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Lot 145
John Barrow CHARTE DER SÜDSPIZE VON AFRICA ODER DES HOTTENTOTTEN UND CAPLANDS Prague, 1811 Copperplate, hand coloured, 1,8cm wide white stripe along centerfold, 1,5cm oily spot in corner, light tanning across map with darker line along window frame edge, pencil note in margin; verso: map secured to window mount with masking tape at top and sides, paper strip along centerfold, original fold lines visible in lighter tone, foxing with heavier foxing and tanning in margins, ink and pencil notes on back and a circle in light ink, framed40 by 29cm
Lot 144
Johann Nepomuk Diewald & Christoph Fembo (ed) AFRICA Nuremberg, 1821 Copperplate, hand coloured, light foxing with a few darker spots, 1,5 cm oily spot in lower right corner, pencil note in margin, light toning with tanning behind window mount; verso: map secured to window mount with masking tape at top and part sides, two pencil numbers, paint show through, paper strip along centerfold, framed50,5 by 45,5cm
Lot 164
Nelson Mandela THE ILLUSTRATED LONG WALK TO FREEDOM Boston: Little Brown and Company, 1996 SIGNED, LIMITED EDITION, numbered 390 of 425, 4to, quarter bound in Wassa goatskin, solander case, some foxing on spine and light scuff mark on spine from blue ribbon in case, foxing on case, laid down portrait of Mandela signed and dated 6.10.96
Lot 153
Jacques Nicolas Bellin COSTE OCCIDENTALE D’AFRIQUE Paris, 1757 Copperplate, hand coloured, ‘Afrique Occidentale No. 3’ in upper right corner, bottom right ‘Tome 3 in 80. Page 307’, bottom left ‘Tome I in 40. No. 16’, 1,5 cm oily spot in lower right corner, light toning with tanning behind window mount; verso: map secured to window mount with masking tape at top and part sides, 1cm closed tear perpendicular to centerfold repaired with masking tape, tanning behind window mount, pencil note in margin, white paper tape on centerfold, evenly tanned with some white foxing, framed 26,5 by 24,5cmLITERATURENorwich #321
Lot 155
Guillaume De L’isle CARTE DU CONGO ET DU PAYS DES CAFRES Amsterdam: Chez Jean Covens et Corneille Mortier, 1730 Copperplate, hand coloured, top corners deteriorated but mostly outside of plate line, year in pencil, tanned stripe in top and bottom margin, top and bottom of centerfold with 1cm opening, damp marks in outer right margin, light intermittent foxing; verso: ‘93’ in ink, year in pencil and ink, light paint show through60,5 by 47,5cmLITERATURETooley p.72
Lot 147
Johann Matthias Christoph Reinecke CHARTE DER SÜDSPITZE AFRICA’S UND DER COLONIE VOM VORGEBIRGE DER GUTEN HOFFNUNG Weimar, 1804 Copperplate, hand coloured, light foxing with some darker spots; verso: map secured to window mount with masking tape at top and part sides, pencilled number on edge, some paint show through, framed59 by 39cm
Lot 157
Johann Baptist Homaan TOTIUS AFRICAE NOVA REPRAESENTATIO QUA PRAETER DIVERSON IN EA STATUS ET REGIONES, ETIAM ORIGO NILI Nuremberg, [1715] Copperplate, hand coloured, foxing, some wrinkling along centerfold; verso: foxing, pencil notes, map secured to window mount with masking tape at top and part sides, paper tape in 4cm high T-shape to repair bottom of centerfold, tear in margin repaired with tape, small stamp, light paint show through, framed58 by 49cmLITERATURENorwich #72
Lot 457
Gustav Klimt (Austrian 1862-1918) PORTRATSKIZZE: DAME MIT BOA signed in the plate collotype 49 by 32cm PORTRÄTSKIZZE: DAME MIT BOA – GUSTAV KLIMT Klimt was an Austrian symbolist painter and a prominent member of the Vienna Art Nouveau, known as the Seccession Movement. Gustav Klimt’s Porträtskizze: Dame mit Boa translates directly to Portrait Sketch: Woman with Boa, but is also known as Woman in a Boa, Lady Wearing a Boa or simply Woman with Boa. Klimt is known for his representation of women and in Porträtskizze: Dame mit Boa the artist indicates an acknowledgement of the sitter’s femininity with delicate lines. Her hair is piled atop her head in undulating waves and the intricacy of her hairstyle described with a number of parallel pencil strokes. Klimt’s appreciation of his model can be found in her carefully constructed demure gaze, highlighted by her soft