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Preisdatenbank abonnierenA 19th Century Dark Stained Wood Bludgeon, of the flail type, with metal linkage, ringed grip and leather wriststrap, 53cm; a Boer Policeman's Truncheon, in light coloured wood with wrythen carved grip, bearing a label inscribed in ink "A Boer police truncheon brought home by my Great Uncle 1901", 51cm (2)
A Victorian Group of Three Medals, comprising Crimea Medal with clasp SEBASTAPOL, awarded to LIEUT. ALEXR.G.DICKSON 62ND REGT., Turkish Crimea Medal (Sardinia Issue) and Indian Mutiny Medal with clasp DELHI, to CAPT.ALEXR.GEO.DICKSON 6TH DRAGN.GDS., together with the miniatures, in a fitted case with gilt embossed naming to Major Dickson, CarabineersFootnote:- Alexander George Dickson was born in Belchester, Scotland in 1834. He served in the Crimean War as a Lieutenant with the 62nd Regiment, after which he was exchanged to the Carbineers (6th Dragoon Guards), with whom he served at Delhi during the Indian Mutiny. The roll for the Indian Mutiny Medal states he was exchanged to the 12th Lancers. After his career in the army came to an end, he became a Captain in the Royal East Kent Mounted Rifles (Yeomanry). He married the widow of Dudley, Lord North in 1861. He stood as Member of Parliament for Dover, which was in the constituency of the North family home Waldershare Park, winning his seat in 1865 and remaining in it until his death in 1889. At the time of his death he was living in Oxford Street London and left over £24000. CONDITION REPORT: . Crimea medal with ding to edge at 7 o'clock, ding to edge at 3 o'clock with wear to the engraving LIEUT. in that area. Contemporarily engraved Turkish Crimea medal lacks suspender, now pierced for ribbon. Wear to both sides.Indian Mutiny medal with small ding to soverein's neck, light surface scratching, correctly impressed.
A First World War Casualty Trio and Memorial Plaque to Pte Charles William Rainbird Essex Regiment1914/15 Star - 22582 Pte C W Rainbird Essex R; Pair - 22582 Pte C W Rainbird Essex R; Plaque - Charles William Rainbird. Medals correctly impressed. Light over stamping of last two digits on the star. Housed in a glazed display frame. Footnote:- Charles William Rainbird was born in Crewkerne, Somerset. In civilian life, he worked as a Stableman. He enlisted at Lewes, Sussex joining the 1st Garrison Battalion of the Essex Regiment. He landed in Gallipoli on 6th September 1915. Transferred to Sudan, he sadly died of Heat Stroke on 20th July 1917 and was buried in Khartoum War Cemetery. CONDITION REPORT: . Condition GVF
An Edwardian Ceremonial Dirk to the Highland Light Infantry, the 28.5cm single edge double fullered scallop back steel blade crisply etched with Battle Honours from the Peninsular Wars to the Boer War, regimental badge, thistles and strapwork, by Army & Navy Co-operative Society, the ebony grip with basket weave carved decoration set with brass studs, the gilt metal thistle stamped pommel set with a facet cut Cairngorm type stone, the black leather scabbard with gilt metal mounts applied with thistles, regimental badge, one engraved with PIPE MAJOR'S DIRK, 1ST H.L.I. and set with a faux knife and fork, each with matching hilts, 47cm CONDITION REPORT: . Minor black patching to blade. Large chip and another smaller chip to the wood below the pommel. The faux knife and fork set in the scabbard with small chips around the edges of the Cairngorm type pommels. One securing pin is missing.
A Japanese Shin-Gunto Katana, with 66cm steel blade, the tang signed and with Seki Arsenal stamp, the one piece brass habaki with diagonal burred decoration, the dark blue/green braid bound same hilt with bronzed brass menuki, fuchi and kashira, brass tsuba and brown wood effect lacquer saya, CONDITION REPORT: . Light pitting to blade. Damage and repair to saya
A 20th Century Zulu War Axe, the 39cm crescent shape blade with cylindrical tang inserted into the ovoid head of the light honey coloured wood haft with slightly flared butt, 88cm; a Very Similar Axe, with flat triangular shape head, 87cm (2)Provenance: - Hodnet Hall, Hodnet, Shropshire CONDITION REPORT: . Each with fine splits to haft.
A Victorian 1853 Pattern Tower Percussion Three Band Rifle Musket, .577 calibre, the 99cm steel barrel with hinged ladder rear sight, with various inspector's marks and numbered 5432, the line engraved lock plate stamped with crowned VR, 1857/TOWER, and crowned broad arrow, the walnut full stock with brass fore-end tip, three steel barrel bands, brass trigger guard and butt plate, with two steel sling swivels and a ramrod, 140cm CONDITION REPORT: . Action works, holds at full and half cock. Light orange rust pitting to barrel and bore, with faint rifling visible. Half the barrel tang is missing. Two screws missing from the lock plate. Crack to fore-end leading 7cm from the lock plate, with a further split near the butt plate. Bruising to the barrel and stock.
A Georgian 1796 Pattern Light Cavalry Trooper's Sword, with 81cm single edge curved and broad fullered steel blade, the steel stirrup hilt faintly marked 19? above the quillon, the grip with traces of wire binding, with steel scabbard, 98cm CONDITION REPORT: . Grey patching to blade and rust pitting to hilt and scabbard
An Early 20th Century Australian Aboriginal Parrying Shield, of elongated triangular section in heavy light brown wood, the convex fascia with stylised fish shape panels carved with scalework and diapering, the reverse with integral carved handle, 94cm by 11cmFootnote:- Formerly the property of Frances Dovell Gerrard, who was born on 4th March 1882 at Rapid Bay, South Australia. Her father, William Gerrard, was the owner of Yoho (Sheep) Station, in the Rapid Bay area. She married the vendor's great uncle, Augustus Thorburn Hallaway, in April 1908 in Cumberland. The Aboriginal items were given to her as a wedding present by the Aborigines who worked at Yoho Station. CONDITION REPORT: . Natural cracks and knot holes, with small areas of woodworm holes.
W R Younghusband, Portrait of a Private, Royal Marine Light Infantry, watercolour and bodycolour, monogrammed and dated (19)88, 29cm by 17cm, together with a Burland Fine Art folder of similar prints by the same artist; a Victorian Soldier's Woolwork Panel, worked in long and short stitch and couching with the battle honours and regimental badge of the 43rd Foot (Monmouthshire Light Infantry), framed; Militaria, including a copy of a Royal Welsh Fusiliers copper and brass bugle, quantity of Deeds That Thrill the Empire, The War Illustrated and other magazines and ephemera, a volume of Spink's Catalogue of British Orders and Medals, a small case of US Civil War Collectables (qty) CONDITION REPORT: . Some moth damage to the woolwork panel.
