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Click here to subscribeWilliam Sadler II (1782-1839)Shipping off Poolbeg Lighthouse, DublinOil on panel, 34 x 46cm (13½ x 18")Condition Report: Very good overall conditionThe panel has all the usual fine cracking marks and the paint surface has all over craquelure The painting appears to have been cleaned in recent timesUnder UV inspection light in-fill retouching in the cracking, see images
Walter Frederick Osborne RHA (1859 - 1903)A Sea Urchin (1886)Oil on board, 22 x 13cm (9 x 5½")Signed and dated 1886Exhibited: Possibly Dublin Art Club, 1886, No. 17, entitled 'A Sea Urchin', £5Literature: Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, Cat. No. 145A small barefoot boy sits upon a rowing boat which is drawn up on a sloping beach. Behind is a wall and a cluster of red roofed houses. The scene is in shadow, but the gleaming light in the sky suggests that it may be daylight rather than dusk. The exact location of the picture is not known. From 1884 to the early nineties Walter Osborne painted in a number of English coastal villages including Southwold, Walberswick, Hastings and Rye. The setting here may be a riverside scene in Lincoln, or possibly Wells – Next-the-Sea on the north Norfolk coast, which Osborne visited c.1885-1886.In earlier times this small town had been an important port, conducting a thriving trade with Holland. But the harbour had sifted up and Wells was now situated a mile inland, while still retaining its long quayside. Rowing boats are drawn up upon the beach, and a small ragged boy leans against the boat in the foreground. In his seaside pictures Osborne loved observing the children who hung around the harbour, assisted the fisherman, played games and told stories. The boy looks at the viewer with curiosity. Osborne notes details such as his red headwear, a rope, a mast or stick, a small group of people in front of the house and the tall brick chimneys with smoke rising.Osborne was inspired by sunlit landscapes, but he was also drawn to scenes in shadow where the tonality is muted and the figure is shown against the light. In this picture, a range of reds, umbers, Naples yellows, siennas and mauves is used. The distinctive vermilion red of the boy’s cap draws our eyes and provides a point of focus. Although small in scale the picture is executed with the same careful realist style such as in Osborne’s larger paintings, each part lovingly painted with deft brushstrokes. A ‘square-brush’ style is employed where the left edge of the boat meets the background, while the stony shingle in the foreground is conveyed with vigorous impasto, partially applied by a palette knife. The picture is painted on a small wooden panel, signed with the artist’s neat lettering, and dated 1886. It seems likely that this is the painting entitled A Sea Urchin which he exhibited at the first winter exhibition of the Dublin Art Club (of which Osborne was a founding member) in December 1886. The fact that he includes the letters ‘RHA’ after his name is of great significance in that having just been elected a member of the Royal Hibernian Academy in October, this may be the first occasion where he proudly included his title after his name. Julian Campbell, January 2023
Colin Middleton RUA RHA (1910 - 1983)Seated Figure with Yellow Coffee Pot (1972)Oil on board, 92 x 91cm (36 x 36")Signed; also signed, inscribed with title and dated 1972 versoProvenance: With David Hendriks Gallery, Dublin, January 1973; Collection R. W. Wilson, DublinThe early 1970s was a period of significant recognition for Colin Middleton. He held a number of exhibitions with the Arts Council of Northern Ireland in the 1960s, culminating in a major retrospective covering the decade 1960-1970 that toured in Northern Ireland and Scotland. Middleton was also awarded a bursary by the Arts Council that allowed him to retire from teaching and to undertake some journeys that became highly significant to the development of his art at this time, first to Australia and then to Barcelona. Seated Figure with Yellow Coffee Pot appears to have been completed shortly before Colin and Kathleen Middleton departed on the long sea voyage to Australia which was partially to inspire the Wilderness Series of paintings. It continues aspects of his figure painting from the 1960s but the complexity and concentration of Middleton’s development also means that it foreshadows the last decade of his figure painting and connects with later paintings that are often seen as emerging from his visits to Barcelona, where his daughter Jane was living. This is particularly notable in the yellow that dominates the painting and recalls a group of paintings inspired by a visit to Bruges in 1965, while also prefiguring the dramatic use of high-pitched colour in Middleton’s later work, which was primarily influenced by the light of Spain and Australia. There is a classical division of the picture space, and shapes that form the female figure are repeated in the coffee pot, creating movement across the composition.The figure appears to be writing, introducing a suggestion of narrative that connects it with paintings in the 1960s of Middleton’s wife and daughters quietly engaged in activities such as reading or playing the piano. This painting also demonstrates the crucial role that Middleton’s design training and experience came to play in his art, with patterning and decoration creating balance and activity around the picture space and allowing the artist to maintain an ambiguous and almost mysterious mood without overbalancing it with the description of specific objects within the composition.Dickon Hall, January 2023
