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WINSTON MEGORAN, SIGNED IN PENCIL TO MARGIN, TWO COLOURED ARTIST’S PROOFS WITH PUBLISHER’S BLIND STAMP, “Sunlit Downs” and “Riverside Reflections”, 9” x 12” (2)

LAWRIE WILLIAMSON, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (14/750) ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP, “Canalside”, 16” x 20”; together with a COLOURED REPRODUCTION AFTER A J MUNNINGS (2)

AUGUSTUS JOHN, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP (PUBLISHED BY W J STACEY), Still Life Study of Flowers in a Vase, 18 ½” x 13”

TERENCE CUNEO, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (OF 850) COLOURED ARTIST’S PROOF WITH PUBLISHER’S BLIND STAMP, “The Finger of Frost”, 13” x 22”

DAVID SHEPHERD, SIGNED IN PENCIL TO MARGIN, LIMITED EDITION (473/495) BLACK AND WHITE ARTIST’S PROOF WITH PUBLISHER’S BLIND STAMP, “Panda” (with Certificate of Authenticity), 8 ½” x 12”

PHIL MAY, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP, Inscribed “1954 – Stirling Moss Wins The Aintree 200 With His Maserati 250F”, 9 ½” x 13”; plus one similar by a different artist (2)

MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP, “In Full Sail”, 21” x 36”

MONTAGUE DAWSON, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP, “The Rising Wind”, 36” x 24” (mounted but unframed); plus one further signed PROOF by the same artist (2)

SIR PETER SCOTT, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP (PUBLISHED BY ARTHUR ACKERMANN & SON 1943), “Widgeon Crossing Low over the Creak” (see Arthur Ackermann & Son label verso), 14” x 21”

CECIL ALDIN, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP (PUBLISHED BY EYRE & SPOTTISWOODE), “Penshurst”, 16” x 13”

LIONEL EDWARDS, SIGNED IN PENCIL TO MARGIN, ARTIST’S COLOURED PROOF WITH PUBLISHER’S BLIND STAMP (PUBLISHED BY EYRE & SPOTTISWOODE), “Belvoir 1924”, 13” x 19”

Edward VIII as Prince of Wales The Legion Book. Limited to 100 copies, all for presentation by H.R.H. the Prince of Wales, this copy inscribed to George, Earl Haig, also signed on specially bound in blank leaves by artists and authors including Humbert Wolfe, Stanley Spencer, Eric Ravilious, W. Rothenstein, Eric Gill, Eric Dagliesh, J.C. Squire, Laura Knight, John Galsworthy, Rudyard Kipling, Robert Bridges, A.E. Coppard, W. Walcot, Edward Bawden, Bernard Partridge, Edmund Blunden, T. Hamilton Lawford, C. Ricketts, William Orpen, Laurence Binyon, W. Heath Robinson, John Nash, James McBey, P.G. Wodehouse, David Low, A.K. Lawrence, Muirhead Bone, H.C. McNeile, Winifred Austen, Eric H. Kennington, Augustus John, Paul Nash, Albert Rutherston, Winston Churchill, William Nicholson, Sheila Kaye-Smith, David Robertson, George Clausen, Frank Short, Mark Gertler, Henry Newbolt, John Drinkwater, D. Llewellyn, D.Y. Cameron, John Lavery, Gilbert Murray, Margaret Kennedy, Hugh Walpole, G.K. Chesterton, V. Sackville-West, Strube, Max Beerbohm, Rebecca West, David Garnett, Jacob Epstein, Stephen Gooden, Clare Leighton, W.H. Davies, Charles Lamb, Bliss Carman, Aldous Huxley, Walter de la Mare, Edith Sitwell, Edgar Wallace, Arnold Bennett, Sarah Gertrude Millin; plates, some signed by the artist, elaborate white blind-stamped and gilt pigskin designed by Charles Ricketts and bound by Wood of London, folding cloth box

Psalter - Church Slavonic Psalter in Church Slavonic. Moscow, 1766. Folio, woodcut header and border on title, printed in red and black, contemporary blind stamped calf, worn [sections lacking], heavily repaired, marginalia, soiled and stained. Sold not subject to return.

Psalter - Church Slavonic Manuscript psalter and canticles in church Slavonic. [South Slavonic Islands, c.18th century]. 4to, ff.[2(preface)], 186 (Psalms), 40 (prayers for reading after Psalms; Canticles), manuscript in red and brown ink in a slightly shaky hand, full page illustration of King David pasted opposite start of main text, decorative initials and headpieces, contemporary blind ruled calf over wooden boards, part of two clasps remaining, many leaves pasted together [some now pulled apart] or with replacement manuscript text, staining. Sold not subject to return.

