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A George III mahogany chest of drawers, circa 1780, the rectangular top with moulded edge, above a slide with leatherette inset, two short and three long graduated drawers flanked by canted blind fretwork corners, on ogee bracket feet, 89cm high, 95cm wide, 49cm deep

A Queen Anne figured walnut eight-day longcase clock P. Runbaule, London, early 18th century The five finned pillar rack and bell striking movement with 12 inch square brass dial with engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, fleur de lys half hour markers and signed P. Runbaule, Londini to lower edge within twin cherub and crown pattern spandrel applied angles and herringbone engraved border with S/N lever at 12 o'clock, the case with moulded cornice and blind fret frieze above integral pilasters to hood, with rectangular trunk door and on re-built plinth base, 219cm high.

a massive Chinese circular bronze twin-handled incense burner with cast dragons and dogs, allover archaic Greek key blind fret decoraton, on three grotesque animal legs with claw feet 52cm diameter

a 19th century ebonised and parcel-gilt pier mirror the flower-filled urn surmount supported by griffins and foliate scrolls above an arched rectangular plate with gilt-highlighted blind fretwork decoration 84cm wide, 163cm high

a set of six 19th century Chippendale Revival mahogany dining chairs possibly Irish, the yolk shaped top rails above rococo carved entrelac splats between blind fret carved uprights above drop in seats with gadrooned rails, on leaf carved cabriole legs with claw and ball feet (6)

a matched pair of George III period mahogany foldover card tables each top with floret carved edge, one with baize inset, the other with leather inset, above concertina-action blind fret carved frieze on moulded and bead-and-reel carved chamfered legs, headed by angle frets; one 92cm wide, 74cm high, 45.5cm deep, the other 91cm wide, 74cm high, 45.5cm deep (2)

A 19th Century mahogany night table, the square top over blind frieze and square supports united by a cross frame stretcher, 38 cm wide.

A Chippendale style mahogany hanging corner cupboard with blind fretwork ornament.

An early 20th Century mahogany dressing table with swing mirror over blind fretwork decoration and three long drawers, raised on square supports, 92 cm wide, bearing makers name plaque, SHEPHERD & HEDGER.

An early 20th Century mahogany single wardrobe with bevelled mirror and blind fretwork decoration, 97 cm wide.

A Sheraton Revival mahogany and inlaid bowfront sideboard, the top having rosewood crossbanding, boxwood and ebony stringing above a centre drawer and blind drawer with further crossbanding flanked by cupboard doors and raised on square tapering supports with spade terminals, width 123cm (Illus.)

A circa 1900 mahogany elbow chair, having a Paladian style pierced vase splatback with carved cherub mask, open arms, pad seat, X framed front with blind carving (Illus.)

A 19th century mahogany side table, having a centre bowfront, three blind frieze drawers, and raised on ring turned tapering supports, width 112cm

An 18th century oak dresser, the associated top having a wavy cut frieze, three tier Delft rack, the base having a planked top above a blind carved frieze and three frieze drawers, two further centre graduated drawers flanked by recessed panelled arch cupboard doors, the whole raised upon a plinth (some alterations), height 198cm, width 190cm (Illus.)

A circa 1700 joined oak coffer, having hinge lid on replacement iron strap handles, above a three panel front with later lozenge blind carving, the whole raised upon stile end supports, width 126cm (Illus.)

A George III mahogany side table (converted gateleg), having single dropleaf, all-over later blind carving and later frieze drawer, and raised on turned and tapering fluted supports with pad feet, width 75cm

A Victorian mahogany four door sideboard, having twin blind frieze drawers over a n inverted breakfront base with four panel doors on plinth, width 194cm

An antique oak refectory table of large proportions, having a planked top with cleated ends above a blind carved frieze, raised on four heavy carved cup and cover supports united by low square cut stretcher (legs appear period, remainder of the table appears late 19th/early 20th century), depth 94cm, width 319cm (Illus.)

