Conjuring & Magic. The personal scrap album of Major Lionel Hugh Branson, circa 1900s/1930s, comprising hundreds of ephemeral items pasted in, tipped in and loosely inserted into an album of over 50 leaves, including letters (and copy letters of his own), posters, programmes, advertising leaflets, menus, news cuttings and reviews, etc., all relating to his career as a conjuror under various stage names including 'The Major' and 'Lionel Cardac', specific items include autograph letters signed from Charles Bertram, Cunard White Star entertainment programme, ephemera relating to his run at the Palace Theatre in 1913, 6 black and white photo film stills from a film about Branson filmed by Hepworth Manufacturing Company, an Inner Magic Circle membership acceptance letter, a three of hearts playing card (loose) signed by Edward, Prince of Wales, 'Edward P', with a related typed letter signed from Maharaja Kishan Singh of Bharatpur thanking Branson for the conjuring entertainment at the state banquet in honour of the Prince of Wales that took place there in December 1921, a publisher's agreement from Routledge for Branson's book 'Indian Conjuring', a typed letter signed from Houdini on his own letterhead, New York, 13 October 1923, complimenting him on his book 'I consider it a most important item in the art of magic', and with a p.s. concerning Louis de Rougement, one page, somewhat toned, 4to, a photograph and related ephemera relating to the Cabinet of Conjuring Tricks which Branson suggested and was accepted for The Queen's Dolls' House in 1924, a typed letter signed from Harry Price, honorary director of the National Laboratory of Psychical Research, an autograph letter signed from Violet Astor, etc., contemporary half morocco with Branson's business card to upper cover (damaged), upper cover and spine detached, lower cover deficient, worn, 4to Major Lionel Hugh Branson (1879-1946) was an English officer who served with the Indian army from 1899 until 1923. He had learned magic from reading Hoffmann's 'Modern Magic' and had studied under Charles Bertram. He wrote two books under the pen name Elbiquet, and in his book 'Indian Conjuring' (1922) he devoted a whole chapter to debunking the Indian rope trick. He was also a debunker of spiritualism and wrote that it was all the result of conjuring tricks and fraudulent phenomena. (1)
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A William and Mary olivewood oyster veneered cabinet on stand, the moulded cornice above a pair of cushion drawers with a pair of doors enclosing an arrangement of ten drawers around a central cupboard door enclosing four further drawers, the later stand with a frieze drawer on spiral twist legs united by a shaped stretcher and bun feet, 163cm high, 117.5cm wide, 49cm deep.
An early George III mahogany serpentine dressing-commode attributed to William Gomm, the crossbanded top with a floret carved edge above four long graduated drawers fitted with original brass swan neck handles, the top drawer with a leatherette lined slide which part hinges above compartments and divisions, the right side with a drawer, flanked by leaf, flower and scroll carved angles on a sanded ground, the bracket feet and aprons carved with scrolling leaves and rocaille on brass castors, 82.5cm high, 117.5cm wide, 64cm deep. Provenance: The collection of John Shaffer Phipps (1874-1958), New York and thence by descent to the present owner. William Gomm established a cabinet making and upholstery workshop at Peterborough Court, in the parish of St. Bartholomew, Smithfield c.1725. By 1756 Richard William's son was working for the business and in 1763 the company was titled William Gomm & Son & Co. William Gomm is chiefly remembered for his association with Abraham Roentgen having given the famous German cabinet maker a work experience placement during his time in London in the 1730s. His major commission was to furnish Stoneleigh Park, Warwickshire for the 5th Lord Leigh in 1763, where he worked with the decorators Bromwich & Leigh and produced at least six serpentine dressing commode tables similar to the above lot. See Geoffrey Beard and Christopher Gilbert, Dictionary of English Furniture Makers 1660-1840, pp. 115 and 349-350 for a discussion of William Gomm also Sotheby's, New York, Property from the Hascoe Family Collection, 23rd January 2011, Lot 231 for a similar commode.