William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time. Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time. In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings, Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images
Heaney, Seamus and Hendrix, Jan The Light of the Leaves, Published by Banholt, Mexico D.F., 1999, Limited edition, no. 50. Signed by Heaney and Hendrix. Screenprints by Hendrix, printed by Hans Van Eijk. Hardback Provenance: From the Collection of Patrick MacEntee SCCondition Report: Excellent condition both volumesNo slip caseComes with its timber outer box
Nathaniel Hone R.H.A. (1831-1917)A Contented CowOil on canvas on board, 31 x 44.5cm (12¼ x 17.5")Provenance: Sale deVeres, Dublin 27 November 2012, lot 2Condition Report: Good overall conditionThe canvas or canvas board has had some restorations and minor creases are apparent which suggests that the painting was a canvas that has subsequently been laid down on board Under UV inspection there are a couple of spots that fluoresce on the body of the cow, see imagesThe natural light photo was taken in direct sunlight and there are shadows from the window frame Measurements given are not including the frameUnsigned
Sir William Orpen RA RHA (1878 - 1931)Portrait of Yvonne Aupicq as a Nun (Sister X)Oil on canvas, 76 x 63.5cm (30 x 25")Signed (upper right)Provenance: With Neptune Gallery, Dublin where purchased c.1950, thence by descent; Their sale, Sotheby's London 11th May 2006; Private Collection, IrelandExhibited: Dublin, National Gallery of Ireland, Orpen Centenary Exhibition 1978, Catalogue No. 121, listed mistakenly as 'Lady Diana Manners in theatrical costume'Literature: P.G Konody and Sidney Dark, William Orpen; Artist and Man, Seeley Service London 1932, p.272A woman with many identities, Yvonne Aupicq was presented in so many different forms over the course of her relationship with Orpen that it is difficult for us to get a sense of who she really was. Her birth certificate and other historical records have recently revealed that her identity was further misrepresented, firstly by the incorrect spelling of her name, it is not Aubicq but Aupicq and that her father was not the mayor of Lille as previously believed but a school teacher in Hergnies. As we can see from the exhibition history of this work, the painting was also wrongly listed as 'Lady Diana Manners in theatrical costume', when on show in The National Gallery of Ireland’s centenary exhibition for Orpen in 1978. Orpen painted her initially as Frida Nater, a German spy, in an attempt to mask their true relationship as lovers. As the official allied war artist, he was tasked with documenting the reality of life on the front line. His work from this period was supposed to be strictly related to the conflict and in particular the lives of the soldiers fighting. There are two portraits of Yvonne from this period, now both titled ‘Refugee’ and held in the collection of the Imperial War Museum in London. One shows her partially nude, holding a white sheet up to cover her breasts. The other she is presented sitting, wearing a rudimentary blue coat and dress. In both works her hair is instantly identifiable, tousled blonde curls sitting on top of her head. The War Office was immediately suspicious of Orpen’s story about the German spy which he had embellished further with falsehoods. On being recalled to London to explain himself, he retracted the story and was reprimanded. However, he maintained his position in France due to his connections within the War Office itself and was favoured again when an artist was needed to document the post war peace process. Yvonne had met Orpen, we understand, while working as a nurse during the war. He had been admitted to hospital with a suspected case of scabies which ended up being a far more serious case of blood poisoning as he recounts in his wartime memoir ‘An Onlooker in France’. Their relationship continued after 1918 when Orpen was appointed as the official artist to The Paris Peace Conference. They relocated to capital and over the following decade he painted her numerous times, often nude as in Amiens 1914, or The Rape and Nude Girl Reading (1921). Working with her as his model during these early years after the war allowed Orpen an opportunity to re-fuel his creativity. On this occasion she is disguised further, not as a war time collaborator or nude model but as a nun. His young and beautiful companion is recast as the pious Sister X. There is another version of this portrait, with Yvonne set against a completely white background. It is not unusual for artists to produce more than one example of a portrait, exploring different variations of the composition. However, the only difference between these two works is in the background colour. This present work, starker in its contrasts, was kept by Orpen for his own personal collection, the