2nd Battalion the King's Own Yorkshire Light Infantry Regiment - a Personal Photograph Album, containing approximately one hundred and twenty photographs and eight postcards of foreign service with the colours in India 1933-1936 and Burma 1936-1939, including training, off duty scenes, local scenes, animals and people, regimental group photograph, Battalion Orders, family wedding photographs etc.
A Japanese Second World War NCO's Shin-gunto Sword, pre 1945, the 67cm machine forged steel blade with a narrow fuller to the back edge and numbered 38906, with one piece brass habaki, pierced brass tsuba, the fuchi stamped with the Kokura Arsenal marks, the gilt washed aluminium hilt made to resemble braid binding, the light brown enamelled steel scabbard numbered 124933 at the mouth, 97cmFootnote:- The vendor's Scottish grandfather, Harold Mackay, was working as an engineer at a hydro electric scheme in Wagu, northern Burma. With the invasion of the Japanese Army, Mackay and his family fled into the jungle where they remained until the end of the war. On returning from the jungle they found a number of Japanese soldiers living in their house When the officer in charge realised Mackay was British he surrendered his sword to him. Mackay then marched the troop south until he found someone to hand them over to. CONDITION REPORT: . Some flaking to the enamel of the scabbard and wear to the finish of the hilt.
Two Early 20th Century Embroidered Banners, to The Durham Light Infantry and The South Wales Borderers, each of rectangular form worked in long and short stitch, couching and applique with crossed standards and battle honours, on short wood poles, 48cm by 58cm; two Similar First World War Banners, each embroidered with the allied flags enclosing a postcard photograph of a British Bull dog "John Bull", on beech poles, 40cm by 50cm (4-af) CONDITION REPORT: . All have shredded backgrounds. Embroidery is intact.
A French Light Cavalry Sword, with 83.5cm single edge curved and fullered steel blade, the later brass hilt with navette shape langets and wire bound leather grip, with steel scabbard engraved with foliage and with two suspender rings, 99cm CONDITION REPORT: . Dark grey patching to the blade and scabbard. The hilt has traces of gilt and some sort of solder, with rough patches and badly defined foliage to the back strap.
Two Early 20th Century Zulu Tall Drums, each carved from a single softwood trunk, the hide skin stretched and secured by dowels around the edge, with chevron and diaper carved collar, the tapering cylindrical body with bands of dark and light staining 121cm and 123cm highProvenance: - Hodnet Hall, Hodnet, Shropshire CONDITION REPORT: . One with splits running from the base.
A Second World War MM Group of Eight Medals, awarded to 4614146 SJT.J.H.PIERCY K.O.Y.L.I. (later Warrant Officer 2nd Class Somerset Light Infantry), comprising Military Medal, 1939-45 Star, Africa Star, Italy Star, France and Germany Star, Defence Medal, War Medal and General Service Medal 1918-62 with clasp MALAYA (naming officially corrected), court mounted, in a glazed display frame.Footnote: - The MM was announced in the London Gazette on 24th January 1946. 'On 1 May 45, SJT Piercy's platoon was engaged first with clearing Hellb Wood, 9145 and later in capturing the village of Potrau 9046. The Coy had been under observed enemy mortar and small arms fire throughout the day and at about 1600hrs immediately before the final assault on Potrau, Sjt Piercy's platoon came under very accurate and heavy M.G fire. This NCO at once rallied his platoon and pushed forward with all speed. Throughout the whole day's action he was prominent in leading every assault and in particular personally cleared a house in the village, capturing two snipers while under fire himself from two other houses. This NCOs complete disregard for his own personal safety, his gallantry and initiative were an inspiration to all ranks and by his loyal and courageous conduct he was largely responsible for a successful engagement.The events of 1 May are typical of Sjt Piercy's consistent gallantry and initiative. He has served with the battalion in the C.M.F and B.L.A, and his outstanding courage in action has set an example of the finest order to his men' CONDITION REPORT: . Condition VF ( contacting to obverse) GSM official correction to SOM LI
A BSA Martini Action Rook Rifle, circa 1912, of .297/.250 calibre, the 63cm steel barrel stamped MADE BY/THE BIRMINGHAM SMALL ARMS CO.LD/ENGLAND/CARTRIDGE .297/.250, with piled arms trade mark, numbered 13671, with hinged leaf rearsight and blade foresight, the walnut stock with short fore-end, 42.5cm CONDITION REPORT: . Action works. Brown patina and light pitting to the metalwork. Minor bruising to the stock. Generally in good condition.
* Canon Canonet QL17 G-III. Canon Canonet QL17 G-III 35mm film camera with fixed 40mm f/1.7 lens, scarce fully black body, leaf-shuttered, coupled rangefinder with parallax compensation, late 1970s, excellent cosmetic condition, untested, original leather strap, Sunpak 1A filter included, camera light seals will need replacingQty: (1)NOTESOften unfairly called the "poor man's Leica", this is the world's top-selling rangefinder camera with built-in light meter, a record unlikely to be equalled. Canon sold 1.2 million of these between 1972 and 1982.
* Minox. Minox B subminiature 8 x 11mm film spy camera, manufactured in Germany by Minox in 1956, Serial No. 896783, untested but appears to be in good working order, excellent cosmetic condition, complete with measuring chain and original leather case, together with Olympus 35 RC 35mm rangefinder film camera, made in Japan, Serial No. 285805, E.Zuiko 42mm f/2.8 lens, excellent cosmetic condition, untested but appears to be in good working order, seals may need replacing, new battery required, plus Voigtlander VITO CLR 35mm rangefinder film camera, manufactured in Germany mid to late 1960s, Color-Skopar 50mm f/2.8 lens with Pronto-LK shutter, Serial No. 5194762, untested but appears to be in good working order, some minor surface marks and paint loss in places, top plate slightly loose, complete with original leather hard case and User Manual and receipt for £22 10/- 0d dated 1961, plus Agfa Silette-LK 35mm viewfinder film camera, manufactured late 1950s or early 1960s, Color-Apotar 45mm f/2.8 lens with Pronto-LK shutter, original brown hard leather case, untested, plus a J. Thos. Rhamstine (Detroit) Super Electrophot exposure meter from the 1930s with original leather hard case and a General Electric DW-68 light meter, all items sold as seenQty: (7)NOTESThe Minox B was built by Minox in Germany and, with 384,327 units manufactured between 1958 and 1969, was the worlds most famous and widely used camera for espionage photography. The Minox-B was always ready for use, it was the first subminiature camera with a built-in light meter that did not require batteries. It was replaced by the improved Minox C, which never surpassed the popularity of the Minox-B.