A late Victorian Irish satinwood and marquetry display cabinet attributed to James Hicks of Dublin, with gilt brass mounts and inlaid with swags, scrolling foliage, paterae and husks in the Sheraton style, with a broken arch cornice centred an urn above a pair of glazed doors enclosing a plush lined interior with a shelf, supported by fluted columns, the base with a further glazed door enclosing a mirrored interior with a single shelf, 194.7cm high, 101.5cm wide, 37cm deep.
A Victorian papier-mache sewing table cabinet, decorated with gilt flowers and inlaid with mother of pearl, the hinged lid painted with a view of Magdalen Bridge and College, broken, revealing a plush lined and silk divided interior above a pair of panelled doors revealing three drawers, the sides with floral sprays, 26cm high, 26.4cm wide, 21.5cm deep.
An early 18th century and later japanned cabinet on stand, the exterior decorated with chinoiserie scenes with figures on horseback with flowering trees, the top with a galleon with engraved brass mounts, the interior with an arrangement of ten drawers decorated with chinoiserie figures in various pursuits, with three secret drawers, the stand carved with scrolls and on paw feet, 121.9cm high, 89.4cm wide, 54.5cm deep.
A small George III mahogany bachelor's chest by George Speer, the brushing slide with a printed paper trade label, above four long drawers and later castors, 74.9cm high, 78cm wide, 45.9cm deep. George Speer (1736-1802), was based at 'The Seven Stars' 2 Great Tower Street, London by 1761 and was a cabinet maker and undertaker. His first mention in the London directories isn't until 1777. A small number of items have been recorded with his rococo trade label which he shared with his cousin John. See Anthony Coleridge, Apollo, October 1970, for an article on George Speer featuring a number of drawings. A mahogany bureau cabinet obtained by the V&A Museum in 1980 is believed to have been made by George Speer. See Christopher Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840 pp. 435-439.
A Meissen porcelain butter shell, early 20th Century, painted with scattered flowers within a gilt rim, crossed swords in underglaze blue to base, length approx 9cm, a Dresden porcelain cabinet cup and saucer, decorated with courting couples alternating with yellow ground floral panels, and two Continental porcelain figures, one of a man scolding a dog, the other of a muse holding a scroll.
A Royal Worcester bone china cabinet cup and saucer, circa 1913, each painted with a woodland lakeside landscape, puce printed mark to base, height approx 5cm, a Bloor Derby porcelain figure of a praying child, circa 1830, iron red painted factory mark, height approx 9.5cm, an English porcelain cream jug, early 19th Century, painted with flowers, height approx 11cm, and a small group of English porcelain.
An early Victorian rosewood and mother-of-pearl inlaid table top needlework/jewellery cabinet, the hinged lid enclosing a compartmentalized tray above two doors revealing two drawers and a pull-out writing slope, raised on stepped disc feet, height approx 33cm, width approx 30cm (some faults).
A Royal Worcester bone china cabinet plate, circa 1933, indistinctly signed but probably Rushton, the centre pained with an idyllic scene of a thatched cottage in a garden setting, within a gilt decorated blue rim, puce printed and impressed factory marks, diameter approx 23cm, together with a group of miniature porcelain, comprising a Mintons cup and saucer painted with scattered flowers, and a pair of blue printed Willow pattern plates, a Derby Imari pattern jug and a Royal Worcester Toby jug.
A late Victorian Aesthetic period walnut bookcase cabinet, possibly by Lamb of Manchester, with overall carved rosette and incised line decoration, fitted with three glazed doors flanked by ring turned pillars, the base fitted with three panelled doors, on a plinth base, height approx 252cm, width approx 178cm, depth approx 61cm.
An Edwardian Arts and Crafts mahogany side cabinet, possibly retailed by Liberty & Co, the back fitted with a pair of leaded glass doors above a mirror, the base fitted with two drawers and a pair of panelled doors, flanked by open shelves with spindle supports, the block and turned legs united by an undertier, height approx 178cm, width approx 122cm.
An early 20th century walnut display cabinet, urn carved pediment above four bevel edge plates, turned supports and lower twin glazed doors with integral velvet lined shelving with further cupboard sections and lower tier, on square section tapering legs, width 122cm (af). CONDITION REPORT One of the supports is broken.
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