other gifted to Yvonne. As a composition, Orpen often favoured a tight, close-up format to give greater scrutiny to the sitter’s features. The black background serves to enhance the brilliant white of her religious habit. It frames her face as the light falls delicately across her features, the long bridge of her nose and lips. Her eyes seem to express a sense of sorrow or inner turmoil, suggesting the emotive connection between the sitter and the artist. The relationship between an artist and their model is complex and we get the sense that Orpen maintained a deep curiosity and interest in Yvonne over their decade spent together. These portraits represented different aspects of her personality, at least as seen through Orpen’s eyes. In this work her youth and innocence are symbolised in the white shroud. Using the strong contrast of the white against black, with only her face visible to us, suggests a desire to limit the focus of the work. There are no extraneous details, no background scene, it is just Yvonne. The simple wooden crucifix hanging around her neck captures our attention, with the body of Christ at the centre of the composition. Yvonne, or Sister X meets our gaze, asking us to consider this bodily sacrifice, which is central to the Catholic faith and to ultimately remind us of the fragility of human life. Condition Report: Very good overall condition, very sound.The canvas is unlined.Craquelure is evident particularly in the black areas – see photos.There is also a small amount of craquelure in the area of the lower veil.Light stretcher marks are also evident particularly across the bottom of the painting.The signature is in the top right-hand corner, painted in a dark pigment.Under UV inspection we saw some florescence – see photos.
Property of the late Marcello Violante Giovanni Paolo Panini (1691 - 1765) The Lottery at Piazza Montecitorio, Rome Black ink, black chalk, watercolour and gouache on paper Literature: F. Arisi, Strenna Piacentina, 2003, pp. 118-221;A. di Croce in A. Lo Bianco, A. Negro, lI Settecento a Roma, exh. cat., Palazzo Venezia 2005-2006, no. 145,p. 248-9, ill. 145;The National Gallery Review, London, April 2006-March2007, р. 12;P. Fuhring in A. Grelle lusco, E. Giffi, La Raccolta di Matrici della Calcografia Romana, Rome 2009, pp. 28-9, 42-3;Chaucer Fine Arts, Gian Paolo Panini, Work in Progress, London 2010, no. 1.Exhibition: Il Settecento a Roma (2005 - 2006) Dimensions: (Canvas) 17.5 in. (H) x 28 in. (W) (Frame) 23.5 in. (H) x 34 in. (W) This spectacular drawing is one of two large, coloured presentation drawings of this subject, which Panini painted for Cardinal Domenico Orsini, Duke of Gravina (1719-1789) some time in the 1740s. These are among the most complete and highly finished drawings by Panini to have come to light so far. The painting (105 x 165 cm., National Gallery, London; Arisi 1961, p. 176, no. 173; 1986, p. 404, no.346) bears a date that has sometimes been read as 1747 but recent investigation following cleaning has found only a downward brushstroke of the last digit, also legible as 1 or 4 (The National Gallery Review 2006-7, p. 12). Our drawing is undated, but the other (341 x 543 mm., Metropolitan Museum, New York: J. L. Draper, The Lottery in Piazza Montecitorio, Master Drawings, 1969, pp.27ff; Bean/Stampfle Drawings from New York Collections The 18th Century in Italy, 1971, pp.39-40, no.55; Arisi 1986, loc. Cit) is inscribed 1743, the most attractive date as it was in February that year that the latter was begun in the Piazza Montecitorio, and moreover in September that Panini's patron, Orsini, was appointed a cardinal. The presence of a figure carrying a tablet inscribed with the date 1741 in the painting is unexplained. Panini's painting for Orsini is one of those in which he moved on from architectural capricci and scenography or views of architectural splendour tempered by scenes of everyday life, to document modern history; royal visits, receptions for foreign ambassadors and the festivals, ceremonies and public events of Rome's official calendar, of which lotteries were among the most popular with the citizenry. In both drawings and in the painting, the painter included a man seated in the left foreground, sketching or writing. He might be the artist himself, or alternatively be there to record the numbers of the winning tickets (Draper 1969, p.32). Either way he is himself attracting attention from a small group of curious admirers. Lotteries were favourite events for the Roman crowd, drawing all classes to the chance of a quick win. Although the Vatican had traditionally disapproved and even banned lotteries from the Papal States, they were reinstated by Pope Clement XII in 1725, at a time of financial hardship, to benefit good causes. At least nine draws took place each year and from 1743 they were held on the balcony of the Palazzo di Montecitorio, then the Curia Innocenziana and the seat of the papal tribunals. Panini shows the winning tickets being drawn. In both drawings the dignitaries on the balcony are unidentifiable although in the painting it is apparent that a child is drawing the tickets which float down to the eager crowd; this child seems more elegantly dressed than the poor orphans who usually performed the task in the following century.