eyelashes. The artist shows great restraint in the boa itself, which is constructed from a number of quick, confident marks outlining the abundance of feathers which envelop the young lady, choosing rather to concentrate all of the detail in the sitter’s face and hair. The soft lines indicating the plush material seem to tickle the model’s face pointing to a light eroticism of the female form which is often far more pronounced in Klimt’s oeuvre. The lightest touch of pink emphasises the lips and cheeks ascribing a gentle femininity.This delicate work is a collotype from the suite Fünfundzwanzig Handzeichnungen, a limited collection of twenty-five monochrome and two-colour collotypes after hand drawings by Gustav Klimt. They were published by Gilhofer and Ransechburg in Vienna in 1919, just one year after Klimt’s death. This particular work is plate 5 from the 25 plates in the suite, from an edition of 500 prints. The print includes Klimt’s signature, signed in the lower right of the plate. The original pencil sketch is included in the Lederer Collection in Vienna, along with other original drawings from the suite. The collotype printing process is based on a French discovery patented in 1855 but was used widely by the 1870s. Collotypes were only suitable for short term runs as the plate would print only a few hundred impressions, the process itself proved slower than other printing processes but produced very finely detailed prints. During the process, sensitised gelatin was exposed to light which caused it to harden and become non-absorbent, whereas unexposed portions remained soft and receptive to water. The gelatin then became available as a printing surface. After a thin layer of light-sensitive gelatin had been coated to a glass or metal base, it was left to dry out. The surface of the gelatin then puckered into a network of extremely fine curving cracks. After exposure to light these cracks hardened, enabling them to receive the printer’s ink which was then transmitted to the paper. So it was the gelatin involved in the process that made collotypes the first natural light-sensitive tonal printing surface and allowed for a great delicacy of the final process. The subtlety in tone achieved by collotypes made it an ideal medium for the reproduction of drawings, as seen in Porträtskizze: Dame mit Boa - S.D.Portrait Sketch: Woman with Boa, accessed 8 January, 2020: https://wallector.com/en/modern-art/portrait-sketchwoman-with-boa-100355.html Bamber Gascoigne., How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet, Thames & Hudson, London.1986
![Henry Teesdale AFRICA London, [1831] Copperplate, uncoloured, ‘33’ top and bottom right, pencil notes in central southern Afr](https://cdn.globalauctionplatform.com/93140bdb-9c46-4b77-bcbd-ab5900a439e8/2357f8bf-189f-4a86-8173-ab5900ad4905/468x382.jpg)
Lot 143
Henry Teesdale AFRICA London, [1831] Copperplate, uncoloured, ‘33’ top and bottom right, pencil notes in central southern Africa, thin tan line corresponding to mounting window edge; verso: map secured to window mount with masking tape at top, centerfold ends, one bottom cornerand middle; remains of paper tape covering centerfold, ink number in bottom left corner, light paint show through, framed33,5 by 41cmLITERATURENorwich #133
Lot 151
Rigobert Bonne CARTE DU CANAL DE MOSAMBIQUE, CONTENANT L’ISLE DE MADAGASCAR AVEC LES CÔTES D’AFRIQUE, DEPUIS LE CAP DE BONNE ESPÉRANCE JUSQU À MELINDE Geneva, [1780] Copperplate, hand coloured, ‘Livre I, II, III, IV.’, ‘Andre sculp.’ bottom right, top right hand corner ‘No. 11’, 2,5cm wide tanned strip along centerfold, top left hand corner; verso: two parallel tears from top either side of centerfold repaired with 5cm tape, light tanning with white foxing, yellowed cellotape used to secure map to window mount, framed32 by 21,5cmLITERATURENorwich #173
Lot 110
A FIRST WORLD WAR BRITISH ARMY WOODEN GAS RATTLE, W.B. LTD, 1918 The iron mounted wooden mechanism on a faceted wooden handle28cm longThese rattles were used to warn soldiers of inbound gas. They were light, easy to carry and of a simple design. The loud clicking sound was more effective than church bells and air horns.