A late 19th century French rosewood armoire, having a domed top, single door (later glazed) enclosing shelved interior, all above a blind base drawer supported on leaf carved scroll cabriole feet, height 230cm, width 105cm

A Regency mahogany sideboard having a shaped front above a single frieze drawer, and deeper blind drawer, flanked by cellaret drawer (unfitted) and cupboard door, the whole with spiral reeded pilasters and raised on turned and tapering spiral reeded supports (restored), width 193cm (Illus.)

A Victorian mahogany three tier buffet of good size, each tier supported on double C scroll end supports to a base fitted twin blind frieze on further scroll feet, width 137cm (Illus.)

An early Victorian mahogany pedestal Pembroke table, the fall leaves having a moulded edge above single end blind frieze drawer, raised upon an octagonal column to a quatra form base with bun feet, width 92cm

An antique oak settle having a blind carved four panel back, square cut scroll arms, blind carved frieze and raised on cabriole forelegs, pad feet, width 185cm

An 18th century oak serving table having a three plank top above three frieze drawers with later blind carving, all on square tapering supports, width 223cm

A pair of 20th Century Japanese Satsuma export ware floor vases, the shouldered ovoid bodies painted with panels of warriors and other figures on a panelled ground, applied blind ring handles and cord details, 78cm high, one S/D, one A/F.(2).

After Sir William Russell Flint (1880-1969): ‘Rhythm in Ballet’, chromolithograph signed in pencil Ltd Ed with blind stamp pub Frost and Reed 1949, 41cm x 69cm

An 18th century style mahogany cupboard bookcase, the upper section with plain glazed panels, the base fitted two blind panel doors, raised on a box plinth, 92cm (36in)

A mahogany and oak longcase clock, the 8 day movement striking on a bell to a repainted 12in arch dial, with subsidiary seconds and calendar dial, the hood with blind fret decoration, the shaped top trunk door with crossbanding, 84.75in (215.3cm) h. Case and movement associated.

AFTER STANHOPE A FORBES, 'Young anglers (at Hayle Cornwall)', reproduction in colours, pencil signed by the artist, FATG blind stamp, Frost and Reed Publishers, 18 1/2" x 22 1/2"; and one other after Reginald Brundrit 'The Devil's Bridge Kirkby Lonsdale'. Ex. Robert Bunting Gallery Liverpool. (2)

AFTER CHARLIE JOHNSON PAYNE (Snaffles) 'Gunners', lithograph in colours, pencil signed in the margin and with Snaffles bits blind stamp, 8" x 17 1/2"

BY AND AFTER SIR WILLIAM RUSSELL FLINT The Danza Montana, reproduction colour print, signed in pencil to the margin, pub circa 1960 by Frost & Reed, blind stamp for The Fine Art Trade Guild, 48cms x 63.5cms

BY AND AFTER ALICE BARNWELL (EXHIBITION 1931 - 1940) Autumn Breeze, coloured etching, signed artist proof, artist guild blind stamp, signature and title to the margin, image size 22cms x 30cms

A sapphire Cupid ring by Carrera y Carrera, Madrid, the blind-folded cupid holding a sapphire heart above triple heart shoulders, singed 'CyC' and numbered 73809, finger size L. #Established in Madrid in 1885 by Satorio Carrera, Carrera y Carrera has been one of the premier Spanish jewellers for over a century. The firm has always designed its jewels around animals and mythological characters representing love in sculptural form.

