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Lot 259
CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framed Dimensions:sheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: www.mackintosh-architecture.gla.ac.uk Note: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 260
CHARLES RENNIE MACKINTOSH (1868-1928) DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901 pencil and watercolour on paper, pencil annotations, later framed Dimensions:sheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus. Note: This delicate design for a wall frieze is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to circa 1901, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 410
§ ASHLEY HAVINDEN (1903–1973) ART DECO CARPET, CIRCA 1930 hand-knotted wool, bears applied label versoDimensions:245cm x 152cmNote: Note: Ashley Havinden was a painter, typographer, graphic and textile designer. In 1922, when he joined W.S. Crawford – one of London’s largest advertising agencies – he had not received any formal art training. He subsequently took evening classes in design and drawing at Central School of Arts & Crafts (1922-23) and received private drawing lessons from Henry Moore in 1933. The London Gallery held Havinden’s first solo exhibition in 1937. Two years later he was one of the nine British artists to feature in an exhibition of abstract paintings held at the Lefevre Gallery. He remained with W.S. Crawford for forty-five years becoming art director in 1929 and vice-chairman in 1960. During this time, Havinden was given full freedom to develop his distinctive style, working on campaigns for Martini, Liberty’s and Chrysler, amongst others. Meanwhile, he produced rug and textile designs for Duncan Miller Ltd and Edinburgh Weavers. For the V&A’s 1946 exhibition Britain Can Make It, he designed the Men’s Wear displays, as well as the exhibition catalogue cover. Havinden received an OBE for his services to British Design in 1951.
Lot 355
ALBERT CHEURET (1884-1966) HANGING LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:41cm diameter, 64cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Lot 98
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'ST. ANDREW' STAINED GLASS PANEL, 1909 stained, leaded and painted glassDimensions:176cm high, 44cm wide (frame 185cm x 50cm)Provenance:Provenance: The Chapel of Cheadle Royal Hospital, CheshireNote: Note: The contribution to the medium of stained glass by William Morris and his principal collaborator Edward Burne-Jones marked an epoch in its post-medieval development. By the 1890s, the reputation gained by Morris & Co. for their stained glass was such that a number of their patrons exclusively commissioned windows from the firm, to ensure the visual unity of their buildings. One such commission was from Cheadle Royal Hospital near Manchester, who in 1904 instructed Morris & Co. to glaze all of the windows of their new chapel. The glass was installed over four periods (1906, 1909, 1911, and finally in 1915), and this present example, depicting St Andrew, originally formed the left part of a three-light window, with St Matthew in the centre and St Peter on the right-hand side.This fine example of stained glass can be traced back to a drawing by Burne-Jones (BJ 514) that was first made for a window in St Mark’s Church, New Ferry, in 1876. It was then re-used at Holy Trinity, Sloane Street in London in 1894-95 and Albion Congregational Church in Ashton-under-Lyne in 1896 before it illuminated the chapel at Cheadle. The guiding principles that governed the manufacture of the Cheadle windows can be found in an article by Morris in 1890 in which he stressed the importance of clarity of design and colour, ‘The qualities needed in the design […] are beauty and character of outline […] Whatever key of colour may be chosen, [it] should always be clear, bright and emphatic.’
Lot 295
DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPES OF POLISH LORDS & LADIES/ BORIS; THE PRETENDER DMITRI/ BORIS; THE NURSE/ BORIS; and THE TSAREWITCH(sic) FEODOR/ BORIS, three signed and dated 1912, one unsignedDimensions:each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.
Lot 56
EDWARD JOHN POYNTER (1836-1919) FOR MINTON'S ART-POTTERY STUDIO, KENSINGTON GORE TILE FOR THE GRILL ROOM, SOUTH KENSINGTON, CIRCA 1870 glazed earthenware, painted decorator's initials HR, monogram and no. 53/ 5354, printed and moulded maker's markDimensions:22.5cm x 28.7cmNote: Note: Edward Poynter, the director of the National Art Training School (NAT), which shared the building with the museum in the 1860s, designed the Grill Room at the South Kensington Museum including the tiles and fireplaces and it opened in 1871. The tiles were painted by students from the NAT porcelain class and then later by Minton's Art Pottery Studio. The decoration of these tiles was virtually the first pottery teaching in a British art school.
Lot 356
ALBERT CHEURET (1884-1966) TABLE LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:56.5cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Lot 257
CHARLES RENNIE MACKINTOSH (1868-1928) HAREBELLS watercolour, later framed Dimensions:sheet size 27.3cm x 23.4cm (frame 47cm x 37cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: Colour began making a subtle, delicate appearance after a visit to Lindisfarne, Holy Island in 1901. ‘Harebells’ is a decorative and stylised piece, unusually created entirely in watercolour with no traces of the assured and technical pencil lines that one associates with his botanic studies. Nonetheless, each brushstroke is considered and placed with intent above spontaneity. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 31
SIR ARTHUR WILLIAM BLOMFIELD (1829-1899) SIR ARTHUR WILLIAM BLOMFIELD’S REMEMBRANCE CABINET, CIRCA 1860 painted and gilded oak, patinated metal fittingsDimensions:85cm wide, 226.5cm high, 36cm deepProvenance:Provenance - Mr & Mrs A. W. Blomfield Private collection, Luxembourg Northern France early 2010’s Oscar Graf 2017 John Gilbert Getty (1968-2020) with Paul ShutlerNote:The exterior of this cabinet is decorated with a choir of angels on the front. Above the door is the Latin motto:‘Non vox sed votum, non musica chordula sed cor, Non clamans sed amans, cantat in aure Dei’.Translated as:‘Not the voice, but the desire, not the musical instrument, but the heart, not the crier, but the lover, singeth in the ear of God’.Or‘It is the duty of a devout mind to pray to God, not with the voice or the sound of the voice but with the devotion of the mind and with the faith of the heart’.The interior right-hand panel:Gules two swords in saltire argent hilts and pommels or (for the See of London) Per fess indented argent and azure a bend gules (for Blomfield) - ensigned with a Cross and a CrozierFor the Bishop of London and Blomfield’s late father Charles James Blomfield (1786-1857).The interior left-hand panel:Argent on a bend azure between two unicorn’s heads couped three lozenges of the field (for Smith) Crest. A demitiger rampant azure holding a broken sword properMotto- Vigilando et orando (By watching and praying).For Blomfield’s late wife Caroline Harriet Smith (1840-1882)Note: Until the re-attribution of this cabinet, domestic furniture designed by Blomfield numbered just one: a cupboard, first published by his friend Charles Locke Eastlake in Hints on Household Taste (p.XV, fourth edition 1878), of which a handful of examples exist.Blomfield was not the only Gothic architect to make elaborate large-scale pieces for their home or office early on in their career. Richard Norman Shaw famously commissioned a cabinet that now resides in the collections of the Victoria & Albert Museum straight after he left the employ of George Edmund Street, and of course, the architect William Burges furnished his entire office and house with such cabinets. The interior, later decorated following his wife’s death in 1882, is intended as a private memorial for his late father, the Bishop of London, Charles James Blomfield (1786-1857) and a memorial from a devoted husband to his late wife Caroline Harriet Smith (1840-1882).
Lot 255
CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed Dimensions:sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world. By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem. One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 293
DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPE OF BOYARD/ BORIS; PRINCE SHOUISKY/ BORIS; ANDREJ SCHTSHELKALOW (sic)/ BORIS; and THE HOSTESS/ BORIS, each signed and three dated 1912Dimensions:each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.