A Troika Pottery Double Base vase, cast in low relief with a geometric figure design in tan and blue, the underside with painted factory marks and monogram, possibly for Alison Brigden, 35 cm highCondition report : In overall good condition, no breaks or cracks. Light wear to underside consistent with age and use.
A Moorcroft ceramic year plate designed by Rachel Bishop for the year 1995 with a squirrel and foliage on a cream ground, the tube lined decoration by Gillian Leese, in original box, 22 cm diameter, together with a Moorcroft side plate in 'Flame of the Forest' pattern designed by Philip Gibson, in original box, 15.5 cm diameterCondition: both in overall good condition. The year plate has a small vertical crazed hairline on the cream ground and light wear to underside.
Joan and David De Bethel - A 1970s papier-mâché model of a seated cat, the underside titled 'Special Puce' numbered 4033, signed and dated 1976, 14.5 cm high, together with a small collection of hand-made models of cats in similar fashion, three Australian ones with papier-mache floral designs and 'Australian handcraft' sticker to undersideCondition report: In overall good condition. All cats seem in good condition, no breaks or losses. Some signs of general wear, the papier-mache ones have more wear and minor niks, the largest cat with some light cracking to one side.
A Moorcroft pottery vase designed by Sally Tuffin, in the 'Red Tulip' pattern, of baluster form with tube-lined decoration, the underside with painted and impressed factory marks, with original box, the vase 19 cm highCondition report: In overall good condition, no apparent breaks, crazing or repairs. Light wear to underside.
A boxed Moorcroft pottery vase by Rachel Bishop, in the 'Sunshine Chandelier' pattern, no. 15/100, the baluster body with tube-lined hanging fuschias, with painted and impressed marks to underside, 26cm, with box and outerbox protectionCondition report: In overall good condition. No signs of break, crazing or repairs. Some light wear to underside.Box has some light wear to corners.
A Moorcroft pottery trial vase in a spring daffodil pattern, with tubelined blooms and leaves on a cream ground, the underside with various stamps and signatures, dated 2007, with original price sticker, 21 cm highCondition report: In overall good condition, no signs of breaks, crazing, or repairs. Some light wear to underside.
A Moorcroft pottery vase designed by Rachel Bishop, in the 'Winds of Change' pattern, of baluster form with tube-lined decoration of boats at sea with flying dove above, 19 cm high, the underside with initials and impressed marksCondition report: In overall good condition, no signs of breaks, crazing, or repairs. Some light wear to underside.
A small collection of Moorcroft pottery, to include two vases and a lidded box, one vase by Nicola Slaney in the 'Snow berry' pattern,c2002, the other in the 'Jack Frost' pattern by Andrew Hill no. 21/50, both approx 9.5 cm high, the box in the 'Hibiscus' pattern on a cream ground, 12.5 cm wideCondition report: lidded box: some crazing to the box (not lid)both vases: In overall good condition, no signs of breaks, crazing, or repairs. Some light wear to underside.
