33307 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Heraldry.- Favyn (Andre) The Theater of Honour and Knight-hood. Or A Compendious Chronicle and Historie of the whole Christian World..., first edition in English, title in red and black (a little light surface soiling, creased), 12 sheets of woodcut arms, orders and decorations, and similar throughout within text, on 3 leaves bright later hand-colouring has been added to the heraldic woodcut illustrations (3A1v; x4v; z6r), woodcut initials and head-pieces, lacking final blank (3a4), one or two minor instances of soiling or isolated spots, contemporary calf, rebacked, joints cracked at head, rubbed, manuscript title in ink to fore-edge, [STC 10717], folio, William Iaggard, 1623.⁂ A handsome heraldic work, includes discussion of jousts, combats and ceremonies in addition to heraldic matters. Provenance: Henry J. B. Clements [bookplate]

Vergilius (Polydorus) An Abrigmen[n]t of the notable works of Polidore..., first edition in English, translated by Thomas Langley, woodcut initials, a few ff. with manuscript notes in ink to margins in an early hand, bookplate, lacking final f. with printer's device, small hole with paper repair to blank margin of title, also through 2 following ff. (A2-3) here repair touching letters, Q6v-R1 heavily browned, elsewhere light browning and marginal soiling, modern calf, gilt dentelles, [STC 24655; catchword a2r "life"], 8vo, by Richard Grafton, 1546.

BALLER  F. W.  An Analytical Chinese-English Dictionary. Quarto. Worn cond., lacking backstrip, early leaves det. but present. For the China Inland Mission, Shanghai, 1900. With some slipped in ephemera incl. a small photograph, card of J. Ward Wilson, Weihaiwei & manuscript transcriptions of text & letters; Also Legge, The Chinese Classics, vol. 1 only & ex. lib. with adhesions, 1893. (2)

FULTON A. S. (Ed.).  Facsimile of the Manuscript of Al-Kitab Al-Bari Fi`L-Lughah. Quarto. Orig. blue cloth. British Museum, 1933; Also Suydam Cutting. The Fire Ox and Other Years, illus., quarto, cloth in very defective d.w., 1947. (2)

ROBINSON RICHARD, of Belfield Mill.  Origin of the Marsden Monthly Meeting & Record of Proceedings, 1678 to 1738. Neatly written manuscript of 57pp. In a folio ledger. 1878.

Wills & Probate.  Wills & Administrations in the Prerogative Court of Canterbury Abstracts of Which are Entered in this Book in Their Order of Entry. 2 vols. Very detailed manuscript notebook of a historian. C.350pp closely written in dark morocco bdg. with Contents lists & Index; also a similar detailed manuscript notebook ref. wills of the Carrington/Charrington families & 5 other manuscript historian's notebooks ref. wills & records. (8).

PARKINSON J. C.  The Ocean Telegraph to India, A Narrative & A Diary. Col. litho frontis, fldg. chart & plates & plans, as called for. Calf, poor cond. with top brd. near det. but contents good. 1870; with a tipped in manuscript letter from the Telegraph Construction & Maintenance Company Limited to the author.Condition:Front board is now fully detached, 

TONDOLUS DER RITTER: Pen and ink manuscript facsimile of 1515 edition, pen and ink illustrations in text, circa 1900, 57 manuscript pages, old parchment backed marble boards

A late Georgian cut paper fan shaped multi-folding manuscript puzzle question and answer game dated 1831, approx 70 x 90mm

French printed and manuscript passport to UK Citizen Robert Boyle dated 1820, approx 400 x 250 mm, framed and glazed

Victorian album with assorted cookery recipe cuttings together with a good quantity of manuscript pages of a legal nature, 4to, old reversed calf disbound

EARLY VICTORIAN MANUSCRIPT AGRICULTURAL JOURNAL BY CHARLES LYALL dated 1843, circa 200 manuscript pages, contemporary calf backed boards, Charles Lyall was the factor for Sir James Carnegie 9th Earl of Southesk and Sir George MacPherson-Grant of Craigo 3rd Bt on their Scottish estates in the mid 19th Century

A French manuscript document dated 1642 signed by Deruelle, Controller of the Chancellerie de Paris, seeking from the king an order of knighthood of the Holy Spirit for the Marquis de Fontenay (c.1594-1665), Ambassador to England and at Rome, 2 pages, bifolio

A marriage contract in Nastaliq script, Qajar, Iran, Persia, dated 1879A Persian manuscript on paper, dated Rajab 1279 AH (1879 AD), describing the marriage in 24 lines in Nastaliq black and red script, ruled in blue and red borders with gilt and polychrome floral scrolls, with ownership statements and seals.Dimensions:(W:42 x H:73,5 cm)

An antique Astrological manuscript, probably 19th/20th century. An Arabic manuscript on paper consisting of 28 pages with 15 lines on each page, arranged in two columns and written in black 'Naskh' script. Decorated with a gilt border, the opening bifolio with royal blue and gilt decoration. The book consists of 37 drawings.  The book describes the stars in poetic verses. It's attributed to Abu Ali, the son of the well-known astronomer Abu al-Hussein Abd al-Rahman al-Sufi (d. 376 AH), author of the 'Suwar al-Kawabiyya'. Its author gifted it to the Shahanshah, the brother of His Excellency Fakhrallah.   Ref.: The Metropolitan Museum, New York, Accession Number 13.160.10Dimensions:(W:13 x H:21 cm)

Khulasah in Hisab, or 'Summa de Arithmetica' by Baha Al-din Al-Amili, Dated 1228 AH /1813 ADThe book contains 39 pages in black ink, with catchwords and titles written in red ink. The manuscript also with multiple interlinear corrections in Persian and Arabic. Copied 1228 AH or 1813. In the original leather binding.The book is a popular textbook amount the Safavids, written by Bahaa al-Din Muhammad ibn Husayn al-Amili. Consisting of an introduction, 9 chapters and a conclusion. Chapter One: Calculation of the IntegersChapter Two: Calculating FractionsChapter Three: Extracting Unknowns by Four ProportionsChapter Four: Extracting Unknowns by Calculating Two ErrorsChapter Five: Extracting Unknowns by Working BackwardsChapter Six: On SurveyingChapter Seven: areas being followed by the weight of the earth, the heights, the widths of the rivers and the depths of the wells,Chapter Eight: Extraction of Unknowns Dimensions:(W:15 x H:21 cm)

An album of Ottoman Calligraphic Panels (QITA) The first half of the 20th century. An Arabic manuscript, gold and ink on paper. The 'Naskh script is elegantly written diagonally surrounded by a floral border. Dimensions:(W:15 x H:20 cm)

A Qajar Diwan Ali Ibn Abi Talib, Qajar, Perisa, Dated 1221AH/ 1806ADAn antique poetic manuscript with 16 pages, each page with 13 lines divided into two columns and written in fine 'Naskh' script. Divided by Blue and gold decorations, often text and titles are in red 'Naskh' script. In the original brown Morocco binding. Dimensions:(W:11,5 x H:18,5 cm)

KOGYO TSUKIOKA (1869-1927): NOH THEATRE PLAYS, two mid-19th century original Japanese woodblock prints, with two manuscript papers, (4).

TWO ISLAMIC ILLUMINATED MANUSCRIPT PAGES, the larger with fine gilt highlights, (2).

AN ISLAMIC SCIENTIFIC MANUSCRIPT, 29cm x 20cm.