Lot 256
CHARLES RENNIE MACKINTOSH (1868-1928) 'ANEMONIE', 1896 pencil on paper, inscribed ANEMONIE/ FOUND AT LAMLASH ARRAN MAY 1893/ DRAWN MAY 1896, later framed Dimensions:sheet size 25.9cm x 20.2cm (frame 44.8cm x 38cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Exhibited: Edinburgh, Royal Scottish Museum Charles Rennie Mackintosh (1868-1928): Architecture, Design and Painting, 17th August - 8th September 1968, no. 285, titled 'Anemone and Daisy'. Note: Mackintosh began creating flower sketches as far back as his student days in the 1880s. ‘Anemones’ is one such early example. He notes in the cartouche that the plant was found at Lamlash on Arran in 1893, presumably pressed, and then sketched three years later in 1896. These trips and the company he kept (recorded by the inclusion of his friend’s initials in many cases) were clearly important to him. The sketches represent a journal of sorts, and it perhaps speaks to a sensitivity (as well as his great precision) that he chose to depict a re-discovered flower from a past excursion. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 258
CHARLES RENNIE MACKINTOSH (1868-1928) PLANT STUDIES pencil and watercolour, later framed Dimensions:sheet size 39cm x 35cm (57cm x 50.3cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: ‘Plant Studies’, offers a tantalising insight into Mackintosh's design process. Here he considers a cluster of appealingly shaped leaves. In the bottom right we see he has constructed a grid, sketching within it a floral form: pinned for dissection by his designer’s eye which seeks to discover his subject’s recurring natural shapes to extrapolate into pattern. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 261
CHARLES RENNIE MACKINTOSH (1868-1928) PATTERN DESIGN pencil on tracing paper, later framed Dimensions:sheet size 15.1cm x 14.4cm (frame 34.2cm x 32cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Lot 153
SIR EDWIN LUTYENS (1869-1944) DOOR FOR LITTLE THAKEHAM, 1902 oak, polished steel Dimensions:91cm wide, 199cm high, 2.5cm deep Provenance:Provenance: Little Thakeham, West Sussex Little Thakeham (the sale of the contents), Rupert Toovey, 18th October 2000, lot 17. Private Collection Note: Literature: Stamp G. Edwin Lutyens Country Houses, Aurum Press 2001, pp.110-115, and p.114 where similar doors to the current lot are illustrated in situ Note: Lutyens once described Little Thakeham in Sussex, which was designed for Ernest Murray Brown and completed in 1902, as 'the best of the bunch'. The exterior of the house is vernacular, as are several features of the interiors including the magnificent doors, found around the house, of which the current lot is one example. However, the house was one of the first in which Lutyens mixed neoclassical architecture into his previously vernacular style, particularly seen in the large hall.
Lot 409
STANLEY WEBB DAVIES (1894–1978) ARTS & CRAFTS CORNER CABINET, 1933 oak, with carved maker's mark, cabinet maker's mark and dated 1933Dimensions:61cm wide, 76.3cm high, 38cm deepNote: Note: During the First World War Stanley Webb Davies built huts in France for refugees, but after the War in 1920 he worked in the Romney Green’s workshop. In 1923 he established his own workshop in Windermere in the Lake District where he worked until his retirement in 1961. He celebrated the physical demands of hand-made furniture believing that it benefitted the whole person and largely undertook work for commissions. His archive is held by the Abbot Hall Art Gallery in Kendal.
Lot 306
AGATHON LÉONARD (1841-1923) FOR SUSSE FRÈRES, PARIS 'DANSEUSE À L’ÉCHARPE, GENOU LEVÉ' (DANCER WITH A SHAWL, RAISED KNEE), CIRCA 1901 bronze, with later gilt patina, signed in the bronze A LÉONARD / SCLP, with SUSSE FRÈRES EDITEURS PARIS pastille, and stamped: M/ GENOU LEV*(É)/ ELECTRICEEDimensions:60cm high, 39.5cm wide, 19cm deepNote: Literature: Alastair Duncan A. Art Nouveau and Art Deco Lighting, London, 1978, p.58, pl.20 Arwas V. Art Nouveau, The French Aesthetic, London, 2002, p.136Duncan A. Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, p.643Note: This elegant figure in an elaborately draped dress belongs to a series of dancers conceived by Agathon Léonard, the Jeu de l'Écharpe, which was first exhibited at the Société Nationale des Beaux Art in 1897 as a project for a theatre foyer. The dancers in elegant poses are characterised by their delicate gestures, loose dresses and wide sleeves. They rapidly became Léonard's most popular works and were produced in gilt bronze by the Susse foundry. The present bronze is a large-size Susse Frères cast of the 'Danseuse à L’Écharpe, Genou Levé', model no.12, created between 1897 and 1899, the Susse edition produced from 1901. The carefully chased surface of the bronze produces a shimmer effect of light on the gilded surface.
Lot 344
Procopius of Caesarea. The History of the Warres of the Emperour Justinian in Eight Books, translated by Henry Holcroft, 1st edition in English, London: Humphrey Moseley, 1653, additional engraved title lined to verso, letterpress title in red and black bearing early signatures Juliana Alington and John Jacob, woodcut initials and headpieces, without final advertisement, final leaf of text repaired to foremargin, few other occasional marginal repairs, some damp staining, few marks, browning and light dust-soiling, modern speckled half calf, marbled sides, maroon morocco title label to spine, folio, together with:Appianus (of Alexandria). The History of Appian of Alexandria. In two parts the first consisting of the Punick, Syrian, Parthian, Mithridatick, Illyrian, Spanish, and Hannibalick wars. The second containing five books of the civil wars of Rome...., Made English by J[ohn]. D[avies]., 2nd edition, London: John Amery, 1696, title in red and black with early manuscript annotation, light toning to margins to first and last leaves, contemporary calf, rebacked and corners repaired, folio QTY: (1)NOTE:Wing P3640 and A3580B.
Lot 355
La Varenne (Francois Pierre de). Le Vray Cuisinier François, enseignant la maniere de bien apprester & assaisonner toutes sortes de Viandes, grasses & maigres, Légumes & Pastisseries en perfection, &c. Augmentée d'un nouveau Confiturier, qui apprend à bien faire toutes sortes de Confitures, tant seches que liquides, de compostes, de fruits, de dragées, breuvages delicieux, & autres délicatesses de bouche. Le Maistre d'Hostel et le Grand Ecuyer-Tranchant, par le Sieur de la Varenne, Ecuyer de Cuisine de Monsieur le Marquis d'Uxelles. Nouvelle edition, Amsterdam: Pierre Mortier, [between 1690 and 1715], xxiv, 380, [4], (*12, A-Q12), additional engraved title, printed title with two old ownership signatures in ink (Job: Hanmer, Henry Bonds ?), ink annotation dated 1751 to front endpaper 'Dinners & Supprs. Supper of Pidgeons roasted - 3 Rabbits, Brown frigasis - Asparagrass Tarts, Fowl white frigacy. All served in China', and further pencil annotation, probably in the same hand, to rear endpaper, 7 folding engraved plates, and 12 single-page woodcut illustrations, some light handling marks, modern antique-style light brown full calf, gilt decorated spine with red morocco title label, 12mo QTY: (1)NOTE:Vicaire 500. First published in Paris 1651.
Lot 213
Devon. Donn (Benjamin), A Map of the County of Devon, with the City and County of Exeter, 1st. edition, 1765, key plate and 12 (complete) uncoloured double-page map sheets, decorative cartouche, mileage scale and table of explanation, inset maps of Lundy, Plymouth and Stoke Town and plan of Exeter, compass rose and dedication, later endpapers, modern half morocco with gilt title to spine, slim upright folioQTY: (1)NOTE:Batten & Bennett. The Printed Maps of Devon, no. 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 (as in this example) and with an extra five shillings for colouring. It was also available in a de-luxe state with a title page, printed index, subscribers list and index map for two guineas plus extra for colouring.
Lot 112
Low (Rev. George). Fauna Orcadensis: or, The Natural History of the Quadrupeds, Birds, Reptiles, and Fishes, of Orkney and Shetland. By the Rev. George Low, Minister of Birsa and Haray. From a Manuscript in the possession of Wm. Elford Leach, 1st edition, Edinburgh: printed by George Ramsay and Company, for Archibald Constable and Company..., 1813, half-title, modern antique-style quarter calf gilt over marbled boards, morocco labels to spine, 4toQTY: (1)NOTE:Wood, p. 442 'The author was introduced to Thomas Pennant by Sir Joseph Banks, and this sketch of the Natural History of the Orkney Islands was at first designed for Pennant's information. He did for Orkney what Gilbert White did for Selborne.'George Low (1746-1795) was a tutor in Stromness, and later ordained minister of Birsay and Harray in Orkney in 1774. When Sir Joseph Banks and Daniel Solander arrived at Orkney on their return from the last and ill-fated voyage of Captain Cook, Low was asked to accompany them on their excursions around the Orkney and Shetland Islands. Banks introduced him to Thomas Pennant, and it was with Pennant's assistance that Low was able to classify the fauna of the islands. Low died in 1795 and the work was eventually edited and published by William Elford Leach, who provides a note on the circumstances regarding the work's publication.