* W. Watson & Sons "Acme" plate camera. W. Watson & Sons "Acme" mahogany and brass 8 x 10 inch plate field camera, early brass lens with Waterhouse slots marked "A. Ross, London, No 6794, Orthographic Lens", inside of lens board marked "Patent Light Tight Joint", set of J.H. Dallmeyers Waterhouse stops in leather case, square maroon extension bellows with two side tabs each side, rack and pinion sliding bed, glass focussing screen measures 8 x 10 inches, two wooden holders measuring 9 1/8 x 11 1/4 inches externally and 8 x 10 inches internally plus another smaller holder, brass spirit level mounted on sliding bed at front, complete with canvas storage bag (worn) and cloth hoodQty: (1)NOTESProvenance: Purchased by the vendor at Christie's on 21 June 1984, Lot 235
* Fenton (Roger, 1819-1869). Raglan Castle - Porch [from] Photographic Art Treasures, [Part I], published by the Patent Photo-Galvano-Graphic Company, October 1856, proof photo-galvanograph with printed title and letterpress credit on india paper, image size 18 x 23 cm, sheet size 25.5 x 35 cm, some light browning throughout and old damp staining to margins outside of print impression but close to upper right corner and touching imprint at lower margin, mount a little spotted and somewhat frayedQty: (1)
* Sixth-plate daguerreotype of a British officer, c.1856, a small book in the officer’s left hand, gilt epaulettes, hand-tinted blue-grey sash and cross-belt with gilt highlights, some edge tarnish and semi-circular stain to left of the officer’s right epaulette, light surface scratching and dust, thermoplastic union case by Scovill with paper label inside case, velvet pad loose, harvest motif design to both covers, hinges a little loose but otherwise VGQty: (1)NOTESBerg 1-89.
* Military Officers. A partially complete album of approx. 150 window-mounted cartes de visite, c. 1860s/1880s, mostly albumen print portraits of British officers in uniform, various regiments and ranks, some officers identified including General J. Burgoyne, R.E., J.F.M. Winterscale, 3rd Royal Berkshire, Alfred St George Stewart, 74th Light Infantry, Lord Dudley, Lieutenant Colonel A. McIntyre, 6th Regiment, Robert Henry Verscoyle, 11th Hussars, Major M.J. Moore, 12th Bengal Lancers, some mounts chipped and detached, late 19th-century album with inset albumen print photograph, gilt and perspex frame, velvet-covered spine and lower board, gilt clasp with regimental monogram, slight wear and a little split along joints, oblong folio (28 x 40 cm)Qty: (1)
* Cartes de Visite. An albumen print carte de visite of Lieutenant Alexander Roberts Dunn VC, c.1864, full length and standing in uniform with cap of 33rd Foot tucked under one arm, wearing two medals, some spotting, plain card back, presented in an embossed leather desk frame, stand partly broken, together with a hand-coloured carte de visite of a Hungarian hussar, full length and standing, some spotting, printed paper label of the Hungarian photographer Abrahamovits Ferenc pasted to card mount verso, worn leather half case with gilt-embossed studio name of Mayall to base, plus 2 ninth-plate cartes de visite, one of a seated British officer, slightly cracked and scratched in lower corners, leather half case, the other identified in contemporary ink manuscript to lower mount and paper seal verso as Don Theodosio Noeli y White, a major with the Spanish Artillery at Fernando Po [West Africa] in 1862, gilt case, plus a half-length portrait of a young man in a suit [Thomas Sweetingham, c.1881-1902, 1st Tower Hamlet Rifles and No. D100 City Imperial Volunteers], gelatin silver print, creased and split, 9 x 6 cm, laid down and window-mounted in a small leather carte-de-visite desk frame, all glazed, plus A hand-painted salt print of a British Naval Officer, c.1840s, three-quarter length and standing, hand-coloured in gilt, silver, red and blue against a brown ground, wearing Naval Long Service medal and possibly St Jean d’Acre medal, contemporary manuscript colour details to card verso and possibly with the sitter’s name trimmed at head (?’Admiral Harvey’), 10.5 x 8.5 cm, contemporary blind-stamped morocco case with gilt clasp, glass looseQty: (6)NOTESAlexander Roberts Dunn VC (1833–1868) was the first Canadian awarded the Victoria Cross. He was born in York (later Toronto) in 1833, and in 1852 he purchased a commission in the Hussars. Dunn was awarded the Victoria Cross for his actions at the Charge of the Light Brigade during the Battle of Balaclava on 25 October 1854 when he was 21 years of age and serving in the 11th Hussars. Dunn rescued a sergeant by cutting down two or three Russian lancers who had attacked from the rear. Later in the battle he killed another Russian who had been attacking a private. He sold his commission at the end of the Crimean War but rejoined the Army in 1858 as a major in the 100th Regiment of Foot. He exchanged into the 33rd Regiment of Foot in 1864, in which regiment he remained until his death in the Abyssinian War.
* Military Photographs. An assorted collection of over 100 photographs of military interest, c. 1900-1950, including a small quantity of photographs, cabinet cards and cartes de visite relating to the Boer War including some ephemera relating to the Penny family, a group of approximately 50 portraits of the (?)Lascelles family including large panel prints, a partial album relating to the 2nd Battalion the King's Shropshire Light Infantry, c. 1931, and assorted individual and group assemblages, much of First World War and Second World War interest, plus an additional group of approximately 200 small snapshot photographs and negatives, seemingly related to Second Lieutenant Frank E. Siggers, 15th Middlesex Regiment, c. 1912Qty: (a carton)
* Thomson (John, 1837-1921). Canton Tea Hong, [Tea sifting, Guangzhou, China], c. 1869, albumen print, 20.9 x 27.0 cm, mounted on an album leaf, some light marginal fading, small corner crack in negative visible to lower left corner, 27.5 x 38.5 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)NOTESJohn Thomson, Illustrations of China and Its People, (1873-4), vol. 1, plate 21; John Thomson, Through China with a Camera, (1898), facing p. 54. When this privately owned collection of photographs first came to light earlier this year we were very excited. Any fresh collection of early photographs of China, Formosa (now Taiwan) and Japan is welcome and these 90 photographs were a significant find. The distinctive hand of John Thomson was familiar and easily recognised and the knee-jerk reaction was that most of the other photographs would be found to be by Felice Beato. However, on closer inspection the assumed authorship of Beato receded and the somewhat surprising name of the lesser-known American photographer Charles Leander Weed emerged from the shadows. Charles Weed is most famous for his pioneering mammoth-plate photographs of Yosemite but his work from his two periods based in China (1860-61 & 1866-70) is far more hazy. Weed photographed in Japan in 1867 during his second period out East and took photographs with both his mammoth-plate camera and his stereoview camera. Many of the photographs were published in an Oriental Scenery series in both formats by Thomas Houseworth of San Francisco in 1869. However, not only was Weed not credited but neither series appears to have been particularly successful and as a result only handfuls of these photographs by Weed are known institutionally and privately today. The Canadian Center for Architecture, the Smithsonian Institution and the Peabody Essex Museum collectively have a small number of the mammoth prints and the Tom Burdett Collection has a number of the stereoviews, while a few others are known to be owned privately. The attributions here are pieced together from these online sources and the invaluable work in various works, notably Peter E. Palmquist, 'California's Peripatetic Photographer: Charles Leander Weed', California History (1979) 58 (3), pp. 194–219, and three of Terry Bennett's books: Old Japanese Photographs. Collectors' Data Guide (2006), pp. 106-109, 115-116, 188; History of Photography in China 1842–1860, (2009), pp. 163-169; History of Photography in China: Western Photographers 1861–1879 (2010), p. 321. Terry Bennett's books give a useful list of titles from the Oriental Scenery series as well as up-to-date biographical information. The 'Weed' photographs offered here are largely 34 x 25 cm or similar and on comparison with online digital images photographs at the Canadian Center for Architecture and the Smithsonian they are taken from the 'centre' part of the mammoth plates. As such the compositions are altered from the full mammoth plates but it would appear that a good many of these images are not known in any format at all and so represent an important discovery in the history of western photography in China and Japan. Unlike Thomson, Weed did not publish books or document his photography career and because of the small number of photographs extant his reputation is more modest than it should be. Ansel Adams was a great fan of his landscapes of Yosemite and this new cache of photographs will find him new admirers.