DUrfey (Thomas). The Virtuous Wife; or, Good Luck at last. A Comedy as is is acted at the Dukes Theater, 1st ed., 1680,. 6 pp. prelims., 68 pp. of text, 20th-century antique-style blind-panelled full calf, with red morocco label to spine, a little rubbed, small 4to Wing D2790. (1)

Dionysius (Areopagita). Opera [Part One only], Celestis hierarchia. Ecclesiastica hierarchia. Divina nomina. Mystica theologia. Undecim epistole Ignacii. Undecim epistole Policarpi Epistola una, Strasbourg, [G. Husner], 1503,. four preliminary unnumbered leaves [bound in from Part Two], and 329 numbered leaves, black letter text, large woodcut to first leaf, historiated and decorative woodcut initials supplied in blue and red, numerous small initials and paraph marks supplied in red, extensive early ink annotations to preliminary leaves and part of the commentary by Vercellensis towards end of vol., occn. minor marks to margins (generally in good condition), contemp. blind-patterned calf over wood boards, lacks clasps, some marks and soiling, 20th c. antique-style reback with thick raised bands, incorporating old red morocco label, folio The first part of the works of Dionysius Areopagite, one of the early Christian mystics, who combined neoplatonic ideas derived from Plotinus, Proclus and others with Christian theology, and influenced much medieval and renaissance philosophy, including St. Thomas Aquinas. (1)

Common Prayer. The Booke of Common Prayer, and Administration of the Sacraments. And other Rites and Ceremonies of the Church of England, imprinted at London by Robert Barker, 1631,. red and black title within typographic border, somewhat soiled and frayed at edges, black letter text with large woodcut initials, some minor marginal dampstains, later blind-panelled calf gilt, together with Certaine Sermons or Homilies, Appointed to be Read in the Churches. In the Time of the late Queene Elizabeth of Famous Memory. And now thought fit to be re-printed by Authority from the Kings most excellent Majesty, printed for R.H. and J.N., 1640, title within woodcut border, black letter text with large woodcut initials, old waterstains to margins, contemp. calf, rebacked, both folio (2)

Lavater (Johann Kaspar). Essays on Physiognomy, designed to promote the knowledge and the love of mankind, trans. Henry Hunter, 3 vols. in five, pub. John Stockdale, 1810,. numerous engraved plates by Thomas Holloway and others, wide margins, marbled edges and endpapers, contemp. uniform blind and gilt-decorated full calf, rubbed and some marks to extrems., joints cracked and tender, large 4to Ex libris Prinknash Abbey, with bookplates to front pastedown of each volume.. (5)

Savonarola (Girolamo). An exposicyon after the maner of a contemplacyon upon the li Psalme called Miserere mei deus [& A meditacyon of the same Jerom upon the Psalme of In the Domine speravi], Imprynted in Parys [Rouen, N. Le Roux], 1538,. sixty leaves, a-g8, h4, black letter text in English and Latin, printed in red and black, small woodcut illust. to a1, a few woodcut initials, modern full calf gilt with blind-ruled border, 8vo STC 21791. Ex libris Ronald Knox library, Prinknash Abbey, with bookplate to front pastedown. (1)

Conway (Stephen, bookbinder). Ovid, Metamorphoses. Translated and introduced by Mary M. Innes, Folio Society, 1995,. illustrations by Richard Shirley Smith, bound by Stephen Conway in quarter tan goatskin, lettered in blind, stained calf sides with circular inlays of diced calf, with two large sections of black letter text inlaid on each side, marbled paper pastedowns, hand sewn silk headbands, sprinkled edges, in a cloth-covered solander box, large 8vo inscribed S.P. Conway, 1996. First competition entry, Designer Bookbinders 1996. Highly commended on a blank rear flyleaf. (1)

Murchison (R.I.). Outline of the Geology of the Neighbourhood of Cheltenham, new ed., augmented and revised by H.E. Strickland and James Buckman, pub. Cheltenham, 1844,. hand-col. folding eng. map, and sectional diag., folding uncol. litho. plt. and twelve single-page uncol. litho. plts. at rear, contents dampstained, orig. blind-stamped cloth gilt, rubbed and marked, 8vo, together with Burrow (Edward J.), The Ancient Entrenchments & Camps of Gloucestershire, pub. Cheltenham, [1924], b & w illusts. from drawings by the author, orig. linen-backed boards in soiled and frayed d.j., oblong 8vo, plus Brill (Edith), Old Cotswold, pub. Kelley, New York, 1968, b & w illusts. from photos., orig. cloth in d.j., and others, mostly Cotswold interest (2 cartons)