Bank of Goodluck, Jai Hind, a propaganda/political note denominated 1000 good wishes, c.1942, serial number AH/&C 10000, green and blue, Mother India (Bharat Mata) holding a flag and map of undivided India at left, Colonel Gubaksh SIngh Dhillon at right, hole at centre, tape repair, no hard folds, multiple light folds, extremely fine and scarce Pick not listed £100-£150
Bank of Goodluck, Jai Hind, a propaganda/political note denominated 1000 good wishes, c.1942, serial number AH/&C 10000, green and blue, Mother India (Bharat Mata) holding a flag and map of undivided India at left, Jawaharal Nehru at right, no hard folds, multiple light folds, extremely fine and scarce Pick not listed £100-£150
Bank of Goodluck, Jai Hind, a propaganda/political note denominated 1000 good wishes, c.1942, serial number AH/&C 10000, green and blue, Captain Lakshmi Sahgal at left, Subhas Chandra Bose and mother India (Bharat Mata) at right, multiple light folds, about extremely fine and scarce Pick not listed £100-£150
* Tunnicliffe (Charles Frederick, 1901-1979). Eagle sketches, pencil on paper, one sketch to each side, 9 x 14 cm, together with Stockport Municipal Museums, wood-engraved design for a bookplate, 22.5 x 14.5 cm, some light spotting, plus 3 other wood-engravings by the artist on paper, including Greymuzzle on Baggy Point, from Tarka the OtterQTY: (5)NOTE:From the Collection of Robert Gilmor (1936-2022).
* McEwen (Rory, 1932-1982). Spring Wind, 1978, etching and aquatint on paper, signed in pencil and dated lower right, titled and numbered 44/150, mount stain, some light toning and few tiny spots, plate size 23 x 56.5 cm, mounted, framed and glazed (42.5 x 73 cm), with Christie's Certificate of Authentication (undated)QTY: (1)
Hutchinson (Lieutenant-Colonel Graham Seton). The Thirty-Third Division in France and Flanders 1915-1919, London: Waterlow & Sons, 1921, folding map, illustrations, some toning to endpapers, inscribed by E.H. Gowing, 20th Royal Fusiliers, original cloth-backed boards, a little rubbed, 4to, together with Graham (Colonel Henry). History of the Sixteenth, the Queen's Light Dragoons (Lancers) 1912 to 1925, Devizes: privately printed by George Simpson, 1926, half-tone illustrations, 4 folding maps contained in rear pocket, top edge gilt, original red cloth, slight fading to spine, 4to, plus Wyrall (Everard). The History of the Duke of Cornwall's Light Infantry 1914-1919, London: Methuen, 1932, folding maps and illustrations, endpapers slightly toned, top edge green original cloth, 4to, with other regimental histories including The Green Howards in the Great War, by Colonel H.C. Wylly, 1926, The 4th (Queen's Own) Hussars in the Great War, by Captain H.K.D. Evans, 1920, History of the 1/1st Hants Royal Horse Artillery during the Great War, 1914-1919, edited by Captain P.C.D. Mundy, 1922, and Britain's Sea Soldiers. A Record of the Royal Marines during the Great War 1914-1919, compiled by General Sir H.E. Blumberg, 2 volumes (text/maps) [1927] QTY: (20)
England & Wales. Jaillot (Alexis-Hubert & Sanson Nicolas), Le Royaume d'Angleterre distingué en ses Provinces..., Paris, 1693, large engraved map with contemporary outline colouring, large uncoloured decorative cartouche and mileage scale, title repeated above the map, some offsetting and slight staining, 780 x 580 mm, together with Blaeu (Johannes). Anglia Regnum, Amsterdam, circa 1645, engraved map with contemporary outline colouring, some staining and dust soiling, slight worming, 385 x 495 mm, no text on verso, with Homann (Johann Baptist, heirs of). Regni Angliae et Principatus Cambriae Tabula Nova..., 1793, map engraved by J Rausch with contemporary outline colouring, inset map of the Scilly Isles, uncoloured allegorical cartouche, toned overall, very slight staining, 600 x 530 mm, with another copy similar, plus Hole (Guillaume). Englalond Anglia AngloSaxonum Heptarchia [1610], hand-coloured engraved map, strapwork cartouche and compass rose, slight marginal staining, 280 x 325 mm, and De Wit (Frederick). Accuratissima Angliae Regni et Walliae Principatus..., P. Mortier, Amsterdam, circa 1714, engraved map with contemporary outline colouring, light overall toning, some marginal staining, occasional repaired marginal closed tears, 580 x 490 mmQTY: (6)