* Thomson (John, 1837-1921). A Shop in Canton [Guangzhou, China], c. 1869, albumen print, signed in the negative lower left, some light marginal fading, 20.9 x 26.3 cm, mounted on an album leaf, 27.5 x 38.5 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)
* Thomson (John, 1837-1921). Inner Temple Lam-Poh-Toh Josshouse, Amoy [Southern Putuo Monastery, Xiamen], China, c. 1870-71, albumen print, light browning from adhesive see-through at blank upper left corner, 23.2 x 16.9 cm, mounted on an album leaf, 27.5 x 38.5 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)NOTESJohn Thomson, Through China with a Camera, (1898), facing p. 96; Betty Yao (editor), China Through the Lens of John Thomson 1868-1872, (2015), p. 104.
* Attributed to John Thomson (1837-1921). Nine Arch Bridge outside Soochow [Suzhou, China], c. 1869, albumen print, 24.0 x 33.9 cm, ghosting figures lower left corner, together with Attributed to John Thomson (1837-1921). Great Pagoda in Foochow [Fuzhou] the largest in China, c. 1869, albumen print, 23.6 x 33.2 cm, both with slight marginal fading and light browning to upper blank corners from adhesive see-through, mounted on album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESFor the same attribution of the first photograph see an identical one in the Gilman Collection at the Metropolitan Museum of Art, New York, accession number 2005.100.494.92. For a similar view of the second photograph with a Thomson attribution see accession number 2005.100.494.90. For stereoview photographs with similar titles see the Oriental Series published by Thomas Houseworth, San Francisco, 1869, Nos. 35 & 31: The Nine-Arched Bridge, near Soochow [and] The Largest Pagoda in China, at Foochow.
* Thomson (John, 1837-1921). View of the Bund, Shanghai, [China], 1869, albumen print, some marginal fading, light semi-circular crease corner upper right, 23.3 x 33.9 cm, together with: Attributed to John Thomson (1837-1921). Masonic Hall, Shanghai, [China], c. 1869, albumen print, slight marginal fading and browning from adhesive see-through at three corners, two corners lifted, tiny tear with loss to corner lower right, 24. 9 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). In Front of the Customs, Shanghai, [China], c. 1860s, albumen print, showing a busy harbour scene with lots of boats and figures, somewhat faded and some browning to corners from adhesive see-through, 24.3 x 32.6 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESa) John Thomson, Illustrations of China and Its People, (1873-4), vol. 3, plate IV, fig. 7. For a very similar photograph of Shanghai as seen from the Honk Kew, see the mammoth-plate photograph by Charles Weed reproduced in Terry Bennett, History of Photography in China 1842–1860, (2009), p. 166, fig. 133. Bennett notes that the Masonic Hall and Lodge at the centre of the photograph had opened in early 1867. While the Hall now has three flagpoles with flags flying in the later Thomson photograph the arrangement of the boats in front of the Hall is uncanningly similar, with several vessels clearly identical. b) For a similar view to the second image (without horse and carriage and the rooftop flag blowing differently) see the original glass plate negative by Thomson at the Wellcome Library, no. 19320i. For a stereoview photograph with the same title, which might be attributed to Weed, see the Oriental Series, No. 1. c) The identity of the photographer of the third photograph is attributed to Weed purely on the basis of No. 13 in the same series, titled ‘Custom House, Shanghai’. It is known that Weed took mammoth print photographs and stereoviews while in Japan, c. 1867, and some of these images were published in two separate series titled Oriental Scenery, by Thomas Houseworth, San Francisco, 1869. The attribution of some or all of these series of photographs to Weed is part of ongoing scholarship - notably by Peter Palmquist, Clark Worswick and, most recently, Terry Bennett. The series do not seem to have been a commercial success and the photographs from both the mammoth print series and the stereoview series are exceedingly scarce and mostly untraceable in any format. The mammoth prints would have been approximately 40 x 52 cm, and judging by the 7 Japanese photographs identified in the lots below that coincide with those attributed to Weed at the Canadian Center for Architecture and the Smithsonian Institution, our photographs use only the central areas of the mammoth plate negatives to make these prints. Even more confusingly, one mammoth print photograph in the same Oriental Series format and attributed to Weed that is to be found at the CCA, titled ‘View of the Longhua Pagoda [Longhua Ta], Shanghai, China’, 1867, (ref. PH1981:0343), appears in John Thomson’s Illustrations of China and Its People, (1873-4), vol. 3, plate V, fig. 10. No version of this photograph is in this collection but the ambiguity does suggest that further research is required on the attributions of some of these photographs.
* Attributed to Charles Leander Weed (1824-1903). Bridge at Wang-Do [Wong-Du],15 miles from Shanghai, [China], c. 1867, albumen print, slight marginal fading and browning to upper corners from adhesive see-through, 23.8 x 33.8 cm, together with: Unidentified photographer. Bridge at Kahshu [?Kahpoo, now Zhapu], [China], c. 1867-69, albumen print, marginal fading, some spotting, light diagonal crease, small tear without loss to lower right corner, 25.0 x 33.8 cm, Attributed to Charles Leander Weed (1824-1903). Soochow [Suzhou, China], c. 1867, albumen print, some marginal fading and browning to upper corners from adhesive see-through, 24.2 x 33.7 cm, mounted on separate album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESFor stereoview photographs with similar titles to the first and third photographs see the Oriental Series published by Thomas Houseworth, San Francisco, 1869, Nos. 30 & 32: Wongdu Bridge [and] Bridge, Soochow. The location of the second bridge and the likely photographer is unclear.