Reading for the Blind - Gall, James The epistle to the Ephesians printed for the blind. Edinburgh: James Gall, [c. 1835]. 8vo, printed in Gall`s embossed, angular type, contemporary cloth, paper label, some bumping to edges and corners, interior very clean and stable Note: James Gall (d.1874) developed his own embossed, angular type as an aid for educating the blind in 1827. In 1834 he published the Gospel of St John, the printing of which had been completed in January 1832. The collection of the Royal Blind School of Edinburgh is now housed in the National Library for Scotland, it consists of 83 works (73 in special types) by various publishers including Gall of Edinburgh and Alston of Glasgow, this particular volume does not seem to be part of the collection.

Augenius, Horatius De ratione curandi per sanguinis missionem libri XVII. Frankfurt: Andreas Wechel, 1598. Folio, )( )(8 A-Z6 Aa-Cc6 Dd8 Ee-Yy6 Zz8, printer`s device in title and colophon, portrait on reverse of title, library stamps, heavy foxing and some worming to lower margin [Adams A2125] [bound with] De febribus, febrium signis... Frankfurt: A. Wechel, 1605. Folio, ~6 A-Z6 Aa-Pp6, printer`s device on title, portrait on reverse of sig. ~6, library stamps, heavy foxing and staining throughout, contemporary blind stamped vellum, backstrip discoloured; Bindoni, Gasper De febribus opus sane aureum... Venice: Gaspar Bindoni, 1576. Folio, *4 a6 b8 B-Z6 Aa-Zz6 Aaa-Eee6 Fff8, blank L6, lacking A signature, printer`s device on title, colophon dated 1575, library stamps, foxing, title trimmed [no loss], later calf, rebacked and repaired (2)

Diodorus Siculus Bibliothecae historicae libri XVII. Lyon: S. Gryphius, 1552. 16mo, a-z8 A-Z8 aa-zz8 AA8 BB4, printer`s device on title, library stamps, contemporary marginalia and ink underlining, contemporary blind stamped vellum, backstrip loose and soiled, clasps lacking Note: Adams D471

Fuchs, Leonhard De sanandis totius humani corporis malis, libri quinque. Lyon: J. Frellonium, 1547. 8vo, a-b8 A-Z8 Aa-Tt8 Vu12, printer`s device on title, library stamps, previous inscriptions scored through on title, some browning to edges, speckled calf, rebacked, recent endpapers [Adams F1111]; Alexander, of Tralles Libri duodecim [medicinae]... Lyon, 1575. 8vo, 804 [24]pp., printer`s device to title, library stamps, professional restoration to title and endpapers, contemporary blind stamped calf, rebacked; and four others [defective] (6)

Eleanor Mary Hughes, Cape Cornwall, watercolour, with blind stamp, titled and label verso.

A Victorian flatware two handled comport of the blind fiddler, together with three similar plates

A reproduction mahogany veneered foldover games table,t he swivel top above two blind frieze drawers on reeded tapering legs, 78cm wide

AFTER LYNNE CHADWICK (1914-2003) "Six seated couples", monochrome lithograph, limited edition No`d. 89/100, signed and dated `71, numbered and bearing publisher`s blind stamp "Erker Presse St.Gallen", 76 x 56 cm (ILLUSTRATED) (Being sold on behalf of Coln House School, a Registered Charity)

AFTER SIR WILLIAM RUSSELL FLINT (1880-1969) "New model inspecting drawings of her predecessor", coloured print, bears blind stamp and signed in pencil in the margin, image size 33 x 54 cm (ILLUSTRATED)

AFTER HELEN BRADLEY (1900-1979) "Hollinwood Market", signed artist`s proof print, bears blind stamp, image size 46 x 69 cm

An early 19th century mahogany bookcase, having moulded and dentil cornice over blind fret frieze and a pair of astragal glazed doors enclosing five adjustable shelves on an associated base with ram`s mask and talon and ball feet.

Oval silver tray, Birmingham 1968 the field engraved with a blind shield, within a scalloped rim and everted handles on four prong feet, length overall 57cm, 85oz 18dwt.