Ficino (Marsilio). Epistole Marsilii Ficini Florentini, Venice: Matteo Capcasa for Hieronymus Blondus, 1st edition, 11 March 1495, 204 leaves (6 unnumbered pages, clxxxxvii, 1 unnumbered leaf), printed in Roman type, front blank with small ownership inkstamp of the Bibliotheca Heberiana, title printed in black (with woodcut motif of a phoenix) with small contemporary inscription 'Diem dies docet, Aedeus', illegible oval ownership blindstamp, and ink signature of H. N. Coleridge dated 1834, elaborate woodcut border to title verso, repeated to first two pages of the prologue, numerous small woodcut initials, occasional minor mark or small waterstain, larger stains to upper outer corners of folios CXXIV to CXXIX, dampstaining to lower blank margin beginning at leaf CXXXXI and continuing to end, with some associated fraying and small losses to final leaves, contemporary ownership inscription of Nicolas Pelletur, dated 1499 to verso of blank leaf at rear, medieval manuscript fragment bound in to rear gutter, 17th century full calf with coat-of-arms of the Prince de Condé to centre of each cover, worn with backstrip missing and small loss to lower outer corner of rear cover, folio (textblock measures 305 x 202 mm)QTY: (1)NOTE:Provenance: Nicholas Pelletur, 1499 (inscription at rear of volume); Louis de Bourbon (1621-1686), Prince de Condé, "The Great Condé" with his coat-of-arms to covers; Richard Heber (1773 – 1833), bibliophile and founder member of the Roxburghe Club, inkstamp; H. N. Coleridge (1798-1843), signature.The very early latin manucript ownership inscription in brown ink reads: 'Nicolaus pelliparius artium et medicine doctor/hunc librum emit Lugdin' precio 21 gross’/anno domini 1499/Ni pelletur' ('Nicholas Pelletur, doctor of arts and medicine/bought this book at Lyons for 21 groschen/in the year of our Lord 1499/Ni Pelletur').Hain-Copinger 7059; GW 9873; BMC V, 486; Goff F154; ISTC if00154000. Editio princeps of the Epistole of Ficino.Marsilio Ficino of Florence (1433-1499), one of the most influential thinkers of the Renaissance, put before society a new ideal of human nature, emphasising its divine potential. For Ficino, the writings of Plato provided the key to the most important knowledge for mankind, knowledge of God and the soul. Ficino had been directed by Cosimo de’ Medici towards the study of Plato in the original Greek, and later formed a close connection with Cosimo’s grandson, Lorenzo de’ Medici. Gathered round Ficino and Lorenzo were such men as Landino, Bembo, Poliziano and Pico della Mirandola. The ideas they discussed became central to the work of many Renaissance writers and artists, including Botticelli, Michelangelo, Raphael, Dürer, Spenser, Shakespeare and Donne.“The Letters occupy in fact a very important place in Ficino's work. As historical documents, they give us a vivid picture of his personal relations with his friends and pupils, and of his own literary and scholarly activities. As pieces of literature, edited and collected by himself, the letters take their place among other correspondences of the time and are a monument of humanistic scholarship and literature. Finally, the letters are conscious vehicles of moral and philosophical teaching and often reach the dimensions of a short treatise. Ficino began to collect his letters in the 1470's, gradually arranged them in twelve books, had them circulated in numerous manuscript copies, and finally had them printed in 1495." (Paul Oskar Kristeller).

* Silesian playing cards. Silesian Trappola, Wratislaviae (Wroclaw): Franz Buchhold, 1784, 34 (of 36, without king of coins & 8 of cups) stencil coloured woodcut large Trappola playing cards (Italian suits), zig zag border to each card, single figure courts, ace of batons with maker's name and date, red Prussian tax stamp and additional value stamp on ace of swords, occasional brown marks or stains (VII of batons most affected), some old neat enhancements in black ink to the faces of 3 courts, 2 of swords with black ink stain to lower left corner (possibly original), versos black diamonds and dots, each card 145 x 58 mm, with late 19th century marbled paper covered slipcase box with lid, front panel with gilt lettered black morocco label, side panel with ink manuscript paper label 'Buchhold 1784' and separate paper label with shelf/collection number, the box 155 x 66 x 26 mm, 28 cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder contained in the box within a plastic bag, the boards 42 x 59.5 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis, previously from the collection of David Temperley. This pack was acquired in Prague by a Georges de Niveck in 1881, who had special boxes made for his packs. His collection remained intact until around 2000 when it was sold at auction in Brussels and this pack purchased by David Temperley. The box contains a piece of card with de Nivek's handwritten notes regarding the pack and its provenance.Radau & Sachs, Gottes Segen liegt bei Cohn (Studien zur Spielkarte Nr.10) #21; Reisinger, Trappola, p.288 (this pack illustrated); Schreiber, German 302 (BM 1896,0501.339).The inscription on the 2 of swords reads: Vieles eitle kan[n] man lieben In der Welt und wird getrieben Und wer liebt mein Kartenspiel Halte nur recht maas (should read Mass) und ziel, which roughly translates to: There are many fine things in the world to be sought after, and he who likes my pack of cards is on the right track.Johann Franz Buchhold was the son of playing card maker Leopold Buchhold.

Badeslade (Thomas & William Henry Toms). Chorographia Britanniae. Or a set of Maps of all the Counties in England and Wales..., J. Clark, C. Hitch & W. H. Toms, London, 1742, engraved double-page calligraphic title, dedication, 4 general maps with sparse later outline colouring, 5 tables and 42 uncoloured engraved county maps (the map of Northamptonshire appears to be from an earlier addition as it is dated 1741, not 1742) near contemporary manuscript ownership annotation to front endpaper, contemporary calf, skillfully re-backed, bumped and a little worn at extremities, 8vo, together with Cobbett (William). A Geographical Dictionary of England and Wales..., 1832, frontispiece of a map of England & Wales, forty-two uncoloured engraved outline maps (complete), later endpapers, modern cloth with contrasting morocco gilt label to the spine, 8voQTY: (2)NOTE:The first described item, Chubb CLXXIII.

Pound (Ezra). Draft of XXX Cantos, 1st edition, London: Faber & Faber Limited, 1933, edges rough trimmed, booksellers label to front pastedown, original black cloth gilt in orange dust wrapper, little rubbed, minor fraying to head and foot of spine (with slight loss to foot), 8vo, together with other 1st editions by Ezra Pound comprising: A Draft of Cantos XXXI-XLI, 1935, The Fifth Decad of Cantos, 1937, The Pisan Cantos, 1949, Section: Rock-Drill 85-95 de los cantares, 1955, and Thrones 96-109 de los cantares, 1960, first two without dust-wrappers, plus others by and about James Joyce, Samuel Beckett, and Ezra Pound, etc., including: As the Story was Told by Samuel Beckett, Cambridge: Rampant Lions Press, 1987, limited edition 39/325, The Letters of Samuel Beckett, 4 volumes, Cambridge University Press, 2009-2016, James Joyce, Ulysses, A Critical and Synoptic Edition prepared by Hans Walter Gabler..., in 3 volumes, New York & London: Garland Publishing, 1984, The Red Limbo Lingo, A Poetry Notebook by Lawrence Durrell, 1st edition, signed, London: Faber and Faber, 1971, in slipcase, James Joyce, Ulysses, a facsimile of the manuscript, with a critical introduction by Harry Levin and a bibliographical preface by Clive Driver, 1975, etc., mainly 8voQTY: (26)

* Heaney (Seamus, 1939-2013). Typed Letter Signed, 'Seamus', Dublin, 13 March 1995, to Rosemary [Goad] thanking her very much for sending the "Extempore Effusion" and saying how he was delighted to meet Sue Shaw at the Wilde occasion and asking for her address, continuing that 'The edition probably should be fairly limited. I have agreed that it be published in scholarly compendium... We must, indeed, meet again for a bit of a hooley', with a manuscript insertion and an ink postscript, 2 pp., 8vo, with filing notes, stapled to an A4 photocopy of the same and a computer print-out of 'Oscar Wilde Dedication: Westminster Abbey 14 February 1995', 5 pp., folio, together with 3 different printed versions of 'Extempore Effusion on Missing Rosemary's Party', 29 November 1988, one with Rosemary Goad's notes at head and foot, a little creasing, each one page, folio, plus a 10-line computer print-out of a poem for Rosemary Goad by Seamus Heaney, beginning, 'With love on publication day, To Rose, to wish you happy birthday, You, who are highest on the list, "The goad we never kick against...."' signed 'Seamus' with three kisses at foot, one page, folio, plus 3 other unsigned Heaney itemsQTY: (10)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.