Pleyel (Ignace Joseph). Three Trios for Two Violins and a Violincello, 3 vols., printed by Longman and Broderip, c.1790, eng. musical notation throughout, a few repaired tears to fore-margins, contemp. reversed calf, worn, with spines torn and frayed, and bindings detached or becoming detached, upper covers with gilt lettered leather label, 4to, together with Handel (George Frideric), Parthenope an Opera as it was Performd at the Kings Theatre for the Royal Accademy, printed for J. Walsh and Joseph Hare, [1730], eng. title, contents leaf, and musical notation, lacking final leaf, contemp. blind-panelled reversed calf, extrems. rubbed, lettered in ms. to darkened spine and covers, slim folio, plus Corelli (Arcangelo), Concerti Grossi con duoi Violini e Violoncello di Concerto Obligati e duoi altra Violini e Basso di Concerto Grosso ad Arbitrio che si Potranno Radoppiare, 3 parts only (of 7), printed for John Johnson, c.1760, 2nd violin, alto viola, and bass parts only, all with eng. musical notation throughout, disbound, slim folio, plus another two (of 7) Corelli parts similar (for 1st and 2nd violin), and other various eng. music, mostly odd parts, 18th c., incl. Handel, Pellegrino, Sardi, Haydn, Beethoven, Cramer (carton)

Landt (Rev. Jorgen). A Description of the Feroe Islands, Containing an Account of their Situation, Climate, and Productions; together with the Manners and Customs, of the Inhabitants , their Trade, etc., 1st English ed., 1810,. folding eng. map and two eng. plts., some minor marginal dampstaining and dust soiling, later dark green half calf, gilt dec. spine with raised bands and contrast label, a little rubbed, together with Kane (Elisha Kent), Arctic Explorations: The Second Grinnell Expedition in Search of Sir John Franklin, 1853, 54, 55, 2 vols., Philadelphia, 1857, port. frontis. and addn. vign. title to each, folding map (somewhat torn and creased), several charts, eng. plts., wood engs. to text, light waterstains throughout, orig. blind-stamped cloth gilt, soiled and worn, (Sabin 37001), plus Nansen (Fridtjof), Farthest North. Being the Record of a Voyage of Exploration of the Ship Fram, 1893-96 ..., 2 vols., 1898, port. frontis., folding map, col. plts., num. b & w illusts., orig. pict. cloth in bright condition, and others related, all ex-lib. copies with usual marks, all 8vo (17)

Dugdale (Sir William). Monasticon Anglicanum, or, The History of the Ancient Abbies, Monasteries, Hospitals, Cathedral and Collegiate Churches, with their Dependencies, in England and Wales..., 3 vols. in 1, printed by R. Harbin, 1718, lacking eng. title, printed title-page (printed in black and red) and following leaf re-margined in the gutter, 102 eng. plts., some double-page, one with repaired tear in lower margin, eng. head and tail-pieces and initial letters, modern half morocco, blind-tooled spine with gilt lettered leather label, folio, together with Stevens (John), The History of the Antient Abbeys, Monastries, Hospitals, Cathedral and Collegiate Churches, being Two Additional Volumes to Sir William Dugdales Monasticum Anglicanum..., vol. 1 only (of 2), printed for Tho. Taylor, 1722, title-page printed in black and red, nineteen eng. plts., incl. some folding (one with tear in top margin just going into image), endpapers browned, front free endpaper creased, rear free endpaper lacking, contemp. panelled calf, scuffed and worn, with joints cracked and covers just holding by the cords, folio (2)