* Attributed to Charles Leander Weed (1824-1903). View at Woos[e]ih [Wuxi] 10 miles from Shanghai, [China], c. 1867, albumen print, some fading to left and right margins, light brown staining to corners from adhesive see-through, 23.9 x 33.3 cm, together with: Attributed to Charles Leander Weed (1824-1903). Pavilion at Woosoh [Woosieh, now Wuxi], Yangtsekiang [Yangtze], [China], c. 1867, albumen print, somewhat faded and browned at corners from adhesive see-through, small loss to blank corner lower left, 24.4 x 33.8 cm, Unidentified photographer. Cheefoo [Yantai, China], c. 1860s, albumen print, some marginal fading, browning to upper left sky area, small tear with loss to upper right corner, 21.2 x 33.0 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESFor stereoview photographs with similar titles see the Oriental Series published by Thomas Houseworth, San Francisco, 1869, Nos. 40 & 43: View in Wooseih [and] Canal View in Wooseih. Thomson visited and photographed at Chefoo but this photograph has not been matched.
* Beato (Felice, 1832-1909). A group of 4 albumen prints, 1860, titled A Gateway near Peking [Beijing, China], some fading, 16.8 x 21.7 cm / The Admirals Summer Palace, Peking [Temple of Heaven, Beijing, China], light browning to upper corners from adhesive see-through, 16.9 x 22.0 cm / A Tartar Street in Peking [Great Imperial Winter Palace, Beijing, China], some light browning in sky area, small paper adhesion mark to lower left corner, 16.4 x 21.3 cm / The Clock Tower in Peking [Imperial Summer Palace Yuen Min Yuen, Peking, Before the Burning, Beijing, China], some browning, 16.5 x 20.4 cm, mounted as pairs on rectos of 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified handQty: (4)NOTESFourth photograph: Terry Bennett, History of Photography in China: Western Photographers 1861–1879, (2010), p. 157, fig. 127; Clark Worswick, Imperial China: Photographs 1850-1912, (1979), p. 41.
* Thomson (John, 1837-1921). A group of 10 small photographs of indigenous people and scenes in Formosa [Taiwan], 1871, albumen prints, images 8.6 x 8.0 cm and similar small-format sizes, neatly mounted in sixes and fours on one side of two album leaves, 27.5 x 38.5 cm, both leaves titled ‘Aboriginal - Types’ in contemporary calligraphic brown ink, one village scene with additional caption in the same hand, ‘Pe-po-hoan Village’, a little scattered light fadingQty: (10)NOTESSheet 1: ‘Aboriginal - Types’. a) ‘Pe-po-hoan Village’: John Thomson, Illustrations of China and Its People, (1873-4), vol. 2, plate IV, fig. 12; René Viénet, Formosa from the Earth and from the Air 1871-2006, (2006), p. 105; Wellcome Library no. 19807i; b) [Uncaptioned]: Viénet, p. 113; Wellcome 19825i; c) [Uncaptioned]: Thomson, ICIP, 2.II.2; Viénet, p. 107; Wellcome 19829i; d) [Uncaptioned]: Thomson, ICIP, 2.II.7; Viénet, p. 127; Wellcome 19819i; e) [Uncaptioned]: Thomson, ICIP, 2.II.4; f) [Uncaptioned]: Thomson, ICIP, 2.II.5; Viénet, p. 117; Wellcome 19822i. Sheet 2: ‘Aboriginal - Types’. a) [Uncaptioned]: John Thomson, ICIP, 2.II.4; John Thomson, Through China with a Camera, (1898), facing p. 36; b) [Uncaptioned]: Richard Ovenden, John Thomson (1837-1921) Photographer, (1997), illust. 55; Stephen White, John Thomson: Life and Photographs, (1985), illust. 105; Viénet, p. 83; Wellcome 19805i; c) [Uncaptioned]: Thomson, ICIP, 2.II.6; Viénet, p. 123; Wellcome 19821i; d) [Uncaptioned]: Thomson, ICIP, 2.IV.9; White, illust. 106; Viénet, p. 93; Wellcome 19803i.
* Thomson (John, 1837-1921). A group of 12 small photographs of scenes in Formosa [Taiwan], 1871, albumen prints, images 8.6 x 8.0 cm and very similar sizes, individually captioned in contemporary calligraphic brown ink, a little scattered light fading, neatly mounted in sixes on one side of two album leaves, 27.5 x 38.5 cmQty: (12)NOTESSheet 1: a) ’Entrance to Takao [Kaohsiung] Harbour’: René Viénet, Formosa from the Earth and from the Air 1871-2006, (2006), p. 37; Wellcome Library no. 19093i; b) ‘Takao’: Viénet, p. 43; Wellcome 19095i; c) ’Takao’: Viénet, p. 51; Wellcome 191105i; d) ’Volcanic Rocks Takao’; e) ’Surf Boats’: Viénet, p. 61; Wellcome 19097i; f) ’Fishing in the Surf’: Stephen White, John Thomson: Life and Photographs, (1985), illust. 102; Viénet, p. 55; Wellcome 19099i. Sheet 2: a) ’Surf Boat’: John Thomson, Illustrations of China and Its People, (1873-4), vol. 2, plate V, fig. 14; Viénet, p. 59; Wellcome 19115i; b) ‘Banyan-Tree’: Viénet, p. 165; Wellcome 19109i; c) ‘Path in Tai wan foo [Taiwanfu]’: Thomson, ICIP, 2.V.13; d) ‘Native Well’; e) ‘Native Well’: Wellcome 19089i; f) ‘Sugar Packing’.
* Thomson (John, 1837-1921). Bed of La-Lung [Lan-long] River, [Taiwan], 1871, albumen print, some light marginal fading, 20.8 x 28.0 cm, mounted on an album leaf, 27.5 x 38.5 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)NOTESRichard Ovenden, John Thomson (1837-1921) Photographer, (1997), illust. 141; Wellcome Library, unnumbered.
* Thomson (John, 1837-1921). Forest Clad Mountains, La-Lung [Lan-long], [Right bank of Lakoli River, Taiwan], 1871, albumen print, some fading and a little corner browning from adhesive see-through, some light crease lines, small blemishes in the negative in river area along lower margin, 22.8 x 28.3 cm, together with: Thomson (John, 1837-1921). 6691 A Mountain Path, [Taiwan], 1871, albumen print, some light marginal fading, 22.6 x 28.3 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESa) John Thomson, Through China with a Camera, (1898), facing p. 134; Richard Ovenden, John Thomson (1837-1921) Photographer, (1997), illust. 143; Stephen White, John Thomson: Life and Photographs, (1985), illust. 103; René Viénet, Formosa from the Earth and from the Air 1871-2006, (2006), p. 97; Wellcome Library no. 19801i. b) Wellcome Library no. 19781i.