* Brock (H.M & C.E). A small archive relating to Henry Matthew and Charles Edmund Brock, circa 1930, including a sketchbook containing 1 full-page pen, ink and watercolour sketches each by R.H, H.M and C.E Brock, with one further pen, ink and watercolour (heightened with body colour) sketch by Edgar Norfield, Joan Penelope Brock's ownership inscription to front free endpaper verso, a few leaves loose, original paper-covered boards with embossed pattern, oblong 12mo, together with:Austen (Jane). The Novels, 10 volumes, London: J.M. Dent, 1898, signed by H.M Brock in 3 volumes, scattered spotting, original green pictorial cloth, joints worn and showing, backstrip of Sense and Sensibility volume 2 loose, 8vo, plusDrinkwater (John). More About Me, Poems for a Child, 1st edition, London: W Collins, 1929, inscribed by H.M Brock to C.E. Brock to front free endpaper, black and white illustrations by H.M Brock, endpapers toned, original green pictorial cloth gilt, rubbed, dust jacket, toned, chipped to extremities, 8vo, withDrinkwater (John). More About Me, Poems for a Child, 1st edition, London: W Collins, 1929, signed by H.M Brock to front free endpaper, with 4 letters (3 typed, 1 manuscript) from John Drinkwater to H.M Brock included, black and white illustrations by H.M Brock, original green pictorial cloth gilt, a few light marks, 8vo, plus a small quantity of other items related to the Brock brothers, including 5 volumes of Bell's German and New French picture cards in original wrappers, both illustrated by H.M Brock QTY: (A small quantity)

Bible [English]. [The Holy Bible: containing the Olde Testament, and the Nevv. Newly translated out of the originall tongues..., Imprinted at London: By Robert Barker, 1615], divided into 2 volumes, lacking general title and preliminary leaf (leaves A1 & A2), New Testament title present with woodcut border, Apocrypha present, fraying mostly to initial leaves, short worm trail to leaves 2M5-2N7, head of fore-margin to 3H2 torn with slight loss to marginal note, small hole to 3H6 with loss of few letters, few manuscript marginal notes to final gathering, close trimming to some running titles, bound with The Way to True Happines, leading to the gate of knowledge, or, An entrance to faith, without which it is vnpossible [sic] to please God. By questions and answeres, opening briefly the meaning of euery seuerall booke and chapter of the Bible, from the beginning of Genesis, to the end of the Revelation, [London]: Printed by T.S. for Thomas Pauier, 1613, title within decorative border, some light dust-soiling, lacking free endpapers to first volume and front free endpaper of second volume, 18th-century sheep, joints split, light wear, 8vo (16.4 x 11 cm) QTY: (2)NOTE:1.Darlow & Moule 267; Herbert 343; STC 2240.2. STC 25134.

* Leech (John, attributed to). The Start', 'Mind the Bull', 'The Kill on the Cat and Custard Pot Day' [and] Mr Jorrocks gives a lesson on "Unting", circa 1854, four watercolours which were published in the R. S. Surtees comic novel 'Handley Cross', with titles in manuscript on the mounts, each approximately 95 x 155 mm, uniformly mounted, framed and glazedQTY: (4)

Burckhardt (John Lewis). Travels in Nubia, Published by the Association for Promoting the Discovery of the Interior parts of Africa, 1st edition, London: John Murray, 1819, half-title, engraved portrait frontispiece, 3 engraved maps including 2 folding, advertisement leaf at end, occasional light spotting, edges untrimmed, original publisher's boards, printed title to spine, upper board detached, worn, 4to (28.5 x 22.3 cm), together with:Burckhardt (John Lewis), Travels in Syria and the Holy Land, Published by the Association for Promoting the Discovery of the Interior parts of Africa, 1st edition, London: John Murray, 1822, half-title, lithograph portrait frontispiece, 6 engraved maps including 2 folding, edges untrimmed, original publisher's boards, printed title to spine, spine and edges worn, 4to (28.2 x 22 cm),Burckhardt (John Lewis), Travels in Arabia, comprehending an account of those Territories in Hedjaz which the Mohammedans regard as sacred, Published by Authority of the Association for Promoting the Discovery of the Interior of Africa, 1st edition, London: Henry Colburn, 1829, half-title discarded, 5 engraved maps including 1 folding, occasional light scattered spotting, late 19th-century half calf, worn at head and foot of spine, 4to (27 x 21 cm),Burckhardt (John Lewis), Notes on the Bedouins and Wahabys, collected during his travels in the East, Published by Authority of the Association for Promoting the Discovery of the Interior of Africa, 1st edition, London: Henry Colburn and Richard Bentley, 1830, half-title, engraved map frontispiece with some spotting and slightly offset to title, few wood engraved illustrations, edges untrimmed, original publisher's cloth-backed boards, manuscript title label to spine, spine torn at head and worn at foot, 4to (28.8 x 21.8 cm)QTY: (4)NOTE:1. cf.Blackmer 238 (second edition). John Lewis Burckhardt (1784-1817), travelled from Aleppo to Cairo and then made two journeys, one along the Upper Nile, the other through the Nubian desert.2. Atabey 166; Blackmer 237. "Edited by William Leake, these journals describe Burckhardt's various journeys between 1810 and 1816. It was at Aleppo that he studied Arabic in preparation for his later travels and he toured Syria and the Holy Land making the first visit by a European to Petra" (Blackmer).3. cf. Blackmer 239 (second edition). Burckhardt spent nearly nine years in the Middle East and North Africa preparing for an expedition to find the source of the Niger under the auspices of the African Association, only to succumb to dysentery before completing his quest. In 1814 he travelled up the Nile as far as Dar Mahass; then, finding it impossible to penetrate westward, he journeyed through the Nubian desert in the character of a poor Syrian merchant, passing by Berber and Shendi to Suakin, on the Red Sea, whence he performed the pilgrimage to Mecca by way of Jidda. At Mecca, he stayed for three months and afterwards visited Medina. The present work relates his experiences in Arabia and contains the first accurate account of the Hedjaz including Mecca and Medina to reach Europe. The plates include plans of Mecca and Medina. There were two editions of this title published in 1829, the present large quarto edition, and a two-volume octavo edition.4. Not in Blackmer. The final work was published posthumously by the Association for Promoting the Discovery of the Interior of Africa.