Gostling (William). A Walk In and About the City of Canterbury, with many Observations not to be found in any Description Hitherto Published, new edition, with considerable additions, Canterbury, 1825,. port. frontis., list of subscribers, folding eng. plan, eng. plts., correct as list, some minor scattered spotting and light browning, orig. linen-backed boards, soiled and worn, 8vo, together with Smith (Charles Roach), The Antiquities of Richborough, Reculver and Lymne, in Kent, 1850, authors presentation copy, signed and inscribed on title, hand-col. frontis., eng. plts. and b & w illusts. to text by F.W. Fairholt, list of subscribers at rear, orig. blind-stamped cloth gilt in bright cond., small 4to, plus Heron-Allen (Edward), Selsey Bill: Historic and Prehistoric, 1911, col. frontis., one col. plt., three folding maps contained in rear pocket, num. b & w illusts. from photos, orig. cloth with paper label to spine, rubbed and soiled, thick 4to, with other Sussex and Kent history and topography, etc. (17)

A Georgian mahogany tallboy, the upper section containing three short and three long graduated drawers flanked by blind fret angles, the lower part containing three long drawers below and raised on bracket feet, 110cms wide

A Victorian walnut library bookcase in the manner of Charles Eastlake, the top with a moulded cornice, adjustable shelves enclosed by tracery doors with bevelled glass panels and moulded astragals, having pierced stylised brass strap hinges, brass escutcheon ring handle, the base with a mahogany lined frieze drawer fitted stylised brass handles, stamped 'Maple & Co. Ltd', the cupboard base with a shelf enclosed by blind tracery doors with raised hexagonal panels carved cabochon foliage, pierced brass strap hinges and pierced brass escutcheon ring handle, reeded side pilasters, panelled sides and turned feet. Top: 7ft.7in. (301cm) high x 4ft.4.5in. (133cm) width.

R Dalgleish of Falkirk Georgian mahogany eight day longcase clock. The brass and silvered arch dial with both second and date chapter is housed within a caddy top hood, with blind fret carvings supported on a slender base, with twist carved pillars and inlaid door 90".

Georgian carved mahogany library arm chair, raised over four blind fret carved supports.

Victorian carved mahogany envelope card table. The single drawer with blind fret carving, raised on acanthus carved cabinet legs over claw supports.

19th Century cartoons comprising The United Cabinet, The Blind leading the Blind, after Bunbury The Salvation Tavern, Madam Geneva Funeral 1752, Income Tax, engravings

A pair of 19th century French enamel and gilt metal mounted vases and covers, each cover with leaf moulded finial above a floral decorated border, the main bodies with acanthus decorated rims above scenes of figures playing blind man's buff to one vase and figures of children dancing to the other, both indistinctly signed "L Coblentz"(?), within a jewelled shield-shaped border raised on a central moulded column above a stepped rectangular base and raised on four turned supports, 34 cm tall

A George II Irish red walnut tea table, the rectangular fold-over top with blind fretwork carved edging above a plain frieze and C-scroll and foliate carved apron, raised on cabriole legs with carved knees to scrolling acanthus carved feet, (bears label to underside inscribed "Frank Partridge Works of Art 26, King St, St. James's and New York), 87 cm wide x 42 cm deep

A mahogany centre table in the Chinese Chippendale taste, the rectangular top with moulded edge above a blind fretwork decorated frieze on plain square collared legs with pierced applied spandrels, raised on block feet to castors, 87 cm x 44 cm

A brass and mahogany Thornton Pickard Imperial 1/2 plate brass and mahogany camera, fitted Beck lens, roller blind shutter and tripod and a Lancaster 'Le Merveilleux' 4" x 4" square mahogany body.

After Sir William Russell-Flint - 'The Pendant' (Study of Three Women within a Courtyard), 20th Century colour print, signed and with publisher's blind stamp, approx 55cm x 73cm, within a gilt composition Rococo Revival frame.

A PRATTWARE ETRUSCAN STYLE OVAL DISH with handles with blue and gilt border to the central image of the blind fiddler after Wilkie, together with two Victorian pink lustre cups and saucers and matching jug; a further lustred jug; a tea cup with painted decoration of two parrots with two saucers.