* Weed (Charles Leander, 1824-1903). View in Yeddo [Edo, now Tokyo] (Japan), c. 1867, albumen print of the entrance to the American Legation, some light marginal fading, 24.4 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). British Legation, Yeddo, c. 1867, albumen print, some light marginal fading, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). Garden at the British Legation, Yeddo, c. 1867, albumen print, some light marginal fading, 25.0 x 33.7 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESThe first photograph is the central part of the mammoth-print to be found at the Canadian Center of Architecture, titled ‘Entrance to American Legation, Yedo’, ref. PH1981:0340. That image corresponds to stereoview no. 109 in the Oriental Scenery series, by Thomas Houseworth & Co., San Francisco, 1869. See also Terry Bennett, Old Japanese Photographs: Collectors' Data Guide, (2006), pp. 106-109, which gives a numbered listing of the Houseworth series (China, 1-60; Japan, 61-153) and illustrates this stereoview on p. 109. Only one photograph of the British Legation is listed, that one (no. 107) probably corresponding to the second photograph here.
* Attributed to Charles Leander Weed (1824-1903). Yeddo, [Edo, now Tokyo, Japan], c. 1867, albumen print, a view across Yedo rooftops, some light marginal fading, 25.0 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). A Garden in Yeddo, c. 1867, albumen print of a lake or moat, wooden walkway and pavilion with several figures including a fisherman on the near bank, some light marginal fading and browning to top corners from adhesive see-through, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). View near Yeddo, c. 1867, albumen print of a watercourse and promontory with houses on a hillside in the background, some light marginal fading and browning to top corners from adhesive see-through, 25.0 x 33.7 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESThomas Houseworth’s Oriental Scenery series, 1869, featured some 30 views of Yedo (nos. 99-129) and it is difficult to specifically match up these photographs to ones on that list. The first one may correspond to one of the two titled ‘Panoramic View of Yedo’, nos. 101 & 102. For the other two see footnote to following lot.
* Weed (Charles Leander, 1824-1903). Moat of the Imperial Palace, Yeddo, [Edo Castle, Tokyo, Japan], c. 1867, albumen print, some light marginal fading, a few spots and slight browning to corners from adhesive see-through, 25.0 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). Imperial Palace Grounds, Yeddo, c. 1867, albumen print of the moat, some marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). Imperial Grounds, Yeddo, c. 1867, albumen print of a lake or moat with two figures on a short jetty on the near bank, further figures on the far side on a wooden walkway and shading under a tree, some marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.8 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESFor a photograph of the first image taken from the full mammoth plate see the Canadian Center of Architecture, ref. PH1981:0345. The image here can be seen to be taken from the upper right area of the mammoth plate negative, eliminating the view of the near bank from the composition. Thomas Houseworth’s Oriental Scenery series, 1869, features thee views titled ‘Moat around the Castle, Yedo’, (nos. 117-119), and four titled ‘Tycoon’s Fishing Ground, Yedo’, (nos. 112 & 125-128). These photographs may be some of those comparable images taken from the mammoth plates.
* Attributed to Charles Leander Weed (1824-1903). Bronze Idol 40 feet high at Daiboots [Great Buddha of Kamakura] near Yokohama, [Japan], c. 1867, albumen print, some marginal fading and light browning to top corners from adhesive see-through, darker stain to lower right corner, 33.9 x 25.0 cm, together with: Attributed to Charles Leander Weed (1824-1903). Temple of Kama-Kura [Hachiman Shrine, Kamakura, Japan], c. 1867, albumen print, some light marginal fading and light browning to top corners from adhesive see-through, 34.7 x 25.0 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESThomas Houseworth’s Oriental Scenery series, 1869, features two stereoviews of the much-photographed Buddha (nos. 152 & 153) and five views of the temple at Kamakura (nos. 147-151). Both these were popular subjects for photographers resulting in similar photographs by contemporaries such as Felice Beato who is believed to have photographed the Great Buddha at least twice, in 1864 and 1868. Near-identical compositions to both these photographs can be seen in two Felice Beato photographs, c. 1868, at Wellcome Library nos. 569190i & 569186i.
* Weed (Charles Leander, 1824-1903). Mississippi Bay near Yokohama, [Japan], c. 1867, albumen print, some light marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). Yokohama, c. 1867, albumen print, a view over rooftops and the harbour with boats, some light marginal fading and light browning to top corners from adhesive see-through, very small split to upper right margin, 25.0 x 33.7 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESA full plate photograph from the original mammoth plate of the first photograph, titled ‘Fishing Village on Mississippi Bay, near Yokohama’, is held at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives within the Smithsonian Institution, ref. FSA.A2002.04. This corresponds to no. 139 in Thomas Houseworth’s Oriental Scenery series, 1869. In addition, Felice Beato photographed a virtually identical scene, 1864-1868, the composition cropped in very slightly from our photograph but showing three figures on the road on the left. See Anne Lacoste, Felice Beato: A Photographer on the Eastern Road, (2010), plate 34. Whether Ueno Hikoma (1838-1904), who had a close working relationship with Beato, showed him and/or Charles Weed this location, it seems highly unlikely that whichever photographer was not aware of the earlier work of the other when taking this photograph. The second photograph probably corresponds to one of the two titled ‘Panoramic View of Yokohama’ in the Oriental Scenery series, nos. 137 & 138.
* Weed (Charles Leander, 1824-1903). Water Course, Nagasaky, [Nagasaki, Japan], c. 1867, albumen print of the Nakashima River with houses, some light marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.2 cm, together with: Weed (Charles Leander, 1824-1903). Cemetery at Nagasaky, c. 1867, albumen print of the cemetery and the Fukusaiji Temple complex(?), some marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.9 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESFor full plate photographs taken from the original mammoth plates of both these photographs see the Canadian Center for Architecture, ref. PH1981:0341 and PH1981:0347. The full-plate view of the river scene is reproduced in Terry Bennett, Photography In Japan 1853-1912, (2006), p. 5, fig. 3: ‘This is the Nakashima River where Ueno Hikoma’s house and studio were situated. Ueno would have been impressed and enthralled to see Weed employ his mammoth-plate technical skills. It is highly likely that Weed would have sought, and Ueno offered, his support and local geographical knowledge.’ A very similar large-format photograph of the cemetery by Ueno Hikoma, c. 1874, is also reproduced in Bennett’s book, p. 74, fig. 83 with the comment: ‘Very similar photographs by Felix Beato and Charles Weed have caused attribution problems in the past.’ A copy of this Ueno photograph is held in the Tom Burnett Collection and as with all his 7 Ueno photographs he suggests and earlier date of c. 1865-1870, (see tomburnettcollection.com). In the Houseworth Oriental Scenery series there are three photographs titled ‘River View in Nagasaki’, (nos. 77–79) and five photographs of the cemetery, (nos. 85-87 & 89-90).
* Attributed to Charles Leander Weed (1824-1903). The Bund in Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, some light marginal fading and light browning to corners from adhesive see-through, 25.0 x 33.8 cm, together with: Attributed to Charles Leander Weed (1824-1903). Japanese Arsenal opposite Nagasaky, c. 1867, albumen print, some fading and browning to top corners from adhesive see-through, 25.0 x 33.7 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESThese two photographs may correspond with nos. 68 and 80 in Houseworth’s Oriental Series: ‘The Bund, Nagasaki’ and ‘Japanese Machine Shops, Nagasaki’.