Lot 450
Arthur Conan Doyle. A large collection of mostly modern works & reference by & on Arthur Conan Doyle, including a framed & glazed presentation of Sherlock Homes Royal Mail First Day Covers, mostly original cloth, many in dust jackets, some paperback editions, G/VG, 8voQTY: (6 shelves & a framed item)
Lot 218
England & Wales. Lewis (Samuel), A Map of England & Wales Divided into Counties, Parliamentary Divisions and Dioceses, Shewing the Principal Roads, Railways, Rivers & Canals and the Seats of the Nobility and Gentry, with the distance of each town from the General Post Office London..., published S. Lewis & Co., 1841, large map engraved by J. Dower with contemporary outline colouring, sectionalised and laid on linen, in four parts (as published), inset map of the Scilly Isles, calligraphic cartouche, compass rose, table of explanation and large uncoloured engraved vignette of the Post Office in London, slight spotting and offsetting, each sheet approx. 1050 x 850 mm, each section bound in contemporary morocco gilt, worn and frayed, size when folded 225 x 145 mm, together with Cary (John). [Cary's New Map of England and Wales with part of Scotland on which are carefully laid down all the Direct and Principal Cross Roads, the Course of the Rivers and Navigable Canals..., 1794], lacking title, but retaining dedication and the general map of England & Wales with contemporary hand colouring, table of explanation, 77 engraved maps with contemporary outline colouring (numbered to 81), tipped in printed addendum of the 'Measured Distances in the Neighbourhood of Plumpton', slight offsetting and dust soiling, 'list of places' and subscriber's list bound at rear, first few leaves detached, some splitting and cracking along the gutter, slight dust soiling and spotting throughout, contemporary half calf, spine partially lacking, upper board detached, heavily rubbed and worn, 4to, with Bartholomew (John). The Imperial Map of England & Wales According to the Ordnance Survey, with the Latest Additions; Shewing clearly every Feature of the Country, Railways and their Stations, Roads, Canals, Rivers, Gentlemen's Seats &c. &c., On a Scale of 4 Miles to an Inch, A. Fullarton & Co., [1866], index and a double-page calligraphic title, sixteen double-page colour lithographic maps, sheet 16 divided into three separate maps, text block detached, contemporary half calf gilt, boards detached, lacking spine, slim folio, plus Bell (James). A New and Comprehensive Gazetteer of England and Wales..., 8 volumes, A. Fullarton & Co. 1837, frontispiece of an 'Extracts of Reviews', title pages with dated contemporary ownership signature to each volume, folding engraved map of England & Wales with contemporary wash colouring and 44 uncoloured engraved county maps by Archibald Fullarton, some spotting throughout, some hinges and joints partially split, publishers green cloth with contrasting paper labels to the spines, bumped, faded and worn, 8vo, together with Cox [Thomas]. Magna Britannia et Hibernia Antiqua & Nova..., volume 3 only, 1724, title page and 3 only (Middlesex, Northamptonshire & Northumberland, lacking Norfolk)) uncoloured engraved folding maps by Robert Morden, each with a triangular mileage table, bookplates of John Basil Tolhurst to the front pastedown and of Prinknash Abbey to the front blank, contemporary vellum with manuscript title to the spine, 8vo, with Capper (Benjamin Pitts). A Topographical Dictionary of the United Kingdom..., Sir Richard Phillips and Co. 1829, frontispiece of an uncoloured engraved folding map of the British Isles, title page, introduction and index, 43 uncoloured engraved maps, preliminaries detached, contemporary quarter sheep, lacking spine, upper board detached rear board near detached, heavily rubbed and worn, 8voQTY: (16)
Lot 315
* French playing cards. De l'Histoire de France, Paris: B.P. Grimaud, circa 1865, a complete deck of 52 hand-coloured engraved playing cards (French suits), stencilled pips, single figure courts depicting named kings and queens of France, unnamed jacks in period costumes, jack of clubs with maker's details, pip cards toned and somewhat bowed, some minor toning and spotting to court cards, king of clubs spotted around suit sign, gilt rounded corners, versos pink, each card 85 x 54 mm, with original 2-part box, queen of spades on front, together with: Jeanne l'Hachette transformation cards, Paris: B.P. Grimaud & Cie, circa 1850, a complete deck of 52 chromolithographed playing cards (French suits), single figure courts (heightened with gold) depicting various characters, including the title character as queen of spades, jack of hearts with maker's details, king of hearts with designer and lithographer named, all pip cards transformed, few minor marks, square corners, versos pink, each card 102 x 71 mm, with original 2-part box, king of spades on front, inner lip with Paris booksellers ticket, a quantity of cards from each pack mounted with photo corners onto display boards (one single board, one folding double board), encapsulated in clear plastic (none examined out of boards), the remainder with their boxes in plastic bags, the boards (double board folded) 54.5 x 40 cmQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, Playing-cards of the World [534]; Berry, Waddington Playing-card Collection [W525]; Cary FRA 365; Fournier, France 245; Ortiz-Patiño 53. Second item: Cary FRA 364; Field #44; Fournier, France 266; Mann, Collecting Playing Cards pp.168-170; Ortiz-Patiño 65.The second pack is also sometimes called Jeu de Roi des Ribauds.
Lot 138
Sterland (W. J.). The Birds of Sherwood Forest. With notes on their habits, nesting, migration, & c., being a contribution to the natural history of the county, 1st edition, London: L. Reeve & Co., 1869, 4 lithograph plates, including 3 hand-coloured (Black Redstart, Tree Sparrow and Hen in Male Plumage, 24 page publisher's catalogue bound in rear, some scattered spotting to half-title and last few leaves of publishers catalogue, modern maroon half morocco gilt, with endpapers renewed, together withAplin (O. V.). The Birds of Oxfordshire, 1st edition, Oxford: Clarendon Press, 1889, hand-coloured lithograph frontispiece, folding map of the county at rear, near-contemporary red half morocco, (by R. H. Porter), spine lettered in gilt, a few minor marks, plusChristy (Miller). The Birds of Essex: a contribution to the natural history of the county, 1st edition, Chelmsford: Edmund Durrant & Co., Buckhirst Hill: The Esses Field Club, London: Simpkin, Marshall, Hamilton, Kent & Co., Ltd., 1890, lithograph frontispiece, wood-engraved illustrations to text, a little spotting to first and last few leaves, contemporary red half morocco (by R. H. Porter), a few minor marks, and three others similar: Proceedings of the Chester Society of Natural Science and Literature, number IV, Chester, 1894, A. E. Smith and R. K. Cornwallis, The Birds of Lincolnshire (Lincolnshire Natural History Brochure no. 2), Lincoln: Lincolnshire Naturalist's Union, 1955, monochrome illustrations after photographs, both the last two titles bound in 20th century red half morocco gilt, and W. H. Hudson, Birds in London, 1924, top edge gilt, contemporary crushed green half morocco (by Bayntun), all 8vo QTY: (6)
Lot 309
* English playing cards. Standard pattern, Thomas De La Rue: type D1, 1832-1834, a complete deck of letterpress playing cards (French suits), Old Frizzle ace of spades, some very light toning (mainly to edges), scarce minor spots or marks, two of hearts with tiny crease and edge tear to one corner tip, square corners, versos pink with faintly embossed wavy pattern, each card 94 x 64 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Berry (1995) [810]; Lodge (1991), p.9; Mann (1991) #187 (mentioned).De La Rue's 'first' design was not successful with the public, and packs are therefore relatively scarce.
Lot 66
Rutter (John). Delineations of Fonthill and its Abbey, 1st edition, Shaftesbury: published for the author, London: Charles Knight and others, 1823, half-title, 14 plates including 3 hand-coloured aquatints (including additional title), folding lithograph plan of the estate, subscribers list, a little minor spotting, front hinge broken, a few leaves detaching, original half morocco over printed boards, spine rubbed, some wear to corners, 4to, together with An Historical and Genealogical Account of the Noble Family of Greville, by Joseph Edmonson, 1st edition, 1766 QTY: (2)NOTE:First work Abbey Scenery 418.