* Eliot (Valerie, née Fletcher, 1926-2012). Secretary, editor and literary executor, second wife of T.S. Eliot. Autograph Postcard Signed, 'Valerie', Menton, postmarked 31 January 1957, to Misses Rosemary Goad, Janet Donaldson & Susan Cowdell, [colleagues at] Faber & Faber, written in a neat hand from her honeymoon with T.S. Eliot, in full, 'Thank you very much for your good wishes. I have so much to tell you on Monday so prepare to do no work! A "Daily Express" photographer caught us in the lounge this evening & a "Daily Mail" man pursued us to the Bussys at Roquebrune! A lovely honeymoon apart from TSE catching 'flu and cracking a tooth', written and addressed with stamp and postmark to verso with picture postcard of Menton to front side, together with a second Autograph Postcard Signed, 3 July 1988, an unposted note to Charles [Monteith], noting that the '"Painter of the Umbrian School" is Piero Della Francesca. Tom admired his "Baptism" in the National Gallery and it is referred to in his poem' ['Mr. Eliot's Sunday Morning Service'], British Library pictorial postcard illustrating 'Three Poems of Khvaju Kirmani' to recto, plus a small colour snapshot of T.S. & Valerie Eliot, Jamaica Inn, Jamaica, late February 1961 (by Ann Walmsley) on Kodak paper, 102 x 102 mm, manuscript information on sticker to verso, plus 2 related T.S. Eliot booklets, the first a mass of thanksgiving on the 100th anniversary of his birth, St. Stephen's Church, Kensington, 26 September 1988, the second a presidential address to members of the London Library, July 1952, reprinted by Mrs Valerie Eliot, 11 June 2008QTY: (5)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.Valerie Fletcher married T.S. Eliot, almost 40 years her senior, on 10 January 1957. She had been a star-struck fan of the poet since her school days and it was the novelist Charles Morgan who used his influence to get her a job at Faber & Faber. She finally met Eliot in August 1949 where she initially worked, like Rosemary Goad, as a secretary. She became Eliot's most important editor and literary executor after the poet's death in 1965.

Milne (A.A.) The House at Pooh Corner, limited deluxe edition issue of 20 copies, London: Methuen & Co., 1928, illustrations by E.H. Shepard, original vellum gilt, contained in cloth solander box, 4toQTY: (1)NOTE:Limited edition of 20 copies on Japanese vellum. This copy inscribed "This is a presentation copy for A.A. Milne, esq", and signed by A.A. Milne and E.H. Shepard beneath, and inscribed in blue ink by A.A. Milne "and a wedding presentation copy for Priscilla, with love and best wishes from Blue, 21.xi..51"Bound-in with adhesive tape to rear endpaper and pastedown are two letters from the author to Priscilla Chester-Master, on Cotchford Farm, Hartfield, Sussex headed paper, the first dated 1. ix. 51, "I should have sent the enclosed before but I wanted to be sure what the latest official rates were for High-Class-Typing-by-Oxford-Trained-Amanuensis and now I have found out here is a cheque with my love and my thanks. You have really been very helpful, and if you didn't go running around the country marrying farmers, Heaven knows what we mightn't have written next. As it is, I shall probably go in for sculpture instead. It seems easier. And you, poor child, will waste your talents on monthly returns, in triplicate of artificial manures and oil-cake, Ah me!, Yours affectionately and gratefully, Blue".The other letter, dated November 21, 1951, reads "All luck, most dear Priscilla. My thoughts for you would fill a whole book of moods and tenses; But my amanuensis has left me, Fate has blessed her with a better master (Chester-with). A.A. Milne".The dedicatee was Priscilla Lutyens (great niece of architect Sir Edwin Lutyens), A.A. Milne's neighbour at Posingford Farm. She would walk across the fields to Cotchford Farm to type the manuscript for his collection of stories A Table Near the Band (1950). She continued typing for him until her engagement to Richard Chester-Master, and remained in contact with him until his death in 1956.'Blue' was A.A. Milne's nickname and used by his close friends and family, apparently because of the colour of his eyes but also perhaps due to his perpetual glum demeanour.The proceeds from the sale will be donated to the Bristol Children's Hospital.

Blake (William, illustrator). Aphorisms on Man. Translated from the original manuscript of the Rev. John Caspar Lavater, 2nd edition, London: T. Bensley, for J. Johnson, 1789, engraved frontispiece by William Blake, with neat ink inscription at head 'Know thyself', early ownership inscription to head of title of C. Philpot, 1830, and additional manuscript note to lower portion, small viii, 224pp., modern full calf gilt, small 8vo, together with The Orlando of Ariosto, reduced to XXIV Books; the narrative connected, and the stories disposed in a regular series: by John Hoole, translator of the original work in forty-six books, 2 volumes, London: printed for J. Dodsley, 1791, engraved plates including one by William Blake after Stothard facing page 461 of first volume, 19th-century bookplate of Ralph Creyke Marton to front pastedown of each volume, contemporary uniform full tree calf, gilt decorated spines with green morocco labels, a little rubbed (generally in good condition), 8vo, plus, The Life, and Postumous Writings of William Cowper, Esqr. with an introductory letter to the Right Hon. Earl Cowper, by William Hayley Esqr. 3 volumes, 1st edition, Chichester: Printed by J. Seagrave; for J. Johnson, 1803, engraved portrait of William Cowper and Mrs Cowper, the poet's mother, and engraving at end of volume one, one portrait to volume two, and two plates near front of volume three, all by William Blake, page 414/415 at end of first volume missing, part-title towards front of third volume with repaired tear (without loss), bookplate of John Rutherfurd Esq. of Edgerston to front pastedown of each volume, contemporary uniform sprinkled full calf, spines gilt with contrasting green and red labels, rubbed and some wear to joints and outer edges, 4toQTY: (6)

Rengifo (Juan Diaz). Arte Poetica Espanola, con una fertilissima sylva de consonantes comunes, proprios, esdruxulos, y reflexos, y vn diuino Eestimulo del Amor de Dios, 1st edition, Salamanca: Miguel Serrano de Vargas, 1592, [12], 324, 40 pp. (pi4, *2, A-2R4, 2S2, a-e4), old ownership inscription to foot of title (probably late 17th or early 18th century), folding letterpress table, some manuscript additions to the lists of vocabulary, a few marks and crease to title, small light waterstain to foot of first few leaves, contemporary limp vellum, yapp fore-edges, lightly rubbed and marked, lacks ties, 4to (198 x 144 mm)QTY: (1)NOTE:Provenance: Jesuit College of Vergara (inscription to foot of title-page).Palau 72824.Rare. Only one copy in the UK (Bodleian). Juan Diaz Rengifo was the pseudonym (using his brother's name) of the Jesuit father Diego Garcia (1553/4-1615) who was born in Avila, and studied theology at the University of Salamanca. His Arte Poetica Espanola became the standard manual of poetic metre during the Spanish Golden Age in the 17th and 18th centuries. As a poetry manual, the first section explains various poetic forms and meters, giving brief examples of each. The Divino Estimulo del Amor de Dios (Divine Stimulus of God’s Love) is then offered as a more extensive example of the application of rhyme and meter. The final part of the book has a glossary of rhyming words to be used in writing poetry with the silva meter.

Greenwood (C. & J.). Eleven County Maps, Berkshire, Cornwall, Devon, Dorset, Kent, Middlesex, Somerset, Southampton, Surrey, Sussex [and] Wiltshire, circa 1829, contemporary manuscript index, eleven engraved county maps, all with contemporary outline colouring, calligraphic cartouche, reference of hundreds, compass rose, key chart and an uncoloured ecclesiastical or topographical vignette, slight offsetting, slight dust soiling and staining, each approximately 570 x 680 mm, joints weak and cracked, contemporary half calf, some wear, boards stained, upright folioQTY: (1)

* English musical playing cards. The Beggar's Opera, printed for Carington Bowles, No. 69 in St. Pauls Church Yard, London, circa 1770, the complete deck of 52 engraved playing cards (French suits), red suits with stencil coloured pips, each card with music and lyrics from the opera, and miniature playing card to upper left corner, no tax stamp, maker's details on king of clubs, 10 of spades and ace of hearts, generally lightly toned, some finger-soiling and marks, knave of hearts with small chip and tear to top edge, ace of hearts with previously repaired surface tear at upper left corner, king of clubs with narrow horizontal brown stain (and associated very slight surface loss in places), king of diamonds final lines of text lightly rubbed, 5 of diamonds lightly creased, 4 of diamonds with larger brown mark, square corners a little worn, some cards close-trimmed (as usual), affecting some borders, rarely clipping text or music, plain versos, each card approximately 95 x 63 mm, all cards mounted with photo corners onto 3 display boards, encapsulated in clear plastic (not examined out of boards), each board 40 x 54.5 cm, together with a folder of notes (printed and handwritten) mostly regarding the Beggar's Opera on which the cards are based, including manuscript notes prepared (presumably by Dudley Ollis) for a talk on this themeQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.Hargrave, pp.197-201; Mann (All Cards on the Table) 264; Ortiz-Patiño 13; WCMPC Collection Acquisition No. 451.John Bowles probably produced the first set of playing cards based on the Beggar's Opera soon after it opened in 1728. The great popularity of the opera meant the pack was reprinted often during the next few decades, first by John and later by his son Carington, who took over the business of his uncle Thomas Bowles II in 1764. Carington is known to have been working from 69 St. Paul's Churchyard by 1766. Packs produced after 1765 had a duty ace, rather than a tax stamp. However, the duty ace requirement was sometimes avoided by ingenious card-makers, as here. The last known Beggar's Opera pack was published by Carington's son and successor Henry (under the imprint Bowles & Carver) in 1795.