* Attributed to Charles Leander Weed (1824-1903). Entrance to Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, some marginal fading and light browning to corners from adhesive see-through, 25.0 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). Entrance to Nagasaky, c. 1867, albumen print, some fading and browning to corners from adhesive see-through, 24.3 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). Entrance to Nagasaky, c. 1867, albumen print, some fading and browning to corners from adhesive see-through, 25.0 x 33.7 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESThere are 38 views (nos. 61-98) of Nagasaki in Houseworth’s Oriental Scenery series and it is difficult to be certain which these photographs may correspond to. The first two here show harbour views looking down from the hillside, while the third is from higher up, with the backs of two figures in the foreground, the distant harbour and wooded shoreline now very faded.
* Attributed to Charles Leander Weed (1824-1903). Nagasaky [Nagasaki] Native Town, [Japan], c. 1867, albumen print, a view across rooftops with hills (partly faded) in the distance, some marginal fading and light browning to corners from adhesive see-through, 25.0 x 33.9 cm, together with: Attributed to Charles Leander Weed (1824-1903). Nagasaky, c. 1867, albumen print, a view looking across a few house rooftops with boats in the harbour beyond, some marginal fading and browning to top corners from adhesive see-through, 25.0 x 33.9 cm, Attributed to Charles Leander Weed (1824-1903). View near the Entrance of Nagasaky, c. 1867, albumen print, a view looking down over hills with the harbour visible in the distance, some marginal fading and light browning to corners from adhesive see-through, 24.1 x 33.9 cm, mounted on 3 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (3)NOTESIt has not been established from these captions which of the 38 photographs of Nagasaki in Houseworth’s Oriental Scenery series, nos. 61-98, these photographs might correspond with. The Tom Burnett Collection (tomburnettcollection.com) contains one similarly composed photograph to the second photograph here, described as ‘Nagasaki, View from the Cliff’, c. 1865-1870.
* Attributed to Charles Leander Weed (1824-1903). Country View near Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, view looking over rooftops towards a wooded hillside, some marginal fading and browning to top corners from adhesive see-through, a little spotting in the sky upper left, 25.0 x 33.4 cm, together with: Attributed to Charles Leander Weed (1824-1903). Country View near Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, view of a river scene with houses on the far bank, some light marginal fading and browning to top corners from adhesive see-through, 25.0 x 32.4 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESIt has not been established from these captions which of the 38 photographs of Nagasaki in Houseworth’s Oriental Scenery series, nos. 61-98, these photographs might correspond with.
* Weed (Charles Leander, 1824-1903). [Honrenji] Temple near Nagasaki, [Japan], c. 1867, albumen print, some light marginal fading, 25.4 x 33.8 cm, together with: Attributed to Charles Leander Weed (1824-1903). Temple in Japan, c. 1867, albumen print, some marginal fading, short split near upper right corner, 25.0 x 33.7 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESFor a full plate photograph taken from the original mammoth plate of the first photograph see the Canadian Center for Architecture, ‘Partial view of the Fukusaiji Temple complex [?], Nagasaki, Japan’, ref. PH1981:0346. The full plate shows a lot more bare ground in front of the temple, and more tree foliage to the left and right. Intriguingly, there are three near-identical photographs by Ueno Hikoma (or attributed to him) to be found in the Database of Japanese Old Photographs in Bakumatsu-Meiji Period in the Nagasaki University Library Collection, ref. 5339, 5358, 6034, the last one dated c. 1874, all approximately 21 x 27.5 cm. It would seem very likely that the photographer(s) would have been emulating this more compact view offered here. Only two photographs in the Houseworth, Oriental Scenery series, nos. 70 & 72, have the title ‘Temple in Nagasaki’.
* Weed (Charles Leander, 1824-1903). On the Road to 'Fusi Yama' [Fujiyama, i.e. Mount Fuji], Japan, c. 1867, albumen print, some marginal fading and browning to top corners from adhesive see-through, 25.0 x 32.8 cm, together with: Attributed to Charles Leander Weed (1824-1903). Country Scene in Japan, c. 1867, albumen print, some marginal fading, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). View in [Seto] Inland Sea, Japan, c. 1867, albumen print, some marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). View in [Seto] Inland Sea, Japan, c. 1867, albumen print, some marginal fading and light browning to corners from adhesive see-through, 25.0 x 33.2 cm, mounted on 4 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (4)NOTESA full plate photograph from the original mammoth plate of the first photograph, titled ‘View near Yokohama’, is held at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives within the Smithsonian Institution, ref. FSA.A2002.04. None of these photographs can be identified in the list of Houseworth’s Oriental Scenery series and may not have been part of that series.
Kleingrothe (Charles J., 1864-1925). Malay Peninsula (Straits Settlements and Federated Malay States), Medan, Sumatra: Kleingrothe, [1907?], title-page, coloured map and 175 sepia photogravure illustrations on 70 mounts (complete except for one unnumbered plate but with a duplicate plate of 'Virgin Jungle'), images 20 x 28 cm and smaller, printed captions and imprint details in the margins, some light scattered spotting, mostly to mount extremities, all loosely contained as issued in original cloth portfolio with mounted photogravure (slightly scratched) of a tiger inset to upper cover, slightly rubbed, oblong folio (35 x 45 cm)Qty: (1)NOTESA very rare complete set, comprising 18 heliogravures in the Singapore series, 16 heliogravures in the Penang series and 36 heliogravures from photographs of the Federated Malay States. The missing/duplicate plate from this last series would appear to be a collating error by the publisher.
* Turkey. An album containing 65 mounted albumen prints, c. 1870s, including 3 views of Istanbul and the Bosphorus from the hill, 26 x 35 cm and slightly smaller, 3 photographs of local types including a group of whirling dervishes, one signed P. Sebah in the negative, 25 x 20 cm and the reverse, a group of 70 smaller photographs of local types by Sebah mounted on 4 pages, 14 x 10 cm, the remaining photographs of views, mosques, ruins and antiquities, some with Sebah's name in the negative, the largest images 26 x 34 cm, mostly mounted singly or as pairs on rectos and versos of 25 stiff card leaves, some light pencil captions to mounts, contemporary half morocco, rubbed and some wear, oblong folio (30 x 41 cm)Qty: (1)NOTESProvenance: One of 3 matching albums believed to have been compiled by T.D. McKay, a Pacific Coast Passenger Agent. See lots 353 & 384.