An oak eight day longcase clock, the 14 inch square brass dial signed `J N Griffiths, Joyner`, with centred subsidiary seconds dial and date aperture, within a ring of Roman Arabic numerals and pierced cherub moulded corner spandrels, the dial associated to the eight day movement striking on a later coiled gong, both in an associated George III oak crossbanded mahogany case, the hood with fluted front corner hood pilasters over blind fret decoration to the trunk and inverted arched long trunk door, between quarter front corner fluted pilasters, on a box base with later skirting plinth, 202cm high

A pair of William IV oak armchairs by Gillows, circa 1830, each with a pierced Gothic railed back and octagonal tapering uprights above a re-covered overstuffed seat and padded open arms on cluster front column supports and tapering cluster column front legs terminating in a bulb shaped foot, each stamped `GILLOWS. LANCASTER` to the underside of the front rail, 58.5cm wide, 94.5cm high, 53.5cm deep along with a matching single chair (2+1) NOTE: Similarities in the cluster column legs to Thomas Scarisbrick of Scarisbrick Hall`s writing table, circa 1823 from a basic design first used by Gillows in their 1810 sketchbook. The stamp to the underside of each front seat rail `GILLOWS. LANCASTER` relates to the stamp used circa 1825-35. The cluster column and quatrefoil design also relates back to an oak arm chair designed by James Wyatt for Windsor Castle in 1805 where effective use was made of the cluster column and blind tracery.

PETER ANDERSON (SCOTTISH CONTEMPORARY) IGGY POP Silver gelatin print, signed and numbered 2/25, bearing photographer`s blind stamp. Framed in the artist`s hand crafted welded steel frame 52cm x 63cm (20.5in x 27.75in)

PETER ANDERSON (SCOTTISH CONTEMPORARY) DENNIS HOPPER, LONDON 1982 Silver gelatin print, signed and numbered 2/25, bearing photographer`s blind stamp. Framed in the artist`s hand crafted welded steel frame 60cm x 70cm (23.5in x 27.5in)

LOUIS HAGHE AFTER THOMAS L. ROWBOTHAM - The City of Bristol on fire, lithograph, hand coloured, 13 3/4" x 19"; and two further lithographs by Day and Haghe - `Great Western Railway Station at the Bristol Terminus` and `The Bristol Asylum or School of Industry for the Blind` (3)

SNAFFLES (CHARLES JOHNSON PAYNE) (1884-1967); "The Gent in Ratcatcher" signed in pencil in the margin and with "Snaffles" blind stamp. 10" (25cms) x 10 1/2" (27cms).

A 20th Century Walnut Queen Anne Style Side Chair with Shaped Back Splat, Cabriole Front Legs having Blind Shell Carving and Claw and Ball Feet. Leather Pad Seat.

A Pretty Georgian Mahogany Oval Snap Top Table on Turned Reeded Support and Tripod Base with Blind Carved Acanthus Detail.

A Victorian Gothic Revival Ebonised Glazed Shop Display Cabinet with Three Shelves and Blind Carved and Moulded Cornice, 99 cm x 65 cm x 195 cm High.

A Pair of Signed Etchings after E Sharland of inside Winchester Cathedral and the inside of Westminster Abbey, both limited to a run of 300 and both with E.A.T.G. blind stamp mark. Original labels on the reverse.

A GEORGE IV MAHOGANY TABLE the rosewood banded, drop leaf top fitted with a drawer and opposing blind drawer, on ring turned pillar and quadruple reeded legs with brass paw castors, 71cm h; 96 x 108cm and A SET OF MAHOGANY HANGING SHELVES of `waterfall` type with cavetto cornice and fitted with a row of three drawers above the shaped apron, 95cm h; 23 x 104cm

J WINNING AFTER DADD "Under the old flag" and AFTER AW HAYES "Blind", pen and ink, AFTER JOHN LINNELL "A gentleman seated in a chair, wearing a black coat and waistcoat with white collar", portrait study, half length, black and white print, AFTER HELENA MAGUIRE "Fox terriers", a coloured print, together with various other pictures and prints

After Snaffles, `A Heilan Lad`, chromolithograph laid down on support sheet, with vignette and blind stamp, signed lower left, 34 x 34cm (13.26 x 13.26in).

After Snaffles, `The Sparrow catchin` sort`, chromolithographic print laid down on support sheet with, with vignette and blind stamp, signed lower left, 45.5 x 43cm (17.75 x 16.77in).

After David Shepherd, `African Afternoon`, signed limited edition print, 797/850, FATG blind stamp, 55 x 85cm (21.45 x 33.15in).

‡ After John R Skeaping, Bull Fighting, signed colour prints published by Arthur Ackermann 1957, with FATG blind stamp, 40 x 51cm (15.6 x 19.89in) (a pair).

After F A Stewart, Blackmore and Sparkford Vale, colour print with FATG blind stamp, signed in pencil lower right, 38 x 79cm (14.82 x 30.81in).