England & Wales. Jenner (Thomas & Hollar Wenceslaus), The Kingdome of England & Principality of Wales Exactly Described with every Sheere & the small Townes in every one of them, in Six Mappes, Portable for every Mans Pocket....., Printed Coloured and sold by John Garrett at the South Entrance of the Royal Exchange, circa 1688, letterpress title detached, six (complete) folding engraved map sheets with contemporary outline colouring, old folds strengthened on the verso with near-contempoary green linen, slight wear to old folds, slight staining, 18th-century manuscript ownership signature to the front endpaper, bookplate of Joseph Crawhall, contemporary blind-panelled sheep with two brass clasps, upper board detached, worn and frayed, binding size 205 x 90 mmQTY: (1)NOTE:R. W. Shirley. Early Printed Maps of the British Isles 1477 - 1650, number 537. John Garrett State 4 (Skelton D) with the date of 1676 partially erased and struck through and with the dots added to the sandbanks in the Wash and shoals and sandbanks added off 'Shepye' in 'Thames Mouth'. Known as the 'Quartermaster's Map' as it was described in the preface of the 1644 edition, " Useful for all Comanders (sic) for Quarteringe of Souldiers & all sorts of Persons that would be informed, where the Armies be; never so commodiously drawne before this'.

* English playing cards. Counties of England & Wales card game, Paisley, Scotland: Mrs. R. Laird, 1st December 1818, 48 (of 52, without N9, S2, M4 & WQ) engraved playing cards, comprising 4 suits of 13 printed in one colour for each suit, the suits being North (black), South (red), Midlands (blue) and West (dark brown-black), each with numbered cards 1-10 and 3 full-length court cards, each card with panel at top containing value (unless court card), suit, county, and town (or city) names, plus the industry or product associated with that town/city and the distance from London (in miles), the illustrations below representing the relevant industry/product, court cards with slightly differing figures of King George III, Queen Charlotte, or an unidentified courtly man standing in the foreground, every card with maker's details and date, M4 and WQ present in facsimile, dusty, some spotting, toning, and minor marks, Hereford emended in early ink manuscript to Hertford, N5 with small brown stains, some cards close-trimmed, rarely clipping image, once clipping county name, WK somewhat worn to left edge, square corners lightly worn, plain versos, each card 92 x 64 mm, all cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (none examined out of boards), the boards 42 x 59.5 cmQTY: (1)NOTE:A rare example of this early Counties card game, which seems to be a predecessor of Jacques' Counties of England (first published 1866). The only other mention we have found is at https://dondorf.co.uk/card-games, although apparently there is an example in the London Guildhall collection and also in an unknown Welsh museum.

Poland/Silesia. A collection of seven maps, mostly 17th & 18th century, seven engraved maps including Schenk (Petrus & Valk Gerard). Ducatus Silesiae Ligniciensis..., Amsterdam, circa 1700, engraved reticulated map with contemporary wash colouring, inset panorama of Lignitz, uncoloured decorative cartouche, slight browning to the central fold, 390 x 480 mm, together with Zatta (Antonio). La Luzacia divisa Ne Suoi Stati, Venice, 1780, engraved map with contemporary wash colouring, 420 x 325 mm, with Ortelius (Abraham). Ducatus Oswieczensis et Zatoriensis Descriptio, Antwerp, circa 1595, engraved map with contemporary wash colouring, upper margin extended, 220 x 245 mm, with another copy similar, plus a pen and watercolour manuscript map of Nysa in Silesia, signed 'Kloch fecit' in black ink to the lower right, probably produced for use by the military as it shows fortifications, slight marginal fraying and short closed tears, 445 x 525 mm, with two other maps of Silesia by or after De L'Isle and Tirion, various sizes, good conditionQTY: (7)

Poland. A collection of 20 plans of Fortified Towns and Cities, mostly 18th-century, engraved plans, many with contemporary outline colouring, including 14 battle plans by Johann Friedrich Seyfart originally published in "Neus Kriegs-Theater order Sammlung der Merkwürdigsten Begebenheiten" together with other examples of the battles of Züllichau, Zorndorf. Köslin and Schlesien, including two manuscript plans of Görlitz and Goluchow, various sizes, good condition QTY: (20)

Rackham (Arthur, illustrator). Peter Pan in Kensington Gardens from The Little White Bird by J. M. Barrie, new edition, London: Hodder & Stoughton, circa 1919, fifty tipped-in colour plates with captioned tissue guards, black and white illustrations throughout, previous ownership manuscript to free front endpaper, The Times Book Club label to rear pastedown, original gilt decorated green cloth boards, spine with gilt title and decorations, with original decorated buff dust jacket with colour plate laid down on front, lined to verso, some chips and minor loss, 4toQTY: (1)

Aquinas (Thomas). Divi Thomae Aquinatis Doctoris Angelici Ordinis Praedicatorum Opera, editio altera Veneta ad plurima exempla comparata, & emendata, 20 volumes (of 28), Venice: Joseph Bettinelli & Simon Occhi, 1747-60, lacking volumes 1-8, woodcut vignette titles, a few light spots, contemporary full vellum (volume 9 vellum-backed speckled paper boards), sheepskin title labels lettered in gilt (some missing, some chipped with loss), volume numbers in manuscript to spine, rubbed, 4to, together with:Livius (Titus). Patavini Historiarum ab urbe condita libri qui supersunt, 6 volumes, Oxford: Theatro Sheldiano, 1708, engraved vignette title to volume 1, half-titles to remaining volumes, armorial bookplate with motto 'Fax Mentis Incendium Gloriae' to front pastedowns, preliminary and rear leaves lightly dust-soiled, contemporary Cambridge panelled calf, red morocco title labels lettered in gilt, some wear, 8vo, withSarpi (Paolo). Histoire du Concile de Trente, Amsterdam: G.P. & J. Blaeu, 1683, woodcut vignette to title, woodcut intials, neat contemporary ownership inscription 'Geo: Reeid' to front free endpaper, occasional contemporary underlining, a few preliminary leaves frayed, occasional light dust-soiling, contemporary blindstamped full vellum, title in faint manuscript to spine upper compartment, upper joint slipt at head, lightly marked, 4to, with 2 others, Ovid's Ovidii Nasonis Metamorphoseum libri XV (1668) and Marco Minucio Felix's Octavius (1652)QTY: (29)