* Nettles (Bea, 1946-). Mountain Dream Tarot: A Deck Of 78 Photographic Cards, 1st edition, Distributed by Light Impressions Corp., Rochester, NY, 1975, a set of 78 photomechanically printed monochromatic cards plus title card (neatly signed in ball-point pen, 'B. Nettles 1977'), cards 115 x 94 mm, together with original printed tri-fold information sheet and a single sheet with other titles by Bea Nettles, all fine in original box with a second pictorial title card pasted to upper lid, a little rubbed at extremities, overall 12.5 x 10 x 3 cmQty: (1)NOTESApparently issued in an edition of 850, the idea for Mountain Dream Tarot came to Nettles in a dream while she was at Penland School of Crafts in North Carolina in 1970. Inspired by the symbols found in Arthur Edward Waite’s Pictorial Key to the Tarot, Nettles spent the next five years photographing members of the Penland community and her family and friends. She then assembled the images into photomontages using the symbolism of the tarot. Way before the advent of Photoshop Nettles painstakingly used darkroom techniques, retouched negatives and painting on her photographic prints to create illusions of wands flying through the air and cups hovering in the clouds. Reissued in 2001 with a 3rd edition issued in 2020, sets of the first edition are scarce, some being held institutionally at museums including the George Eastman and the Metropolitan Museum of Art in New York. The Three of Swords image was used as a disc graphic on Bruce Springsteen's album Magic (2007).
* Pollock (George, 1928-2016). A group of 21 vintage abstract colour photographs or 'Vitrographs', printed c. 1973, each approximately 34 x 24 cm, many with labels, stamps and some inscriptions to versos, together with a folder of related correspondence and several Photography Society certificates for PollockQty: (a folder)NOTESPollock's technique consisted of the photography of multiple reflections of coloured light in and through various substances under controlled conditions. Titles here include Underwater, Sub-Aqueous, Dream Space, Metamorphosis, Galactic Event, Music, Fishy Tiger and Bushfire. Pollock's work is held in several international collections, including The National Media Museum, Bradford, The British Council and The National Gallery of Victoria, Melbourne, Australia.
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![* Fenton (Roger, 1819-1869). Raglan Castle - Porch [from] Photographic Art Treasures, [Part I], published by the Patent Photo](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/4961d430-877a-4784-a95b-ac64011da650/468x382.jpg)
![* Thomson (John, 1837-1921). Canton Tea Hong, [Tea sifting, Guangzhou, China], c. 1869, albumen print, 20.9 x 27.0 cm, mounte](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/7533ee75-e67a-4d0e-839a-ac64011e66fb/468x382.jpg)
![* Thomson (John, 1837-1921). A Shop in Canton [Guangzhou, China], c. 1869, albumen print, signed in the negative lower left,](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/353d9e4f-646c-48cb-9fca-ac64011e67a9/468x382.jpg)
![* Thomson (John, 1837-1921). Inner Temple Lam-Poh-Toh Josshouse, Amoy [Southern Putuo Monastery, Xiamen], China, c. 1870-71,](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/163ef4aa-99ec-4a51-a009-ac64011e6eec/468x382.jpg)
![* Attributed to John Thomson (1837-1921). Nine Arch Bridge outside Soochow [Suzhou, China], c. 1869, albumen print, 24.0 x 33](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/0e26ffbf-4888-41de-a93c-ac64011e71fe/468x382.jpg)
![* Thomson (John, 1837-1921). View of the Bund, Shanghai, [China], 1869, albumen print, some marginal fading, light semi-circu](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/288e6c81-6468-4997-8b2d-ac64011e72c6/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Bridge at Wang-Do [Wong-Du],15 miles from Shanghai, [China], c. 1867, album](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/739e9471-db8d-4345-9240-ac64011e735c/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). View at Woos[e]ih [Wuxi] 10 miles from Shanghai, [China], c. 1867, albumen](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/94310fa5-3440-449e-8a28-ac64011e74a6/468x382.jpg)
![* Beato (Felice, 1832-1909). A group of 4 albumen prints, 1860, titled A Gateway near Peking [Beijing, China], some fading, 1](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/a5113523-1571-4d24-ad1c-ac64011e7675/468x382.jpg)
![* Thomson (John, 1837-1921). A group of 10 small photographs of indigenous people and scenes in Formosa [Taiwan], 1871, album](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/caf51058-d16e-4ea0-b7d5-ac64011e783b/468x382.jpg)
![* Thomson (John, 1837-1921). A group of 12 small photographs of scenes in Formosa [Taiwan], 1871, albumen prints, images 8.6](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/cee4cf3c-dfb0-476b-b515-ac64011e78c3/468x382.jpg)
![* Thomson (John, 1837-1921). Bed of La-Lung [Lan-long] River, [Taiwan], 1871, albumen print, some light marginal fading, 20.8](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/5adcf562-e35d-447d-bfe6-ac64011e7978/468x382.jpg)
![* Thomson (John, 1837-1921). Forest Clad Mountains, La-Lung [Lan-long], [Right bank of Lakoli River, Taiwan], 1871, albumen p](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/47cd00e9-6bca-4d1c-8e1c-ac64011e7a3f/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). View in Yeddo [Edo, now Tokyo] (Japan), c. 1867, albumen print of the entrance to the Am](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/012ab31e-68ce-4d35-9061-ac64011e7e44/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Yeddo, [Edo, now Tokyo, Japan], c. 1867, albumen print, a view across Yedo](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/a5d0fd29-d979-45d0-9657-ac64011e7eed/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). Moat of the Imperial Palace, Yeddo, [Edo Castle, Tokyo, Japan], c. 1867, albumen print,](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/190cbbce-95eb-4b84-b742-ac64011e7fcd/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Bronze Idol 40 feet high at Daiboots [Great Buddha of Kamakura] near Yokoha](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/1d550449-49d5-4d68-8f2c-ac64011e80e8/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). Mississippi Bay near Yokohama, [Japan], c. 1867, albumen print, some light marginal fadi](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/7878d2fa-21da-46e1-b98c-ac64011e817d/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). Water Course, Nagasaky, [Nagasaki, Japan], c. 1867, albumen print of the Nakashima River](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/d8c8aea4-cc19-4c2e-9f37-ac64011e820c/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). The Bund in Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, some light](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/b797f8b0-86c9-4c89-b992-ac64011e82c2/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Entrance to Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, some margi](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/dd4e32a6-2e98-4302-980d-ac64011e8352/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Nagasaky [Nagasaki] Native Town, [Japan], c. 1867, albumen print, a view ac](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/035a9563-99e9-4427-8508-ac64011e83f1/468x382.jpg)
![* Attributed to Charles Leander Weed (1824-1903). Country View near Nagasaky, [Nagasaki, Japan], c. 1867, albumen print, view](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/4b0bdb84-557f-465a-8290-ac64011e8500/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). [Honrenji] Temple near Nagasaki, [Japan], c. 1867, albumen print, some light marginal fa](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/6f5565a3-8e3d-4d3f-abb1-ac64011e85aa/468x382.jpg)
![* Weed (Charles Leander, 1824-1903). On the Road to 'Fusi Yama' [Fujiyama, i.e. Mount Fuji], Japan, c. 1867, albumen print, s](https://cdn.globalauctionplatform.com/1f93c4c0-8da5-4fd7-9d28-ac6300d6554e/ef1633b2-223e-4673-8574-ac64011e86f9/468x382.jpg)