Lot 6
Cary (John). Cary's New Universal Atlas, containing Distinct Maps of all the Principal States and Kingdoms throughout the World from the Latest and Best Authorities Extant, J.Cary, 1824, double-page printed title (with T. Edmonds 1826 watermark), 57 maps (on sixty sheets, of 61, lacking 'Central Europe divided according to the Congress of Vienna'), all with contemporary outline colouring, some spotting, dust soiling and staining, some marginal fraying and closed tears, particularly to the first 15 maps, occasional juvenile pencil scribblings to the verso of a few maps, bookplate of R. H. Johnstone and index list to the front pastedown, modern half calf but retaining contemporary boards, folioQTY: (1)NOTE:Sold as a collection of maps, not subject to return.
Lot 301
* Belgian playing cards. 50th Anniversary pack, Brussels: F. Hemeleers van Hoeter, 1880, a complete deck of 52 colour lithographed playing cards (French suits), double-ended courts, aces with Dutch scenes, dust-soiled and toned, some minor marks, lightly rubbed in places, gilt rounded corners, versos with Belgian coat of arms and anniversary dates, each card 93 x 64 mm, with original two-part box (spotted and rubbed), maker's label on inner tongue, together with: Nederlandsche Speelkaarten, Turnhout?: van Genechten?, circa 1875, a complete deck of 52 hand- and stencil-coloured engraved playing cards (French suits), double-ended courts, the kings representing leaders of the Low Countries, the queens and jacks in traditional costumes, aces with Dutch scenes identical to those in the pack listed above, 4 of diamonds with Portuguese tax stamp (used 1873-1885), toned and somewhat soiled, some spotting, few minor marks, kings of diamonds and spades with very small areas of abrasion (slightly affecting line border), one pip card with corner crease, versos blue seaweed pattern, each card 92 x 63 mm, plus: Imperiale pattern, Turnhout: van Genechten, circa 1870, 51 (of 52, without 10 of clubs) colour lithographed playing cards (French suits), double-ended F1.62 courts of the Imperiale pattern of Daveluys/Mesmaekers, aces representing the Arts, Farming/Fishing, Military/War, and Law/Religion, tone, some spotting and finger-soiling, lightly rubbed in places, ace of clubs with short closed edge tear, gilt edges (square corners), versos red leaves pattern, each card 87 x 57 mm, and another pack identified by John Berry as being probably by van Genechten, circa 1860, 52 stencil-coloured engraved playing cards (French suits), double-ended XP-type courts, Belgian coat of arms of shield of jack of spades, toned and dusty, some minor marks, few pip cards with pale staining, two courts with minor surface loss to blank areas, one pip card with corner singed, versos blue dotted cells, each card 94 x 63 mm, a quantity of cards from each deck mounted with photo corners onto 4 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40.5 cmQTY: (4)NOTE:Provenance: Collection of Dudley Ollis.First item: Autenboer & Cremers 134 (aces only). A very rare version of the Cartes Royales, published to celebrate the 50th anniversary of the founding of Belgium in 1830. Hemeleers van Hoeter, who died in the same year as these cards were issued, was apparently the last card maker to use hand-presses. Van Hoeter appears to have copied his aces from the well-known Nederlandsche Speelkaarten design: several Belgian makers produced this pattern, but apparently these aces conform most closely to those in the pack below, attributed to van Genechten.Second item: Autenboer & Cremers 134; Berry, Playing Cards of the World [162]; Cartorama 53 #30; Willshire, Dutch 112 (British Museum 1872,1012.1348-1399). According to a note by Dudley Ollis, John Berry said this pack is identical with that held in the Guildhall collection (see above) which he identified, using van Genechten sample books, as being made by van Genechten (as also the deck held by the British Museum). Versions of this pack were made by various makers, including several from Turnhout.
Lot 78
Harris (Captain William Cornwallis). Portraits of the Game and Wild Animals of Southern Africa, Delineated from Life in their Native Haunts, during a hunting expedition from the Cape Colony as far as the Tropic of Capricorn in 1836 and 1837. With sketches of the field sports, 1st edition, 1st issue, London: W. Pickering for the proprietor, 1840, additional hand-coloured title (trimmed and laid down on later paper), list of subscribers, 30 fine hand-coloured lithograph plates by Frank Howard after Harris, lithograph vignettes, pp. 55-56 with small marginal repaired tear, occasional light spotting, mainly to letterpress, hinges reinforced, all edges gilt, contemporary maroon half morocco gilt, upper cover with morocco label lettered in gilt, a little rubbed, folio, 59 x 41.5 cm QTY: (1)Abbey Travel 335; Czech p. 119; Mendelssohn I, 688; Schwerdt I, 231. The first issue with the lithograph vignettes, not present in later issues.'One of the rarest of all books dealing with African big game and sport, this monumental presentation depicts wild game of southern Africa as encountered and studied by Harris. The tinted lithographs highlighted in color by hand are especially lovely and makes this volume exceptionally desirable. Included among the portraits are elephant, buffalo, rhinoceros, lion, leopard, kudu, roan, eland, quagga etc. Each of the illustrations is also enlivened by scenic backgrounds of the habitat. The portraits are highlighted with Harris' detailed descriptions of the game, habitat and with occasional mention of his hunting adventures.' (Czech).'One of the most important and valuable of the large folio works on South African fauna...' (Mendolssohn).
Lot 308
* English playing cards. Early Standard pattern Faro/Bassette pack, Gibson, circa 1799, a complete deck of 52 stencil coloured woodcut playing cards (French suits), reduced size with wide borders, Gibson Type A3 ace of spades (die no.16), single-figured courts, one way pips, faint Superfine stamp to ace of clubs, toned and spotted, square corners, plain versos, each card 86 x 57 mm, together with: Early Standard pattern, Hunt/Blanchard, circa 1790?, a complete deck of 52 stencil coloured woodblock playing cards (French suits), with Hunt Type A3 ace of spades (die no.18), single-figured Blanchard courts, one way pips, king of clubs with fleur de lys, orb with Cross of Lorraine and supporting fingers, king of hearts with 3 triangular marks for sword, jack of hearts with full length staff, all jacks with foliage between legs, soiling and dampstaining (several cards much affected, some delaminating), 27 cards with worming (some severe), including 8 courts, square corners, plain versos, each card 96 x 63 mm, ace of spades 94 x 63 mm, 16 cards from each deck mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder in plastic bags, each board 54.5 x 40 cmQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: British Museum 1896,0501.952; Mann (1991) #185.Second item: The World of Playing Cards website, (page 30 by Ken Lodge: The Not-So-Minor Cardmakers of the 19th Century - Gibson, Hunt & Bancks) illustrates an almost identical pack with the same ace of spades (Hunt Type 3 die no.18). The caption reads: an early Hunt pack with Blanchard courts, presumably old stock from the original maker (from the Victoria & Albert Museum). The same website, on its page Blanchard, Gibson, Hunt & Bancks Brothers, illustrates an identical deck to ours, described as: 1952: Hunt with Blanchard courts, AS A3 (18). These cards are longer than usual at this time, more like the earlier Blanchard size. c.1790. It looks as though Blanchard’s blocks were given to Hunt after his apprenticeship to Gibson. Therefore our pack is either according to the former theory (circa 1790 Hunt AS with original circa 1760 Blanchard court cards) or the latter (Hunt deck printed circa 1790 from Blanchard blocks). See also WCMPC Collection Acquisition No. 426 (Berry, 1995 [425]) for a similar deck by Christopher Blanchard.
![[Dugdale, William]. A Short View of the Late Troubles in England; Briefly setting forth, their rise, growth and tragical conc](https://cdn.globalauctionplatform.com/ece7a675-1a63-4184-be1d-b06d01192e4b/71bf243b-4d00-40c7-a140-b08200e5c0e9/468x382.jpg)
Lot 350
[Dugdale, William]. A Short View of the Late Troubles in England; Briefly setting forth, their rise, growth and tragical conclusion. As also, some parallel thereof with the Barons-Wars in the time of King Henry III. But chiefly with that in France, called the Holy League, in the Reign of Henry III. and Henry IV. late Kings of that Realm. To which is added a perfect narrative of the Treaty at Uxbridge in an. 1644, 1st edition, 2 parts in one, Oxford: Printed at the Theater for Moses Pitt, 1681, engraved portrait frontispiece, title with engraved vignette of the Sheldonian Theatre, Oxford, five pages of advertisements at end, some damp staining to fore-margins, contemporary calf, old manuscript title label, upper joint splitting, lower joint with short split at head, folioQTY: (1)NOTE:Wing D2492; ESTC R18097; Lowndes p.692."The hiatusses in the above collation gave rise to the conjecture that the Licenser had curtailed this work of it 'fair proportion,' but on comparing the printed book with the original manuscript, this supposition was found to be erroneous." (Lowndes). First published anonymously; later reissued under the name of Sir William Dugdale.