Indian Reservations. Annual Reports of the Department of the Interior for the Fiscal Year ended June 30, 1898, Indian Affairs, House of Representatives, 55th Congress, 3d Session, Document No.5, Washington: Government Printing Office, 1898, large folding colour lithograph map of the Indian Reservations within the limits of the United States (compiled under the direction of the Hon. W. A. Jones, Commissioner of Indian Affairs 1898), front blank and title with light insect damage to lower outer blank corners, near contemporary sheep, contrasting labels to spine, indistinct ink stamp to upper board, large 8vo, together with:House of Representatives, 49th Congress, 1st Session, Report N. 1076, To provide for the appointment of a Commission to Inspect and Report on the condition of Indians, Indian Affairs, and for other purposes. Mr. Holman, from the Committee of Expenditures for Indians and Yellowstone Park ... Report ... The Special Committee of the House of Representatives appointed by the Speaker on the 4th day of March 1885, to inquire into the expenditure of public moneys in the Indian service and the Yellowstone Park..., March 16, 1886, [Washington: Government Printing House, 1886], folding lithograph map, disbound 8vo QTY: (2)
Kempster (Brigadier-General F. & H.C. E. Westropp). Manchester City Battalions of the 90th & 91st Infantry Brigades. Book of Honour, London: Sherratt and Hughes, 1916, half-tone illustrations, some light toning, contemporary half morocco, edges a little rubbed, 4to, together with Collections and Recollections of 107th Field Coy., R.E., Darlington, 1918, illustrations, occasional light spotting, original cloth, a little rubbed, 8vo, plus Leland (Brevet Lt.-Col. F.W.) With the M.T. in Mesopotamia, London: Forster Groom & Co., 1920, folding map, illustrations, some light spotting, original cloth, small mark, a little rubbed, 8vo, with others including German Strategy in the Great War, by Philip Neame, 1923, Three Years with the 9th (Scottish) Division, by Lt.-Col. W.D. Croft, 1919, and Twenty Years After. The Battlefields of 1914-18 Then and Now, edited by Sir Ernest Swinton, 3 volumes, [1936-38] QTY: (20)
Roby (John). Traditions of Lancashire, 4 volumes, 1st & 2nd series, London: Longman, Rees, Orme, Brown, and Green, 1829-31, Large Paper copy, additional etched titles on india paper to volumes 1 & 2, 22 engraved and etched plates, together with 22 duplicate proof state plates on india paper, wood engraved vignettes to text, occasional spotting and light offsetting, bookplates of William Blinkhorn and Egerton Parker to front endpapers, all edges gilt, late 19th-century gilt panelled maroon morocco by Henderson & Bisset, gilt decorated spines (lightly faded), 8vo, together with:Gregson (Matthew), Portfolio of Fragments, relative to the History & Antiquities of the County Palatine and Duchy of Lancaster, Liverpool: Printed by G.F. Harris's Widow and Brothers, 1817, half-title, lithograph portrait frontispiece, folding lithograph map, engraved and lithograph plates, folding pedigree partly hand-coloured, few printed armorials to text neatly hand-coloured, armorial bookplate of Charles George Milnes Gaskell to upper pastedown, all edges gilt, mid 19th-century light brown morocco by F. Bedford, gilt decorated spine, some fading to covers, folio,Lancaster, Pictorial History of the county of Lancaster, London: George Routledge, 1844, folding engraved map, wood engraved vignette illustrations, bookplate of Egerton Parker to front free endpaper, contemporary half calf, large 8voQTY: (6)
Ross-of-Bladensburg (Sir John). The Coldstream Guards, 3 volumes, including maps volume, OUP, 1928, photogravure portrait frontispiece to volume I, folding maps in maps volume, a little minor spotting, original cloth, dust jackets, spines a little toned, one or two small chips, 8vo, together with Headlam (Cuthbert). History of the Guards Division in the Great War 1915-1918, 2 volumes, 1st edition, London: John Murray, 1924, colour frontispieces, folding maps, a few light spots, original cloth gilt, spines a little faded, 8vo, plus other regimental histories including The History of the Eighth Battalion the Queen's Own Royal West Kent Regiment 1914-1919, 1921, Captain P.L. Wright's The First Buckinghamshire Battalion 1914-1919, 1920, The 42nd (East Lancashire) Division 1914-1918, by Frederick P. Gibbon, 1920, The War History of the 4th Battalion the London Regiment (Roal Fusiliers) 1914-1919, by Captain F. Clive Grimwade, 1922, The Regimental Roll of Honour and War Record of the Artist's Rifles, 3rd edition, 1922, and The Scots Guards in the Great War 1914-1918, by F. Loraine Petre, Wilfred Ewart and Major-General Sir Cecil Lowther, 1925, QTY: (19)