* Manuscript playing cards. Poets card game, circa 1860s, a complete deck of 52 manuscript playing cards, comprising 13 sets of four cards, each with poet card and three accompanying poem cards, each card with manuscript poet or poem title (in coloured inks), list of other cards in the set (in brown or black ink), and pen & ink illustration, most with watercolour, some with ink manuscript caption, dusty and somewhat finger-soiled, some minor marks, 'Sensitive Plant' & 'Madoc' soiled at foot, the latter with slight wear to bottom edge, 'Longfellow' with minor edge crease, square corners, plain versos, 'In Memoriam' verso with adhesive stain centrally, together with accompanying ink manuscript 'Rules' card, dusty with some staining, verso with ink manuscript quote 'Footsteps on the sand of time', and signed 'C.H.P. Chislehurst Kent', each card 90 x 61 mm, the cards mounted between two panes of glass and framed, each card attached to the glass by what appear to be 2 small hinges, 'Rules' card framed alone, the remainder mounted in their sets and framed in groups of 16, 16 & 20 respectively (none examined out of frames), the frames 62.5 x 56 cm and smallerQTY: (1)NOTE:A unique pack of manuscript illustrated playing cards that may have been inspired by a mid-19th century card game of authors and their books. This pack was probably made shortly after 1864, as in this year Alfred Lord Tennyson published his poem Enoch Arden, the latest of all the poems mentioned. The poets included are: Alfred, Lord Tennyson; Robert Burns, Lord Byron, Thomas Campbell; Samuel Taylor Coleridge; Percy Bysshe Shelley; Robert Southey; William Wordswort; Thomas Hood; John Keats; Henry Wadsworth Longfellow; Samuel Rogers; Walter Scott.The cards were mounted and framed in 1986 by John Jones of London and the work is believed to have been done according to the conservation standards of the time. The hinges seem visually similar to postage stamp paper or stamp hinge paper, and there appears to be no related discolouration.

[Silence, Samuel, pseud.]. The Foundling Hospital for Wit, intended for the reception and preservation of such Brats of Wit and Humour, whose parents chose to drop them. Containing all the satires, odes, ballads, epigrams, etc. that have been wrote since the change of ministry, many of which have never before been printed. [No. 1 edited by Samuel Silence; No. 2-6 by Timothy Silence.], reprinted, London: W. Webb, 1763, toning and marginal spotting, contemporary calf, morocco title label to spine, joints cracked, light wear to extremities, 8vo, together with:[Fenton, Elijah]. Oxford and Cambridge Miscellany Poems, London: Printed for Bernard Lintott, [1707], engraved frontispiece, blank margin at head of title with contemporary signature M. Jerrant, toning and scattered spotting throughout, some worming to lower outer corners towards rear of volume, contemporary panelled calf, upper board detached, extremities worn, 8vo,[Philips, John], Cyder. A Poem. In two books, London: Jacob Tonson, 1708, half-title with old manuscript notes to lower half of leaf (dust-soiled), engraved frontispiece, modern calf, gilt decorated spine, 8vo,Fawkes (Francis), Original Poems and Translations, London: Printed for the Author, 1761, title with engraved vignette, contemporary speckled calf, morocco label to spine, joints cracked, 8vo,Quarles (Francis), Emblems, Divine and Moral; together with Hieroglyphicks of the Life of Man, London: D. Midwinter, A. Bettesworth, C. Hitch [& others], 1736, engraved frontispiece (partly lined to verso) and numerous engraved plates and illustrations, lacking B1, errors in pagination, toning and light dust-soiling, repaired closed tear to two leaves, running titles to leaves at rear cropped, damp staining at rear, modern sheep, 12mo, plus other mostly 18th-century poetry and related including [Percy, Thomas], Reliques Of Ancient English Poetry Consisting Of Old Heroic Ballads, Songs and Other Pieces Of Our Earlier Poets, 3 volumes, London: J. Dodsley, 1767; Young (Edward), A Poet on the Last Day, 2nd edition, Oxford: Printed at the Theatre, 1713; Beattie (James), The Minstrel ... with some other Poems, London: Edward and Charles Dilly, 1779, bound with Warton (Thomas), Poems. A New Edition, London: T. Becket, 1777, etc.QTY: (22)

* English playing cards. Reign of James II pack, London, circa 1688-1689, the complete deck of 52 engraved playing cards, illustrationg the events leading to the Revolution of 1688, each card captioned at foot, with suit sign and rank or value in top panel, lightly dusty, some brown marks or spotting, rubbed in places, king of diamonds with previously repaired 15 mm tear to top edge of surface layer (the first 2mm full depth) with associated pale adhesive stain, figures depicted on king of clubs with eyes inked in black, with 4 of clubs with early ink manuscript word 'and' in top panel, square corners lightly worn, plain versos, each card approximately 90 x 58 mm, all cards mounted with clear photo corners onto 3 display boards, encapsulated in clear plastic (most not examined out of boards), each board 40.5 x 53.5 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum 1982,U.4641.1-47; Schreiber, English 63; WCMPC Collection Acquisition No. 466; Willshire, English 190.This pack is an extremely rare example with the complete caption present on the two of hearts - all other packs seen have the top line partially erased. The complete top line reads: 'The King and Earle of Feversham'. It appears that the card was incorrectly captioned, with the writer confusing the Earl of Feversham (who whilst involved with James II was not present at the king's attempted escape to France) with the town of Faversham in Kent, where James was held after his escape was thwarted by local fishermen. This pack is therefore possibly unique in retaining the original wording on this card, where most other examples have been 'corrected' (a photocopy of a typical 'corrected' 2 of hearts is included for comparison).

* Card Game. The Rail-Road Shares, a new social game for merry people of all ranks, circa 1830, a complete set of twelve wood engraved, hand coloured cards, eleven depicting different job roles, each with a die number from 1 to 6 in each lower corner, the other card showing Plutus, the God of Riches riding a steam train with a three headed dog by his feet, each card with title of job to lower margin in English, French and German, text to verso about the railway and the impact it has on their role, first in English and then French, small chip with minor loss to lower left margin of The Fruiterer card, original rules sheet present, together with the original slipcase with buff pictorial label pasted onto green cover, small manuscript library shelf label to verso of slipcase, tear to top side of slip case with no loss, 11.3 x 7 cmQTY: (1)NOTE:We haven't traced another pack of these cards at either auction or in a museum.

Manuscript Maps. Thompson (Henry), Palestine, circa 1850, pen, ink and watercolour map, inset map of Jerusalem, slight dust soiling, pinholes to each corner, laid on later card, 510 x 400 mm, together with Rolfe (T.). South America, circa 1850, large pen, ink and watercolour map, some marginal fraying and short closed tears, some dust soiling, 760 x 630 mm, with Hammond (John). The Western Hemisphere, 1857, pen. ink and watercolour map of the Americas on card, set with a gilt printed border, slight spotting, 365 x 290 mm, plus an album (dated 1898) containing four naive manuscript maps (East Indies, The Americas, West Indies & Africa) contemporary half morocco with a manuscript label to the upper cover, binding size 340 x 215 mmQTY: (4)

Jones (David). The Anathemata, fragments of an attempted writing, 1st edition, London: Faber and Faber, 1952, illustrations, ink ownership signature of Gwyn Williams, dated January 1955 to front endpaper, with two pages of autograph manuscript corrections by the author, signed at end, on a single folded sheet, tipped-in to rear pastedown, original tan cloth gilt in dustwrapper, a little rubbed and frayed, some discolouration to spine, and minor fraying to extremities, 8vo QTY: (1)NOTE:Ex libris David Gwyn Williams (1904-1990), poet, novelist, and translator.