![Tucker (Andrew G. C.). Ornithologia Danmoniensis, 2 parts in 1 volume [all published], 1st edition, London: Printed for the a](https://cdn.globalauctionplatform.com/ece7a675-1a63-4184-be1d-b06d01192e4b/2a93972e-c858-4797-a147-b08200e56398/468x382.jpg)
Lot 141
Tucker (Andrew G. C.). Ornithologia Danmoniensis, 2 parts in 1 volume [all published], 1st edition, London: Printed for the author, 1809, 13 engraved plates by I.Warner after W. R.Jordan (of which 6 hand-coloured, 3 duplicated in coloured and uncoloured states), uncut, occasional offsetting, lightly spotted, original blue printed wrappers bound-in (part 1 upper cover with wear to outer margin), modern bookplate of H. S. Jackman and further book ticket to front pastedown, modern half calf, title label lettered in gilt to upper cover, 4to (30.5 x 24 cm and smaller)QTY: (1)NOTE:Mullens & Swann pp. 590-1; Wood p. 603.All published of the first local English avifauna. A superior copy with 6 additional plates often not found.'It is an ambitious work, the text of which ends abruptly at p. 88 of the Introduction. The two parts printed show the author to have been an educated naturalist' (Wood).
Lot 373
Alberti (Leon Battista). The Architecture of Leon Battista Alberti in Ten Books. Of Painting in three books and Of Statuary in one book. Translated into Italian by Cosimo Bartoli. And now first into English, and divided into three volumes by James Leoni, Venetian, Architect; to which are added several designs of his own, for buildings both public and private, 3 volumes, 1st English edition, London: Printed by Thomas Edlin, 1726, engraved frontispiece to first volume by Bernard Picart, two title pages to each volume in Italian and English, double-column parallel text in Italian and English, 4-page list of subscribers to first volume, printed approbation leaf bound before the separate title to the third volume for Leoni's Some Designs for Buildings both Publick and Private, 101 engraved plates (complete), including 24 folding or double-page, woodcut vignettes to title-pages, woodcut initials, head- and tail-pieces, occasional (mostly minor) marginal spotting or soiling (contents generally in clean condition), 18th century engraved bookplate of Sir William Abdy, Bart., Chobham Place to front pastedown of first volume, contemporary mottled full calf, joints cracked and some wear to edges, outer corners showing, folio (45.5 x 29 cm)QTY: (1)NOTE:Provenance: Sir William Abdy (1732-1803), 6th Baronet, of Chobham Place, Chobham, near Woking, Surrey. Captain in the Royal Navy, and Deputy Lieutenant for the county of Surrey. Abdy entered the service of the East India Company as a midshipman in the True Briton on her voyage of 1750-1752. He transferred to the Royal Navy and in 1761 took command of HMS Beaver, a 14-gun sloop which had been built that same year, both in home waters and in the West Indies, between 1761 and 1766. In 1775, he succeeded his brother to the family baronetcy.Fowler 11; Harris 12; Berlin Kat. 2554; Millard II, 4; Berlin 2267; Cicognara 378; RIBA, 48.First edition in English of Alberti's architectural treatise De Re Aedificatoria along with his shorter treatises on painting and statuary, to which Leoni adds a supplement containing his own neo-palladian designs.Subscribers to the edition included a large number of masons, plasterers, builders and carpenters as well as Nicholas Hawksmoor, Sir John Vanbrugh, Sir Christopher Wren (although he died before the work was finally issued), Leoni's patron Thomas Scawen and Lord Burlington who both ordered two copies including one, each, on large paper.
Lot 317
* French playing cards. Gatteaux Empire design, unknown maker, 1811, 51 (of 52, without jack of clubs) stencil coloured wood engraved playing cards (French suits), single figure neo-classical named courts, variable toning and generally pale spotting (mainly to pip cards), plain versos, each card 83 x 55 mm, together with: Gatteaux portrait officiel, unknown maker, circa 1830s-1840s, a complete piquet pack of 32 stencil coloured wood engraved playing cards (French suits), single figure named courts, filigranes on king of diamonds (head of cockerel) and queen of spades (head of dog), jack of clubs with medallion dated 1816, all courts without fleur de lys (abolished 1830), variable toning and generally light spotting, jack of spades with some surface loss to right side, versos plain, each card 82 x 54 mm, plus: Gatteaux double-figure design, unknown maker, circa 1855, a complete piquet deck of 32 stencil coloured engraved (possibly electrotyped) playing cards (French suits), double-ended named courts, jack of clubs with complete medallion dated 1853, king of clubs probably with (indistinct) GALV HULOT on shields, lightly toned, scarce minor marks (mainly to pip cards), versos plain, square corners, each card 83 x 54 mm, 16 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry in The Playing Card vol XIII no 1 Aug 1984, p.21; Cary, FRA 359; Hoffman (1973) p.34 & illustrated plate 53b. Uncommon.Second item: Berry, Playing Cards of the World, [63] & [78]; Berry in The Playing Card vol XIII no 1 Aug 1984, pp.21-23; Cary, FRA 19 & 20; Hoffman (1973) pp.34-35 & illustrated fig.11. Third item: Berry, Playing Cards of the World, [65], [66] & [628]; Cary, FRA 25.
Lot 314
* French playing cards. Cartes Parisiennes, Paris: O. Gibert, circa 1855, a complete deck of 52 hand-coloured engraved playing cards (French suits), single figure courts representing French historical nobility, kings with crowned suit signs, jack of spades with 'Gibert à Paris', jack of hearts with 'France', lightly toned, scarce minor spots or marks, square corners, versos pale blue, each card 84 x 56 mm, together with: Pictorial aces pack, Paris: A. Thomas, circa 1860, a complete deck of 52 stencil coloured engraved playing cards (French suits), double-ended Germanic style courts, jack of clubs with maker's details, aces with views of Parisian landmarks, ace of hearts with Palais de l'Industrie 1855, generally toned and dusty, some finger-soiling and minor marks, square corners, versos red dotted cells pattern, each card 89 x 59 mm, 16 or 17 cards from each deck corner mounted onto 2 display boards, encapsulated in clear plastic (none examined out of display boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: Cary, Fra 360 & 361; Fournier, France 220 & 221; Ortiz-Patiño 56; Schreiber, French 76.Second item: although decks with pictorial aces are relatively common, we have only found one other deck (of any type) produce by this unusual Parisian maker (see below). According to Dudley Ollis' notes this pack was purchased at Sotheby's in October 1981 (lot 758) for £35 plus commission. He also notes a pack seemingly identical to this one (very possibly this same pack) listed in the Stanley Gibbons catalogue for August 1978 (#146).
Lot 316
* French playing cards. Gatteaux double-figure design, unknown maker, circa 1855, a complete deck of 52 stencil coloured engraved (probably electrotyped) playing cards (French suits), double-ended named courts, jack of clubs with complete medallion dated 1853, king of clubs probably with (indistinct) GALV HULOT on shields, eagle watermark, few cards toned or lightly marked, square corners, versos purple/pink dotted and branched pattern, each card 83 x 53 mm, together with: Gatteaux double-figure design, Paris: B.P. Grimaud, circa 1890, a piquet deck of 32 stencil coloured electrotyped playing cards (French suits), double-ended named courts, jack of clubs with complete medallion dated 1853, king of clubs with GALV HULOT on shields, ace of clubs with 1890 tax stamp, watermark CI in oakleaf wreath, seemingly unused, rounded gilt corners, versos dark blue & red plaid, each card 83 x 53 mm, with original box labelled Piquet No.90, plus three other Gatteaux 1853 double-figure design decks: the first circa 1885, Grimaud, 51 cards (of 52, without king of hearts), CI in oakleaves watermark, no tax stamp, 2 indices (set within suit signs) on all cards except aces, some toning, rounded gilt corners, versos blue watered silk, with original box; another Grimaud? deck circa 1900, 52 complete, watermark as above, 1890 tax stamp, 4 small indices (court cards with corner of suit signs cutaway for indices), rounded gilt corners, versos blue & black plaid; and a third deck, unknown maker, circa 1900, watermark as above, 1890 tax stamp, 4 large indices (court cards with one side of suit signs cutaway for indices), some toning and spotting, rounded corners, versos small red 'strawberries' pattern, 16 cards from each pack mounted with photo corners onto 5 display boards, two boards encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (5)NOTE:First item: Berry, Playing Cards of the World [65], [66] & [628]; Cary, Fra 25.