A silver flying trophy cup and cover by Asprey & Co. Ltd, London 1936, the spherical body engraved as a globe with two wing-shaped handles, the cover with an orb and eagle finial, on a tapering stem and a round base, 31.5cm (12.5in) high, 593g (19 oz); on an ebonised socle with an inscribed silver plaque 'Blind Flying Challenge Cup, Presented by Lady Hay Drummond-Hay, President of the Women's International Association of Aeronautics, 1936' and 'Jean Batten, 1937-8', 39cm (15.5in) high overall Jean Gardner Batten (1909 - 1982) was one of the illustrious and glamorous aviatrix heroines of the 1930's, her flying adventures making her as famous as Emilia Lockhart and Amy Johnson, and a national hero in her native New Zealand. Born in Rotorua, New Zealand in 1909, she was inspired by the pioneering flights of Charles Lindberg's Atlantic crossing (1927) and the Australian Charles Kingsford Smith's Pacific crossing (1928). Determined to become a pilot, Batten moved to London in 1930 to take flying lessons, qualifying for both her private 'A' license and commercial pilot's license in 1931. That year, Amy Johnson set the record for flying from England to Australia in 20 days, and Batten embarked on a course to beat that record. In 1933 Batten made two attempts at Johnson's record in a De Havilland Gypsy Moth DH60 biplane. Both attempts failed, the first with a crash landing in Karachi, the second with a similar fate near Rome. On 8th May 1934, Batten made her third attempt, and succeeded in flying the 10,500 miles from London to Darwin in 14 days and 22 hours, smashing Johnson's record by 6 days. Her return flight to England made her the first ever pilot to fly the round trip of England-Australia-England. Back in England, Batten obtained a new aircraft, a Percival Gull monoplane, which was more technically advanced than the Gypsy Moth with brakes, landing flaps and a greater fuel range. This enabled her to set a new record for the England to Brazil route, when she flew the 5000 miles in 2 days and 13 hours, becoming the first woman pilot to do so. In 1936 she embarked on her most famous journey, the first ever attempt at flying from England to New Zealand, and completed this epic 14,000 mile trip in just 11 days and 45 minutes, with her new aircraft giving her the range to fly across the Tasman Sea. On 16th October 1936, Batten landed at Magare airport in Auckland in front of a crowd of 8000 people, and the record for the she set would remain unbroken for 44 years. Heralded as a national hero, the Maoris honoured Batten with the title 'Hine - o - te - Rangi', or 'Daughter of the Skies'. 1937 saw the last of her record attempts when she set a new record for the flight from Australia to England in 5 days and 18 hours, making her the first pilot to hold the solo record for this journey in both directions. After this voyage she retired from public view and became an increasingly reclusive figure, which along with the ruthless methods with which she had used the men in her life, earning her the epithet 'Garbo of the Skies'. Jean Batten's accomplishments are put into context by the fact that she flew without radio, and used her own navigational skills, a map, watch and simple compass to achieve her records. She was world famous during the 1930's and showered with honours including being the only non-royal to receive Brazil's Officer Of The Order Of The Southern Cross. She gained the Chevalier de Legion d'Honeur in France and a CBE in Britain. From the United States she won the Women's International Association Of Aeronautics Challenge cup three years running, and it is the third of those cups offered here. Jean Batten is further remembered for posterity in New Zealand with Auckland airport's international terminal bearing her name, and a pavilion to her achievements in Auckland's Museum of Transportation and Technology. The presenter of the cup, Lady Grace Hay-Drummond-Hay (nee Grace Marquerite Letheridge 1895-1948), was not a pilot her

A Framed Watercolour, "The Blind Arch, Galway". Monogrammed F.D.

A Victorian burr walnut Duchess dressing table with a single mirror above three small drawers and a blind frieze drawer on turned reeded supports 46" wide

A 19th century ebonised boulle and ormolu mounted writing table, the shaped top missing its leather inset, above a blind frieze drawer and cabriole legs