Heywood (Thomas). The Hierarchie of the Blessed Angells. Their Names, Orders and Offices, the Fall of Lucifer with his Angells, 1st edition, London: Printed for W. Lee and sould at the Great Turqs head next to the Mytre Tavrne in Fleetstreet, 1635, license leaf not present, engraved allegorical title by Thomas Cecill (trimmed to image and laid down on old paper, 8 (of 9) full-page engraved plates, S3-4 (pages 209-212) supplied in early careful manuscript facsimile, and final two leaves at end (Ggg2-3) similarly supplied in early careful manuscript facsimile, lower outer corners towards rear of volume with paper repairs, occasionally affecting some letters, some marks, old half calf, (probably 19th century), incorporating remains of original leather spine and label, some wear, folioQTY: (1)NOTE:Grolier, Langland to Wither 143; STC 13327. Contains a reference to Shakespeare on page 206.

Carducho (Vicente). Dialogos de la pintura, su defensa, origen, essencia, definicion, modos y diferencias. Al Gran Monarcha de las Espan?as y Nuevo Mundo, Don Felipe IIII. Por Vincencio Carducho, de la Illustre Academia de la nobilissima Ciudad de Florencia y Pintor de su Magd. Catolica. Sigue?se a los Dialogos, Informaciones, y pareceres en sabor del Arte, escritas por varones insignes en todas Letras, 1st edition, Madrid : Impresso con licencia por Frco. Martinez, 1633, engraved titlepage, and 9 full-page engraved plates by Francisco Fernandez and Fransisco Lopez, erratic pagination and signatures (A-Z4, Aa4-Qq2, E4-F2, G4, H1, H3, I4-K2, A4-F2, A4-G2, A3, B-D4, A4-E2, Kkk-Mmm4), some spotting and occasional browning to text, a few small wormtracks to outer blank margins of last few leaves, contemporary limp vellum, spine with title in ink manuscript, rubbed and some marks and wear, small 4toQTY: (1)NOTE:Salva 2564; Palau II, p. 58. No copy traced at auction.Carducho'e treatise is considered the first Spanish treatise on painting that systematically grafted the main doctrines and practices of the Italian Renaissance onto Spanish painting in the Baroque era, and sought to raise the status of that profession from a traditional craft to one of the liberal arts. The work is divided into eight dialogues between a master (Carducho) and his disciple and surveys the history and methods of the most celebrated painters, including a section in favour of painting as an art which should be exempt from taxation. In the eighth and final dialogue Carducho describes paintings in contemporary collections in Madrid, including works now lost.

Atkyns (Robert). The Ancient and Present State of Glostershire, 1st edition, London: Printed by W. Bowyer for Robert Gosling, 1712, engraved portrait frontispiece (damp staining to margins and closed tear to fore-margin), 64 double-page engraved plates by John Kip (repaired closed tear to Barrington plate, few other plates with repair to central fold), 8 engraved heraldic plates, double-page engraved map, some toning and occasional spotting, leaf 3Y3 with portion of text excised (approx. 1/3 column of text excised) and manuscript copy tipped-in, contemporary gilt panelled calf, rebacked and corners repaired, folioQTY: (1)NOTE:Upcott pp. 246-250.

* Italian playing cards. Lorraine pattern in Tuscany, Florence: unknown maker, circa 1818, a complete deck of 52 stencil coloured woodcut playing cards (French suits), 'Firenze' on jack of hearts, tax stamp on jack of spades (used 1816-1820), full length courts with later 19th century ink manuscript ranks added (that to king of spades and jack of hearts removed by abrasion), pip cards with fleur-de-lys watermark, soiled and rubbed, some stains or water damage and marks, few pip cards creased, some singed, versos red small flowers pattern, each card 97 x 63 mm, together with: 'Imperial pattern', Naples: Real Fabrica de Fogli a Contorno, circa 1850, a complete Piquet deck of 32 stencil coloured wood-engraved playing cards (French suits), double-ended courts, faintly printed manufacturers details on jacks of diamonds & clubs, and queen of clubs, Bourbon tax stamp and another stamp on ace of hearts, somewhat dusty, few cards lightly spotted (jack of hearts with abraded spot), 8 of spades lightly scuffed, versos red spots and crescents, each card 88 x 54 mm, plus: Standard Spanish pattern, Naples: probably Real Fabrica de Fogli a Contorno, circa 1850, 44 (of 48, without jack, king & 9 of coins, and 4 of swords) stencil coloured lithographed playing cards (Spanish suits), with pintas, Bourbon tax stamp on 3 of coins, lightly dust-soiled, kings of swords 7 cups with minor surface damage at/near top (that to king of cups stained), versos red spots and crescents (identical to the deck listed above), turn-over edges, each card 95 x 60 mm, 16 or 21 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of board), the remainder contained in plastic bags, the boards 54.5 x 40.5 cm and similarQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First pack: Mann, All Cards on the Table, #173. This pack, and the almost identical pack that Mann describes, must have been almost the last Lorraine pattern decks produced in Florence (see Mann, above). After this date, the purely Florentine patterns were being made. Second pack: British Museum 1938,0813.5.1-32. See also Mann, All Cards on the Table, p.106 (illustrated p.107) for an example with some suits switched.

* Indian mica paintings. A Transformation Game, mid-19th century, a group of 12 mica paintings, each of a single male (and one female) figure, scenes including writing, sewing, grinding, etc., all but one numbered, a few minor chips and cracks, together with an accompanying watercolour on card depicting two male heads and a landscape, all 110 x 80 mm, contained in a contemporary folded sheet with manuscript title 'Tall Indian Figures'QTY: (13)

Devon. Donn (Benjamin), A Map of the County of Devon with the City & County of Exeter Delineated from an actual Survey on Twelve Sheets..., by Benjamin Donn. Engraved by Thos. Jefferys Geographer to His Majesty..., Printed for the Author, and sold by the Booksellers of Devon; by Mr Johnston, Mr Law & Mr Baldwin, 1765, printed title with a contemporary manuscript ownership signature, 8 index pages including the list of subscribers, key map with slight spotting and staining and 12 (complete) double-page engraved map sheets, all with contemporary wash colouring, elaborate cartouche and compass rose, table of explanation, inset town plans of Plymouth, Exeter, Lundy Island and Stoke Town, each sheet approx. 620 x 490 mm, some offsetting, later endpapers with an old library stamp, modern half morocco with gilt title to spine, slim upright folio, binding size 535 x 380QTY: (1)NOTE:Batten and Bennett. The Printed maps of Devon, number 44. Arguably the best known of all the large-scale county maps due to the 100 Guineas award from the Royal Society of Arts. Donn's map of Devon was the first map to receive the award which had been conceived by the society in 1762. Donn had taken five years to survey the county and claimed to have measured over 6000 miles of roads and rivers. Highly accurate and exhaustively detailed, the map clearly benefits from Donn's training as a mathematician, but the skill of Thomas Jefferys as an engraver cannot be understated. The map was sold in a simple twelve-sheet format for one and a half guineas and with an extra five shillings for colouring. It was also available (as in this example) in a de-luxe state with a title page, printed index, subscribers list and index map for two guineas plus extra for colouring.

* Terry-Thomas Archive. An archive of portraits, manuscript music, photographs, newspaper and magazine cuttings, relating to the theatrical and cinema career of Terry-Thomas, c. 1940s-1980s, the 6 portraits including one from his role in Too Many Crooks, oil on board, seen smoking a big cigar, surface slightly cracked, approximately 68 x 51 cm, together with 5 other oils and pen and ink portraits and caricatures, various sizes, a large collection of press photographs, publicity stills, theatre programmes, original manuscript music used by Terry-Thomas in his stage shows, some printed sheet music, 3 Terry-Thomas LP records, videos, and a large archive of newspaper and magazine cuttings, some in homemade bindings, some in files and a large quantity of loose sheetsQTY: (4 cartons)NOTE:Part of the Terry-Thomas archive that was saved by the writer and broadcaster Richard Hope-Hawkins in 1989.