![[Hübner, Jacob]. [Sammlung Europäischer Schmetterlinge], c. 1840s, 2 volumes of plates only, the first containing 149 hand-co](https://cdn.globalauctionplatform.com/ece7a675-1a63-4184-be1d-b06d01192e4b/86c26da4-56b8-4524-8b98-b08200e56b7d/468x382.jpg)
Lot 165
[Hübner, Jacob]. [Sammlung Europäischer Schmetterlinge], c. 1840s, 2 volumes of plates only, the first containing 149 hand-coloured plates, small oval blind stamp with initials of Boston Society of Natural History within each plate impression, gift bookplate of Samuel Hubbard Scudder, early 20th-century cloth gilt, a little chipped on joints, the second volume containing 60 numbered hand-coloured plates [volume 5, Geometrae], recent cloth gilt, both 4toQTY: (2)
![Bewick (Thomas). A History of British Birds [land and water birds], 2 volumes, 1st edition, Newcastle, 1797-1804, wood engra](https://cdn.globalauctionplatform.com/ece7a675-1a63-4184-be1d-b06d01192e4b/37013fc5-dff4-4977-a760-b08200e5c652/468x382.jpg)
Lot 364
Bewick (Thomas). A History of British Birds [land and water birds], 2 volumes, 1st edition, Newcastle, 1797-1804, wood engraved vignette to titles (vol. 1 priced at 10s. 6d. in boards and vol. 2 at 12s. in boards), numerous vignette illustrations throughout, first volume with worm holes and some worming to lower blank margins throughout rear half of volume (increasing towards rear of volume), some spotting, toning and occasional damp stains, armorial bookplate of Sir Warwick Morshead Bt. to upper pastedown, contemporary calf gilt, morocco title label, some joints cracked, spines and extremities rubbed, 8vo (Roscoe 14d & 17d), together with:Dickens (Charles). The Life and Adventures of Martin Chuzzlewit, 1st edition in book form, London: Chapman and Hall, 1844, additional etched title and numerous plates (one frayed and one trimmed to margins), spotting and some staining, upper hinge crudely strengthened with cloth tape, contemporary half calf, red morocco title label to spine, rubbed, 8vo,Barclay (Robert). An Apology for the True Christian Divinity, being an Explanation and Vindication of the Principles and Doctrines of the People called Quakers. Written in Latin and English by Robert Barclay, and since translated..., 8th English edition, Birmingham: Printed by John Barclay, 1765, without errata leaf, front free blank endpaper bearing signature Robert Barclay and annotations 'This book was given to my father Rev. A. Watt by John Barclay' and 'Presented by William Ridgway Jackson to his father 26th of July 1883', armorial bookplate of John Natt to upper pastedown, contemporary calf, upper board detached, lower joint cracked, 4to (Gaskell 30), plus other 19th-century antiquarian including The Poetical Works of Robert Burns, 2 volumes, Alnwick: Printed by Catnach and Davison, 1808, with vignette illustrations by Thomas Bewick, some spotting, contemporary calf, gilt decorated spines with morocco title labels (lacking volume number labels), joints cracked, small 8voQTY: (11)
Lot 232
London. Drew (John), Drew's New and Correct Plan of the Cities of London and Westminster, the Borough of Southwark &c. including the latest Improvements [1799], engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining, slight wear where old folds cross, scale and note on Hackney carriages below map, 400 x 520 mm, contained in a contemporary marbled card slipcase with printed label to the upper siding, slipcase worn and frayedQTY: (1)NOTE:Uncommon. Howgego. Printed maps of London, number 218. First and only state.
Lot 360
Seward (Anna). Elegy on Captain Cook. To which is added, An Ode to the Sun, London: J. Dodsley, 1780, 23 pp., title and following two leaves with holes affecting few letters (holes mostly to title with loss of one letter), bound with Gray (Thomas). Odes, [London]: Printed at Strawberry-Hill for R. & J. Dodsley in Pall-Mall, 1757, 3-21, [1] pp., half-title discarded, engraved vignette to title, final leaves with tear to each, bound with Seward (Anna). Monody on Major Andre?. By Miss Seward. (author of the Elegy on Capt. Cook.) To which are added letters addressed to her by Major Andre? in the year 1769, Lichfield: printed and sold by J. Jackson, for the author, 1781, iv, 47, [1] pp., bound with Beattie (James). The Minstrel; or, the Progress of Genius. A Poem. The second book, 2nd edition, London: Edward and Charles Dilly; Edinburgh: William Creech, 1774, [4], 32 pp., half-title present, bound with Beattie (James). The Minstrel: or, the Progress of Genius. A Poem. The first book, 4th edition, London: Edward and Charles Dilly; Edinburgh: A. Kincaid and W. Creech, 1774, [viii],31, [1] pp., bound with four others, The Deserted Village, A Poem, by Dr. [Oliver] Goldsmith, 6th edition, London: W. Griffin, 1780; Ode to the Memory of William Cowper, Esq., by Thomas Gisborne, London: T. Cadell Jun. and W. Davies, 1800; A Poetical Epistle to an Eminent Painter, [by William Hayley], London: T. Payne and Son, J. Dodsley and Robson & Co., 1778; Retaliation: A Poem. By Doctor [Oliver] Goldsmith, 4th edition, London: G. Kearsly, 1774, final leaf torn, some spotting, occasional toning and browning, verso of front free endpaper with armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire), contemporary half calf, joints cracked, lacking title label to spine, some wear, 4toQTY: (1)
Lot 347
Taylor (Jeremy). The Great Exemplar of Sanctity and Holy Life according to the Christian Institution..., 4th edition, London: J. Flesher for Richard Royston, 1667, engraved portrait frontispiece, additional engraved title, letterpress title in red and black, 10 engraved plates (7 folding), armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedown, contemporary mottled calf, gilt decorated spine, upper joint split, spine and extremities rubbed and worn, folio (Wing T345), together with:[Downame, John, attributed]. Annotations Upon all the Books of the Old and New Testament, 2 volumes, London: Printed by John Legatt, 1651, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (some lacking), joints cracked, some wear, folio,Hall (Joseph). The Works of Joseph Hall B. of Exceter. With a Table newly added to the whole Worke, 2 volumes, London: Printed by John Haviland, 1628 [-1661], general title to first volume within woodcut border with armorial bookplate of Sir Thomas Cave Bt. of Stanford Hall, Leicestershire to verso, numerous divisional title pages, title to second volume within woodcut border and entitled 'Contemplations upon the historie of the New Testament' with imprint London: Printed by James Flesher, 1661, last two leaves in second volume detached, frayed and with few short closed tears, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (volume number label to vol. 2 lacking), worn to head and foot of spines, second volume with upper joint split and lower board detached, folioQTY: (5)
Lot 204
British Isles. Husson (Pieter), Les Isles Britanniques ou sont le Rme. d'Angleterre tiré de Sped celuy d'Ecosse tiré de Th. Pont et celuy d'Irlande tiré de Petti..., par G. De L'Isle..., The Hague [1706], uncoloured engraved map, large decorative cartouche and mileage scale, title repeated above the map in Latin, 470 x 550 mm, together with De Vaugondy (Robert). Carte des Isles Britanniques qui renserment les Royaumes D'Angleterre D;Ecosse & D'Irlande Divisée par Provinces et Comtés..., Paris, Jean Baptiste Fortin, 1780, engraved map with contemporary outline colouring, inset map of the Orkney and Shetland Islands, table to the left-hand margin, old folds, central fold strengthened on verso, 540 x 720 mmQTY: (2)NOTE:The first described item. R. W. Shirley. Printed Maps of the British Isles, 1650 1750, Husson 1 state 1. The second map is derived from an earlier example by Thomas Kitchin.