* Austrian Shooting Festival Piquet cards, Schützenfest, Vienna, F. Piatnik, circa 1868, the complete deck of 32 stencil coloured engraved cards, comprising 4 suits of 8 (French suits), each with pip cards ace & 7-10 and 3 single-figured court cards, the aces showing scenes of the festival buildings, the kings depicting men involved in organising the event, the queens are allegorical characters, two representing Austria and Germany, knave of hearts with maker's name, 7 of hearts with Austrian tax stamp, some very light toning or dust-soiling (mainly to margins), versos fuzzy red cells, each card 97 x 59 mm, together with: Austrian Hunting Tarock. Comic Hunting Tarock, 1st edition, Vienna, Austria: Ferdinand Piatnik, circa 1858, the complete deck of 54 stencil coloured (with some hand-colouring) engraved cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black) and 4 double-ended court cards, ace of hearts with maker's emblem and with two tax stamps, plus 22 trump cards, comprising 21 trumps (bearing double-ended Roman numerals I-XXI) depicting humerous hunting scenes, except trump XXI which shows the young Franz Josef I standing near a woodgrouse he has shot, and Fool card, trumps III, VII & XVII with engraver's name 'J. Surch', the latter dated 1856, variable toning to most cards, occasional light finger-soiling, 1 pip card and trump VII (to blank margin) with tiny adhesion from a card verso, versos red asterisk pattern, each card 104 x 58 mm, plus a later deck of the same, 3rd edition, Vienna: Ferd. Piatnik & Söhne, circa 1891, the complete deck (54 cards) as above, trump XXI depicting the older Kaiser Franz Joseph I, ace of hearts with Austrian tax stamp and Piatnik jockey logo, lighly toned and dusty, rounded corners, versos red asterisk pattern, each card 110 x 63 mm, 41 cards from each tarock pack and 18 from the picquet pack corner mounted onto 5 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in 3 clear plastic bags, the display boards 55 x 39.5 cmQTY: (3)NOTE:First item: a rare pack celebrating the Shooting Festival held in the Prater, Vienna in 1868. The aces depict the buildings erected specially for the event: a large shooting or 'Festival' hall, the main gate, the 'Temple of Gifts' where prizes were awarded, and an overview of the whole festival site. The kings depict: President Dr. Kopp (hearts), Vice-presidents Maurer (spades) and Schmidt (diamonds), and the Bürgermeister of Vienna (clubs).Second item: Cary collection, AUS 227; Kaplan, II, p.452 & 458-459 (illustrated); World Web Playing Cards Museum, 02069/01.This particular deck has been used for a 42 card game, as the pip cards (excepting the red aces and black 10s) appear unused.
* German Encyclopedic Tarot. Encyclopedia Cego deck, Frankfurt am Main: C.L. Wüst, circa 1880, a complete Cego deck of 54 colour lithographed playing cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black), and 4 double-ended court cards, no indices, maker's details and Wüst star to ace of diamonds, plus 22 trump cards, comprising 21 trumps depicting 'Bourgeois' scenes (bearing double-ended Arabic numerals 1-21) and Fool card, toned with some light finger-soiling, few minor marks, trump 17 with red stain to one border (also affecting one edge of trump 9), versos brown and blue plaid, rounded corners, each card 109 x 61 mm, together with: Non-standard pack, Altenburg: Schneider & Co., 1887, a complete deck of 36 playing cards (German suits), with indices, each suit with themed designs: hearts - love, acorns - miliatary, leaves - hunting, bells - trades, daus of hearts with tax stamp, daus of bells with maker's details, daus of acorns with designer's name 'E. Burger', somewhat toned and dusty, a couple of creases to pip cards, versos ornate thistle design in black and blue, slightly rounded gilt corners, each card 101 x 64 mm, plus: Whist-Karten no.230, Frankfurt am Main: B. Dondorf, circa 1870, 'Schnapsnasen-spiel' (variant 2), a complete deck of 52 chromolithographed playing cards, medieval courts, ornamental aces with minitaure portraits at each