Four parasols, a linen blind etc

AFTER SIR WILLIAM RUSSELL FLINT. PRA. Giselle and Julietta, reproduction in colours, no.206/850, with blind stamp of Michael Stewart, unframed, Pl. 17 x 24 in ; and two other unframed reproductions after the same artist titled `Artemis and Chione` and `Models by a Pool near an Archway`. three (3)

A RARE VICTORIAN `BLIND` MOTE SPOON with a large diamond-point finial & engraving below the drop, crested, by S. Hayne & D. Cater, London 1860; 5.4" (13.8 cms) long

An early 20th Century Mahogany Bijouterie Table, embossed throughout with blind fretwork type moulding, glazed lifting top, glazed front, sides and back, tapering square supports joined below by a shelf on spade feet, 23 ½” wide

A late 19th Century Ink Stand of rectangular form, with bevelled panel, decorated with assorted masks amongst a blind frieze detail, raised on compressed bun feet, over double sided pen rests, enclosing two cut glass Ink Wells with hinged covers and central cylindrical canister, width 9 ½”

AFTER ETHELBERT WHITE - `The Fence Builders`, colour reproduction, pencil signed in the margin, pub. c.1937 by Frost & Reed and with FATG blind stamp, 17" x 21 3/4"

An early 20th century oak court cupboard, the upper section with blind fret carved decoration, on turned supports, 153cm

A Staffordshire flatback entitled ``Christ restoring the sight of the blind``, 10`` tall approx.

TERRENCE CUNEO THE CLIMB TO ASMARA, REPRODUCTION PRINTED IN COLOURS, SIGNED BY THE ARTIST IN PENCIL AND ANOTHER SIGNED PRINT BY CUNEO, CANAL SCENE IN WINTER BOTH WITH FATG BLIND STAMP THE FIRST NUMBERED 104/850

SIR WILLIAM RUSSELL FLINT, TWO MODELS, REPRODUCTION PRINTED IN COLOURS, SIGNED BY THE ARTIST IN PENCIL AND WITH FATG BLIND STAMP

AN EDWARDIAN MAHOGANY SIDE TABLE WITH BLIND FRET CARVED DOORS ON CABRIOLE LEGS AND AN OAK NEST OF THREE TABLES AND REPRODUCTION HUTCH WITH TWIN PANELLED DOORS

A WILLIAM IV ROSEWOOD SOFA TABLE the leaves with rounded corners, fitted with drawers and opposing blind drawers, on turned pillar, platform and lobed feet with recessed brass castors, 73cm h; 71 x 157cm ++ Uneven fading but in otherwise good condition. The turned handles and brass locks original. Structurally sound

WORCESTER BLIND EARL PATTERN POLYCHROME PAINTED DISH 18TH CENTURY of scalloped circular form with a moulded design of leaves and butterflies 19.5cm diameter

GEORGIAN MAHOGANY LONGCASE CLOCK EARLY 19TH CENTURY MITCHELL & SON, GORBALS, GLASGOW the swan neck pediment centred by a turned ball finial, above a foliate blind fret carved frieze and arched brass dial with Arabic numerals, inscribed with maker`s name, two subsidiary dials and winding holes, 8 day movement, flanked by turned free columns; the case with spiral carved corner columns with acanthus capitals 59cm wide, 222cm high

QUEEN ANNE MARQUETRY LONGCASE CLOCK JOSEPH SAER, LONDON, EARLY 18TH CENTURY the five pillar twin train movement, with anchor escapement, striking on a bell, the square brass dial with silver chapter ring and cast spandrels inscribed `Jos Saer, Porpoole Lane, London`, also with subsidiary seconds dial and day and date apertures, the hood with caddy top above moulded cornice and blind fretwork frieze flanked by spiral turned half columns, the trunk with rectangular cushion moulded door and glazed lenticle, above a base with plinth, the whole profusely inlaid with flowering urn marquetry 54cm wide, 236cm high, 27cm deep Provenance: Purchased in these rooms 24 September 2003, sale 77, lot 222

GEORGE III MAHOGANY LINEN PRESS LATE 18TH CENTURY the dentil moulded straight cornice above a blind fret carved frieze, over a pair of moulded cupboard doors carved at the corners with flower heads; the lower part with one real and one dummy short drawer, over one further dummy and real long drawers, raised on shaped bracket feet 132cm wide, 204cm high, 64cm deep

A late 18th Century oak longcase clock by Wainwright of Nottingham with 12ins square painted dial and calendar dial to the thirty hour movement striking on a bell, contained in case with blind fret ornament and turned pillars to hood and shaped trunk door, 80ins high Note: John Wainwright (and son) recorded working in Nottingham 1779- 1828