Lot 82
Moffet (Thomas). Insectorum sive Minimorum Animalium Theatrum: Olim ab Edoardo Wottono, Conrado Gesnero, Thomaque Pennio..., 1st edition, London: Ex Officina typographica Thom. Cotes. Et venales extant apud Benjam. Allen, in diverticulo, quod Angliè dicitur Popes-head Alley, 1634, [20], 326 [i.e. 316], [4] pp., title with woodcut illustration (leaf trimmed to margin and lined to verso), numerous woodcut illustrations throughout, fraying to margins of several leaves at front and rear, with verso of fore-margins to leaves A2-A4 strengthened, occasional minor damp stains, head of front pastedown with early signature of P.H. Pyesmith, contemporary speckled vellum, 20th-century brown morocco reback with gilt decoration, folio (29 x 193 cm)QTY: (1)NOTE:Garrison & Morton 288; Nissen ZBI 2852; STC 17993.The first of "the first book about insects published in Britain" (Salmon, Aurelian Legacy, p 95). Compiled in the late 16th century by Moffett, who 'travelled extensively in Europe and kept copious notes of his observations on insects. These he published in the above folio, together with many excellent woodcut illustrations. To date, this was the best work of its kind and it set a new standard of accuracy in the study of the invertebrates. An English translation, Theater of Insects, appeared in 1658' (Garrison & Morton).Moffet is often mistakenly said to have used a microscope in his observations, but in fact made the highly accurate woodcuts with the naked eye. Sir Theodore Turquet de Mayerne published the work posthumously from the manuscript, which is preserved today in the British Library. The illustration of the American Swallowtail on p 98 is the first printed representation of an American butterfly. There are three variant imprints, but these variants do not indicate a chronology, simply that the edition was shared among booksellers.
Lot 50
Carew (Richard). The Survey of Cornwall, 1st edition, London: S. S. for John Jaggard, 1602, title with woodcut printer's device, errata leaf, 'Table of First Booke' misbound at end, armorial bookplate of Alington to front pastedown, occasional light marginal spotting and toning, preliminary leaves torn and chipped, D4 marginal loss to lower outer corner, B2 with large closed tear, title with closed tear (repaired to verso), a few further leaves with small marginal loss, contemporary limp vellum, manuscript title to spine, loss to base of spine, lacking ties, small 4to (190 x 140 mm)QTY: (1)NOTE:ESTC S107479. First edition of Carew's pioneering county history, which is "above all a representation of Cornwall as its author saw it, in terms of the landscape and climate, and of the occupations of men and women whose lives these shaped. Such matters as the local tin mines, the fishing industry, and the games people played, including hurling, all come within the compass of his lively pen." (ODNB).
![* Charles I. Charles I. Gunst (Pieter van), Charles the First King of Great Britain..., [and] Henrieta Maria Queen of Great B](https://cdn.globalauctionplatform.com/ece7a675-1a63-4184-be1d-b06d01192e4b/acfc1bf3-590e-4981-9163-b08200e598c3/468x382.jpg)
Lot 265
* Charles I. Charles I. Gunst (Pieter van), Charles the First King of Great Britain..., [and] Henrieta Maria Queen of Great Britain, circa 1715..., pair of uncoloured engravings on laid after Anthony van Dyck, both trimmed to the image on three margins, each hinged onto later stiff paper, each approximately 375 x 300 mm, together with Baron (B.). Charles the First, King of England &c. Henrietta Maria his Queen and his two Sons Charles, Prince of Wales & James Duke of York..., 1741, uncoloured engraving on laid after Anthony van Dyck, one horizontal fold, small margins, 555 x 400 mmQTY: (3)
Lot 304
* Danish playing cards. Holmblad pattern A, Copenhagen: L.P. Holmblad, circa 1870, a complete deck of 52 hand-coloured engraved playing cards (French suits), double-ended courts, jack of clubs with maker's details, ace of diamonds with Danish tax stamp, few minor marks (mainly to pip cards), gilt edges, square corners, versos blue dotted foliate pattern, each card 94 x 59 mm, together with: Holmblad pattern B, L.P. Holmblad, circa 1880, a complete deck of hand-coloured engraved playing cards (French suits), double-ended courts, jack of clubs with maker's details, ace of diamonds with Danish tax stamp, ace of clubs very faintly spotted, ace of spades with neat ink manuscript 'Danish Cards 1878' in a calligraphic hand, gilt rounded corners, versos red floral pattern of dots and curves, each card 95 x 59 mm, plus three foreign-printed later decks: Holmblad pattern C with pictorial aces (Jensen 1993, 5-29 &c.), S. Salomon & Co., circa 1905, 52 complete; Holmblad pattern B (Jensen 1993, 5-28), probably Germany: Wüst, for Holmblads Spillekort Forretning, circa 1920?, 52 complete & box; and Holmblad pattern A (Jensen 1993, 5-15), for Holmblads Spillekort Forretning, circa 1975, 52 & 2 jokers complete & box, a quantity of cards from each deck mounted with photo corners onto 5 display boards, the first two boards encapsulated in clear plastic (none examined out of boards), the remaining cards in plastic bags, each board 54.5 x 41 cm and similarQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: Jensen (1993), 4-5. Second item: Jensen (1993), 4-7.
Lot 42
Sonnerat (Pierre). Collection de Planches pour servir au Voyage aux Indes Orientales et à la Chine, Plate Volume only, Paris: Dentu, 1806, 8 pages, 140 engraved plates (some folding and all but first plate with later hand-colouring), a little dust-soiling and scattered spotting, book ticket of Augustin Quenson to front pastedown, contemporary marbled boards, green leather reback and corners, remains of original calf spine with two labels laid down, 4to (280 x 205 mm)QTY: (1)
Lot 376
Furniture Designs. Volume containing 50 plates of furniture designs, circa 1822, 50 hand-coloured engraved plates, containing designs for various furniture items including: writing desks, chaise longues, tables, bookcases, etc., some plates interleaved with tissues guards (some bearing watermark 'C Wilmot 1822'), first tissue guard with pencil tracing marks, each plate numbered to top right corner, a few trimmed with loss to part of number, rebound in antique style quarter red morocco backed over marble boards with vellum tipped corners, gilt lettering 'samples' to spine, some light soiling, 8voQTY: (1)
Lot 243
Somerset. Pring (Jnº D.). A Geological Map of Somersetshire, Taunton, 1852, lithographic map with contemporary wash colouring, laid on later card, 350 x 415 mm, together with Bowen (Emanuel). An Improved Map of the County of Somerset Divided into its Hundreds..., Carington Bowles and Robert Sayer, circa 1785, engraved map with contemporary outline colouring, sectionalised and laid on linen, inset map of bath, small holes where old folds cross, short split to one fold, 540 x 720 mmQTY: (2)NOTE:The first described item. Chubb T. A Descriptive List of the Printed Maps of Somersetshire, page 127. Rare. Chubb, I have not seen this map, but there is a copy in the Cambridge University Library. Copac lists another two examples held in The Geological Society Library and The Natural History Museum Library.