Bevan (G. Phillips). The Statistical Atlas of England, Scotland and Ireland, W. & A. K. Johnston, Edinburgh and London, 1882, additional half-title, title page with old library stamp to verso, preface and contents list, 45 colour printed lithographic maps (complete as list), contemporary half calf gilt with gilt title to the upper siding, rebacked, worn and rubbed, folio, together with [Lewis, Samuel. A Topographical Dictionary of England ..., Atlas volume only, London: S. Lewis and Co., 1831], lacking title, folding uncoloured engraved map of England & Wales and 44 engraved maps but lacking the folding plan of London, some spotting throughout, later endpapers, modern cloth, 4tp, with Hughes (W.). A New Parliamentary and County Atlas of Great Britain and Ireland, Edited by Professor A. H. Keane, J. S. Virtue, 1886, 72 colour lithographic maps, slight spotting, later manuscript ownership and address to front endpaper, upper hinge and joint cracked, frayed and weak, publisher's decorative red cloth, worn and rubbed, large 4toQTY: (3)

* Italian playing cards. Empire pattern variation, Trieste, Italy: G.A. Lordschneider, circa 1840, a complete deck of 52 stencil coloured wood-engraved playing cards (French suits), double-ended courts, jack of diamonds with maker's details, soiled and rubbed, some spots or marks, few pip cards with crease (possibly manufacturing flaws), versos blue crescents with tiny dots, each card 92 x 52 mm, together with: Non Standard pattern, Milan, Italy: Edoardo Dotti, circa 1865, 49 (of 52, without ace, 8 & 10 of diamonds) stencil coloured engraved playing cards (French suits), double-ended courts, king of spades with 'Deposita alla R. Biblioteca, ace of hearts with maker's and tax stamps, (generally light) soiling and spotting, some minor marks, 3 club pip cards with some surface abrasion, 2 pip cards with minor surface skinning, versos red squares pattern, each card 93 x 54 mm, plus: Genoese pattern, Trieste, Italy: S.D. Modiano, circa 1884, a complete deck of 52 colour lithographed playing cards (French suits), double-ended courts, maker's stamp on ace of hearts, scarce very faint spots, ace of spades with near contemporary ink manuscript inscription 'Trieste, 1880', versos blue and white 'pebbles', each card 87 x 58 mm, with: Romagna I pattern, Viterbo, Italy: Scipio Moscatelli, 1891, 37 (of 40, without ace & jack of swords, and 5 of coins), stencil coloured wood-engraved playing cards (Spanish suits), full length courts, ace of coins with 2 tax stamps and maker's details, dusty, few minor marks, 4 of cups with brown mark to left border, versos black and white geometrical design with Se Moscatelli Viterbo at foot, some loss to two turn-over edges, and 5 cards with turn-over edges repaired, each card 91 x 50 mm, and 13 other mid-late 20th century Italian packs (most with original box), including Carte propaganda elettorale, by Jacovitti, for S.A. Arti Grafiche Panetto & Petrelli, Spoleto, 1951, and 3 circa 1975 tarot decks by various makers: one Sicilian, one Piedmont, and one Bolognese, a quantity of cards from each pack mounted with photo corners onto 16 display boards (some with double boards), four boards encapsulated in clear plastic (none examined out of boards), the remainder contained in plastic bags, the boards 55 x 40.5 cm and smallerQTY: (17)NOTE:First pack: Milano, 'Non ti fidar di me se il cor ti manca' Due Secoli di Carte da Gioco a Trieste (catalogue of the exhibition), 1989, cat. 8.Fourth pack: Fournier, Italy 76. It is believed that Scipio Moscatelli retired and passed the business on to G. Murari in around 1880. However, this pack has a tax stamp dated 1891 in addition to the name of Scipio Moscatelli. It is possible that these cards were made by Moscatelli before retirement, but not stamped and sold until Murari owned the business. Alternatively, perhaps Murari took over the business at a later date than is generally accepted. the Moscatelli family was especially known for creating the Viterbo pattern, but this pack seems to conform more closely to the Romagna I pattern from which it was derived.

A double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, Herat, 16th century, with Deccani and Mughal additions of the second half of the 17th century, opaque pigments heightened with gold on paper, recto with scene of a prince enthroned, with a inscription identifying the ruler as Genghis Khan, being entertained by musicians, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner border of fine gilt floral interlace and small birds delicately painted in polychrome, and outer silver-sprinkled light blue border, the page with nasta'liq inscription within gold cloudbands in upper border, Devanagari inscription in gold to lower border, seal impression of Mughal Imperial Librarian at lower right corner; verso, a calligraphic panel signed Qasim 'Ali, with four ll. of diagonal black nasta'liq text outlined in gold, on a green ground, within a border of small panels with 2ll. of black nasta'liq within cloudbands on gold and polychrome, numbered ?? in Arabic at lower left corner, painting verso 21 x 30.5cm. and calligraphy recto 22.7 x 16cm.; album page 41.6 x 29.5cm. (VAT charged on hammer price)Provenance: The Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707); Private UK collection, early 1970s-80s.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, possibly (10)69AH/ 1658-59AD, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and the terminology indicates the early years of his reign.Two folios from the same album have appeared at auction, both bearing the seal impression of Sohrab Khan. Bonhams sold most recently a folio from a Private American collection, 25th October 2021 Lot 4 and another appeared at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15. This album page featured a calligraphy by Javaher Raqam to the recto. The name Sohrab Khan is found on other album pages including one in the Philadelphia Museum, and on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also has the same kind of Devanagari inscription indicating a Rajput collection, perhaps Amber. The calligrapher's name Javaher Raqam was the title given by Alamgir to Sayyid Ali Tabrizi who had lived in Isfahan and moved to India with his father during Shah Jahan's reign. He is said to have taught Prince Aurangzeb. He held posts in the Royal court, including the Royal Librarian and his seal impression is found in numerous manuscripts. All his recorded works are calligraphic pages dating between 1062AH (1651-2) and 1086AH (1675-1676AD). The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).The verses are unrecorded, the signature reads Qasim Ali, who could be identified with the calligrapher from Shiraz active at the beginning of the 16t century scribe of a manuscript now in the Smithsonian Museum, Washington, inv.no. S1986.194.1-2.Footnotes: Provenance: Property from an Important Private CollectionCondition Report: Condition report: In good condition, minor smudges and losses to the paint, a later Indian inscription on the lower border, minor holes and flaking, some stains and rubbing

An illustrated folio from a Jain manuscript, Mewar, India, 17th century, opaque pigments on paper, with 14ll. of text to the right, the illustration depicting Krisha and cowherders with another figure possibly a merchant on a red ground, mounted, glazed and framed, painting visible, 22.7 x 11cm.  Footnotes: The style of these paintings is similar to the Gem Palace Ragamala in the National Museum in Delhi and the Sursagar in the Kanoria Collection in Calcuta, both of which were probably painted by the artist of the Chitor Ramayana executed in 1651. Although the format is clearly drawn from Hindu and Jain traditions, the dress of the merchant and the prince are influenced by Mughal portraiture.No other copy of this text is known and Jain manuscripts produced in Mewar are very rare. Two other leaves of this manuscripts are in the Los Angeles County Museum and in the San Diego Museum of Art (Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1995, no 94; Edwin Binney 3rd Collection, Archer and Binney, 1968, no 4).Condition Report: Unexamined out of frame, with some paint loss

Three Quran folios, Sultanate India, 15th-16th century, Arabic manuscript on paper, double-sided, each with 11 lines of black Bihari script, with vocalization in black and corrections in red, text panels outlined in gold and double blue rules, gold and polychrome illuminated marginal markers, occasional marginal commentary, with elaborate single and double eight-petalled flower marginal decoration in cobalt, red and gold, folio approx. 31 x 19.8cm (3)Provenance: Spink & Son, London