end, jack of clubs with maker's details, lightly dust-soiled, versos brown design of mother with 2 children, slightly rounded gilt corners, each card 91 x 59 mm, with original pictorial box (soiled, some light wear), with: Swiss scenic aces pack, Germany: unknown maker, circa 1870, 51 (of 52, without 6 of spades) stencil coloured lithographed playing cards, scenic aces depicting Swiss scenes, dusty with some toning and soiling, jack of clubs with 3 short closed edge tears, couple of creases to pip cards, versos blue flowers and dotted whirls, gilt edges (square corners), each card 87 x 57 mm, and 9 other German decks, 20th century (most early), except Double-headed Prussian pattern type 1 deck, by C.L. Wüst, circa 1890, with original (defective) box, also including: Bavarian pattern (32 plus defective box), by Berliner Spielkarten-Fabrik Eduard Büttner & Co., circa 1900; two decks of German War Cards, by ASS, one 1915, the other 1917, both 32 cards with box, a quantity of cards from each pack corner mounted onto 2 display boards, most encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in clear plastic bags, the boards 41 x 54 cm and smallerQTY: (13)NOTE:First item: Cary collection, Ger 638; Fournier, Germanic 141; Shaw & Symons (Playing Cards from the Factory C.L. Wüst ...) Set 50.Second item: Braun (Schriftenreihe 'Spielkarten' band 4) BD 1865/1 (pp.46-47).
* German Hexenspiel (or Vogelspiel) cards. Pfeiff 41, Nuremberg: Johann Heinrich Schenck, circa 1760-1770, the complete deck of 32 stencil coloured woodcut playing cards, comprising 12 numeral cards, numbered I-XII, and 10 pairs of non-identical named picture cards: Pfeiff, Werda, Hott, Miau, Einkehrt/Auszahlt, Thaler/Deller, Würst, Glas, Narr, and Hex, one Pfeiff card with printed number 41, Auszahlt card with maker's details, scarce light finger-soiling, one Werda card with pale brown horizontal line, versos mottled red, each card 86 x 57 mm, 23 cards corner mounted onto a display board, encapsulated in clear plastic (not examined out of board), the remainder contained in a clear plastic bag, the board 42 x 49 cmQTY: (1)NOTE:Cary, Ger 364; Fournier, Germanic 40; Schreiber catalogue, German 324 (British Museum 1896,0501.448); Spielzeugmuseum Nürnberg GS9.3317 & .3318; WCMPC Collection Acquisition No. 144.Johann Heinrich Schenck died in 1787 and although his surviving son was also called Johann (but not Johann Heinrich?), Spielzeugmuseum Nürnberg (and John Berry in Playing Cards of the World [144]) date this pack to 1760/1770. The British Museum and WCMPC copies both have the original printed wrapper, which bears the name Pfeiff 41.
* German musical cards. Musikalisches Kartenspiel, Frankfurt am Main: Bernhard Dondorf, circa 1862, a complete deck of 52 colour lithographed playing cards, comprising 4 suits of 13 (French suits), each with pip cards ace-10, and 3 court cards, each card with two bars of music (both waltz & polka) to the lower half, suit and value/rank to lower right corner, upper half of each court with comic character playing a musical instrument etc., suit sign and rank (indicated by crown, boot or cap) to upper left, upper half of pip cards with miniature playing card to left, and monochrome illustration to right, ace of hearts with Italian tax stamp dated 1862, dusty, some light finger-soiling and toning, occasional minor marks or spots, 10 of diamonds with brown stain to upper right corner (and slightly to lower corner), square corners, brown pictorial versos depicting a composer at a piano within circular musical border, each card 97 x 64 mm, with facsimile of original instruction card (in German and French), 33 cards corner mounted onto a double folding display board, encapsulated in clear plastic (not examined out of board), the remainder contained in a plastic bag, the folded board 54.5 x 40 cmQTY: (1)NOTE:Braun, Schriftenreihe 'Spielkarten' band 4, BD 1860/2 (pp.34-35); Hoffman & Dietrich (1981) pp.56-57; Ortiz-Patiño 98.The instructions describe how each suit of cards can be arranged in almost any order, so obtaining a wide variety of differing dance tunes. Braun mentions two versions of this deck (with no known order of production), one with the maker's name printed on the jack of clubs, and another without; our pack conforms to the second version.
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