Lot 334
* Russian playing cards. Slavonic Cards, State Card Factory (Goskartfabrika) in Leningrad, 1928, a complete deck of 52 plus joker chromolithographed playing cards (French suits), double-ended courts, English indices, some light finger-soiling, rounded corners, versos painting 'Knight at the Crossroads' in red line border, each card 89 x 58 mm, with original box (N.501 Made in USSR/Russia), together with: Rokoko cards, Third Offset Printing Factory, Leningrad, circa 1960, a northern piquet deck of 36 offset playing cards (French suits), double-ended courts, Russian indices, a couple of pip cards with minor pale staining, rounded corners, versos ornate white on black design with two male page boys, each card 90 x 58 mm, plus: Russian style cards, Leningrad Offset Printing Factory, No. 3, 1964, a complete deck of 52 plus 2 jokers and 2 blanks offset playing cards (French suits), double-ended courts, Russian indices, a few cards with minor areas of discolouration (offset from black versos), one joker with tiny surface loss to one edge, one blank with small surface loss to verso edge, rounded corners, versos a piper on a black background with buff border, each card 90 x 58 mm, with original box (Souvenir Playing Cards), with 8 other Russian decks, circa 1975-1982, each with original box, a quantity of cards from each deck listed corner mounted onto 11 display boards, one board encapsulated in clear plastic (none examined out of display boards), the remainder loosely contained in clear plastic bags, the boards 54.5 x 40cm and similarQTY: (11)NOTE:Provenance: Collection of Dudley Ollis.First item: Cary RUS 16; Fournier, Russia 30.The other decks comprise: 150th anniversary Palekh cards (one black background deck 1967, one deck with white background 1982); New Style cards, 1979 reprint; Four Seasons, 1978; Opera-themed V.M. Sveshnikov designed, with semi-transformed style pip cards, 1979; another Slavonic deck, 1979; Aztec design, 1978; Russian pattern, circa 1975.
Lot 300
* Australian transformation cards. Florence and Bland Holt pack, Melbourne: Spicers, circa 1916, the complete deck of 52 engraved and printed in red & black playing cards (French suits), double-ended courts, transformed pip cards, most cards with pinholes to corners (some with associated minor loss), many creased, some wear, 3 court cards with facsimile portion adhered over one end, few pip cards with pale pink dampstaining, 9 of spades with portion of adhered skinned paper to blank area (just clipping image), versos pale pink with printed verse and 'Greetings for 1916 from Florence & Bland Holt', each card 87 x 62 mm, together with: American playing cards, Hawaiian Souvenir playing cards, published by Wall, Nichols Co. Ltd., Honolulu, copyrighted 1901, by The U.S. Playing Card Co., a complete deck of 52 playing cards (French suits) plus Joker and title card, the courts depicting Hawaiian royalty, the pip cards with Hawaiian scenes and people, reproduced from photographs, gilt edges, versos showing statue of King Kamehameha within a gold border, each card 88 x 62 mm, and original gilt lettered blue box, with an example card adhered to rear panel, plus: 14 other 20th century worldwide packs comprising: Madagascar, circa 1990?, maker unknown; New Zealand, Muir & Moodie of Dunedin, 1910, a pair of packs giving 103 different scenic views and portraits of natives; Australia, Pickering's Political Pack, 1976 limited edition; Kenya, 'Karata' Kenya Souvenir publicity pack, circa 1980; Egypt, Moharrem Press of Alexandria, circa 1970; Papua New Guinea, designed by Graeme Ross for Robert Brown & Assoc., circa 1987 (lacking Joker); Korea, 5 packs all by Nintendo (of Japan), depicting national costumes or folk tales, circa 1983; Brazil, two packs by Paulista of Sao Paulo, circa 1975, French suited Portuguese pattern pack, and Spanish suited pack, a quantity of cards from most packs mounted with photo corners onto 12 display boards, two boards encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, many with original boxes, the boards 42 x 59.5 cm and smallerQTY: (16)NOTE:Provenance: Collection of Dudley Ollis.First item: Field #61. Rare. This transformation design was produced for the Holts who were actors, and it is believed that they gave packs away as gifts. Whether they were made and handed out in late 1915 (ready for the following year) or in 1916 itself is unknown.Second item: Hochman S28.
Lot 237
Norfolk. Donald (Thos. & Milne Thos.), A Topographical Map of the County of Norfolk, Surveyed and Measured in the Years 1790, 91, 92, 93 and 94..., Executed and published at the expense of the proprietor William Faden, 1st edition, August 12th 1797, engraved map with contemporary outline colouring, sectionalised and laid on linen, calligraphic title and compass rose, inset plans of Great Yarmouth, Kings Lynn and Swaffham, toned overall, pin holes to the margins, small contemporary publisher's printed label to the verso, overall size 1220 x 1835 mmQTY: (1)NOTE:T. Chubb. A Descriptive List of the Printed Maps of Norfolk 1574 - 1916, page 78. A scarce large-scale map which took five years to survey and was the first complete survey of the county completed on the scale of 1 inch to 1 mile. There is a second edition of the map which includes a short 'legend' to the side of the plan of Kings Lynn.
Lot 13
Ewart (Joseph). The Sanitary Condition and Discipline of Indian Jails, 1st edition, London: Smith, Elder and Co., 1860, 4 folding plans (2 with short closed tears), publisher's catalogue at rear, small residue marks to front endpaper, original blindstamped cloth, part of lower spine excised, lower joint splitting at head, a little rubbed with some fading, 8vo, together with 2 others: On Ancient Central Asian Tracks. Brief Narrative of Three Expeditions in Innermost AQsia and North-Western China, by Sir Aurel Stein, 1st edition, 1933 (rebound in calf-backed boards), and Southern India. Painted by Lady Lawley, Described by F. E. Penny, A & C Black, 1914QTY: (3)NOTE:First work very scarce, no copy traced at auction. Sir Joseph Ewart (1831-1906) was senior physician at the College Hospital and senior surgeon at the European General Hospital in Calcutta, and as municipal commissioner and magistrate he did much to improve the sanitation and water supply there. He is best known as the author of The Poisonous Snakes of India (1878).
Lot 4
Badia Y. Leblich (Domingo, 'Ali Bey el Abbasi'). Explication des planches composant L'Atlas des Voyages d'Ali Bey, atlas volume only, [Paris: L'Imprimerie de P. Didot L'Aine, 1814], 81 engraved plates and plans (including 7 folding), 5 folding maps and one unnumbered plan, some damp staining mostly at front of volume, occasional spotting, marginal dust-soiling, contemporary calf, gilt decorated spine with morocco title label, upper board detached and lower joint split, some wear, oblong 4to (23 x 31.5 cm)QTY: (1)NOTE:Sold as a collection of plates and maps, not subject to return.Blackmer 62 (for English edition); Palau 21683.Ali Bey was a Spanish explorer who disguised himself as a Muslim in order to gain access to places few non-Muslims had seen. He is said to be the first Christian to see Mecca in detail. His expedition began in 1803 in Tangier and after travelling through North Africa and Cyprus he arrived in Mecca in 1807. He returned to Spain via Jerusalem, Damascus and Constantinople.
Lot 115
Mathew (Rev. Murray A.). The Birds of Pembrokeshire and its Islands, 1st edition, London: R. H. Porter, 1894, 3 photographic plates, 2 folding maps at rear, Large paper copy, original green cloth gilt, 4to, together withCardiff Naturalist's Society. The Birds of Glamorgan, 1st edition, Cardiff: South Wales Printing Works, 1900, all edges gilt, original dark green cloth gilt, a little marked to edges, 4to, plusBull (Henry Gaves). Notes on the Birds of Herefordshire, 1st edition, London: Hamilton, Adams and Co., Hereford: Jakeman & Carver, 1888, photographic portrait frontispiece, some spotting to title, original decorated blue cloth, rubbed, 8vo, and other Welsh ornithology interest including Mathew, The Birds of Pembrokeshire (standard copy), A. G. Forrest, a Handbook to the Vertebrate Fauna of North Wales, 1919, E. Cambridge Phillips, The Birds of Breconshire, 1899, H. E. Forrest, The Vertebrate Fauna of North Wales 1907, T. R Phillips, The Breconshire Border between Wye and Usk with Notes including A First Flora of Breconshire, 1926, Wilfred Neill Phillips, The Birds of Breconshire 1948 (signed by author to title), Glamorgan County History, vol I, Natural History, edited y W. M. Tattersall, 1936 etc., all original cloth, mostly 8voQTY: (12)
Lot 86
Smith (William). Observations on the Utility, Form and Management of Water Meadows, and Draining and Irrigating of Peat Bogs, with an account of Prisley Bog, and other extraordinary improvements, conducted for His Grace the Duke of Bedford, Thomas William Coke ... and others, 1st edition, Norwich: Printed by R. M. Bacon, 1806, 2 folding engraved plates, few wood engraved vignette illustrations, 6 page publisher's advertisement list at rear, some offsetting and browning, edges untrimmed, modern buckram, 8voQTY: (1)NOTE:A scarce early work by William Smith (1769-1839), who was known as 'the Father of English Geology', and famous for producing the first geological map of Britain which was published in 1815.
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