freestanding corner cabinet with a two door astral glazed and shelved display top having a moulded cornice, dentil frieze and blind fretwork surround, set on a two door base with conforming blind fretwork supported on bracket feet, 201cm high by 75cm wide

Smith (J[ohn], clockmaker) Horological Disquisitions concerning the Nature of Time, and the Reasons why all Days, from Noon to Noon, are not alike Twenty Four Hours long in which it appears the Impossibility of a Clock`s being always kept exactly true to the Sun....To which is added, The best Rules for the Ordering and Use both of the Quick-Silver and Spirit Weather-Glasses: And Mr. S.Watson`s Rules for adjusting a Clock by the Fixed Stars, first edition, imprimatur on verso of title, with letterpress table of equations printed in red and black on folding sheet tipped in (second table only, of 2, torn and repaired), very small tear to upper edge of title and following leaf repaired, washed, modern calf with double rule border in blind, red calf label on spine, preserved in modern marbled board slip-case, [Baillie p.120; Bromley 791-792; Houzeau & Lancaster 10172; Tardy p.233; Wing S4106], 8vo, for Richard Cumberland, 1694.

A fine George I green japanned eight-day longcase clock with lunar calendar. Edward Cockey, Warminster, circa 1720. The five finned pillar movement rack striking the hours on a bell mounted vertically above the plates, the frontplate with extension to carry the motion work for the lunar calendar, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the basket of flowers and foliate scroll engraved and chased matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed ED. COCKEY, WARMINSTER to lower edge, the angles applied with fine urn-centred scroll cast gilt spandrels beneath arch with a central rotating foliate engraved disc with circular aperture to reveal a lunar disc representation of the age of the moon and blued steel pointer for the fixed silvered outer scale calibrated for the lunar month and flanked by dolphin and foliate cast gilt mounts, the case with wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above three-quarter columns attached to the gilt foliate spray decorated hood door, the trunk with rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape bordered by further gilt foliate scroll borders, the conforming plinth base adorned with Ho-Ho birds and foliage to front and with moulded double skirt, 229cm (90ins) high. Provenance: The property of a private collector. Born in 1669, Edward Cockey senior was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed that he subsequently learned the trade. Edward was clearly a talented and well-connected clockmaker who in 1707 made an extremely complicated astronomical clock for lord Weymouth for the Great Hall at Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another example as a gift to Queen Anne for her drawing room at St. James`s Palace (now in the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and, although initially thought to have followed in his father`s footsteps, apparently chose to become a wine merchant instead. There is a record of the death of an Edward Cockey clockmaker in 1768 (which probably relates to Edward junior). The dial of the current lot, with decorated centre and lunar calendar to arch, coupled with the finely proportioned case (which has survived with the original finish intact) exhibits Edward Cockey`s individual and innovative approach to both function and aesthetic quality.

A George V mahogany breakfront display cabinet, the blind fretwork frieze above a central glazed door flanked by glazed panels, the base with two drawers and cupboards, on block legs, height approx 185cm, width approx 129cm.

MANTELL, Gideon Algernon. The Medals of Creation; or, First Lessons in Geology. London: Henry G. Bohn, 1844. 2 vols., 8vo (171 x 104mm.) Hand-coloured frontispieces, 4 lithographic plates (2 hand-coloured), 1 folding plate, illustrations. (Some spotting, heavier to plates.) Original cloth, blocked in gilt and blind (extremities bumped, lower joint of vol. I split.) Provenance: presentation inscriptions to front-free endpaper.

BIBLE, In English. The New Testament of Our Lord Jesus Christ. London: Robert Barker, 1608. 8vo (203 x 154mm.) Wood-engraved title surround. (Browning or soiling throughout, a few old repairs, shaved with loss to some chapter headings.) 19th Century morocco blocked in blind, g.e., gilt turn-ins (extremities scuffed).

A pair of French enamelled opera glasses, marked `Lemaire et Paris` to the mother of pearl eye pieces, the body enamelled with couples playing blind man`s bluff

A Framed Print after Sir William Russell Flint, `Los Cientos`, Signed in Pencil with Blind Stamp for the Fine Art Trade Guild, 51 cm x 37.5 cm.

A Framed Print after Sir William Russell Flint `A Question of Attribution`. CEF Blind Stamp and Signed in Pencil by Artist, 43 cm x 55 cm.

A Framed Print after Sir William Russell Flint, `Castanets`. Blind Stamp and Signed in Pencil by the Artist, 53 cm x 38 cm.

A Framed Print After Sir William Russell Flint, `In My Studio`. Blind Stamp for Fine Art Trade Guild and Signed in Pencil by the Artist, 48 cm x 32 cm.

A Framed Print after Sir William Russell Flint, `Griselda`, CEF Blind Stamp and Signed in Pencil by Artist, 56 cm x 46 cm.

A Framed Print after Sir William Russell Flint, `Rosalba`, JAB Blind Stamp and Signed in Pencil by the Artist, 57 cm x 44 cm.

AFTER TERENCE CUNEO "Duchess of Hamilton", signed artist`s proof print, also signed by Robert A Riddles, bearing blind stamp

A pair of cream cotton thermal interlined curtains with blue and cream frilled edge, together with a matching Roman blind

AN EASTERN HARDWOOD STORAGE BOX with rising lid on cabriole supports with carved blind fret decoration, 18" wide.

Collection of four lady`s wristwatches : Jaeger LeCoultre gold cased square watch with a blind black dial; 18K gold Sabina tonneau cased watch; Longines 9ct gold cased watch on 9ct bracelet; Longines gold plated watch (all faulty).

AFTER SIR DAVID WILKIE RA, "The Reading of the Will" and "The Blind Fiddler", engraved by John Burnet, one in oak frame, the other birds eye maple frame; two (2)

After DAVID WILKIE, Engraved by A. Rambach and Stewart; an engraving:titled "Blind Man`s Buff" and "The Penny Wedding", foxed

Rare nineteenth century French boullework table blind with side-winding handle action and gilt and ebonised wooden base, 59cm wide (probably used to protect the contents of a display table from sunlight)Further images and condition reports are available at www.reemandansie.com