![Homann Erben [Homann Heirs] ABBILDLICHE GESCHICHTE DER AUSLÄNDISCHEN LAND THIERE I. BLAT, DARINNEN DIE ELEPHANTEN NACH IHREN](https://cdn.globalauctionplatform.com/93140bdb-9c46-4b77-bcbd-ab5900a439e8/94255246-86c3-4c9d-bc4e-ab5900ad3549/468x382.jpg)
Lot 161
Homann Erben [Homann Heirs] ABBILDLICHE GESCHICHTE DER AUSLÄNDISCHEN LAND THIERE I. BLAT, DARINNEN DIE ELEPHANTEN NACH IHREN FÜRNEHMSTEN VERRICHTUNGEN Nuremberg, 1746 Copperplate, hand coloured, some foxing and tanning; verso: map secured to window mount with masking tape at top and part sides, tanned, pencil notes, light paint show through, 1,5cm oily spot in lower left corner, some marks, framed57,5 by 49cmOne of three pedagogical broadsides of terrestrial animals by the German engravers and publishers Homann, the heirs of the famous Nuremberg cartographer Johann Baptist Homann (1664 - 1724). These broadsides were one of the first attempts to introduce accurate scientific depictions of ‘exotic’ animals to a Central Europeanaudience. - L.R.Nissen, C, Die Zoologische Buchillustration Ihre Bibliograhie und Geschichte Band I: Bibliographie, Stuttgard: Hierseman, 1974
Lot 146
Guillaume De L’isle CARTE D'AFRIQUE Paris, 1805 Copperplate, hand coloured, light foxing, glued to window mount mostly outside plate line; verso: pencil number, outer edge tanned, remains of original glue along centerfold, vertical indent line runs parallel to centerfold, light paint show through, framed 61,5 by 48cmLITERATURETooley p.71
Lot 176
A vintage gilt brass German rotating ball anniversary torsion clock, together with another of similar design. Condition Report: Overall condition good, several small chips to base of glass dome on small clock, (untested). Small clock dial with Roman numerals: overall condition good, no sign of any visible cracks, some light marks to surface.
Lot 84
A 19th century Buckinghamshire Light Infantry 1892 Officers dress sword and scabbard. Condition Report: Buckinghamshire regimental badge to handle (see image). Makes name marked as Rob Mole & Sons, Makers (indistinct). Several dents to both side of the scabbard, slightly out of shape. Blade has slight bend, grip decoration largely intact, pommel secure. some signs of rust and wear to both sword and scabbard (see images). Scabbard = 87.5cm. Sword = 97cm. Blade only = 83cm.
Lot 167
Tri-ang Minic tinplate clockwork articulated Pantechnicon. A scarce 1930's example with normal control tractor unit in light green with plated mudguards, petrol can to running board, with a 2 axle 4 wheeled box trailer in red with 'Minic Transport Road Rail Air & Sea' decals to sides, with both opening rear doors and latch. Tinplate wheels and black rubber tyres. VGC minor wear/some rusting. Clockwork motor in working order. £100-150
Lot 801
An SB 14 bore percussion sporting gun, 39” overall, half octagonal barrel 24”, unsigned scroll engraved lock and hammer, half stock with chequered fore end and wrist, GS fore end cap, steel mounts, and original ebony ramrod. GWO & C (some wear, minor repairs, light pitting to barrel, small split in stock by trigger guard, trigger guard screws replaced); and another 14 bore sporting gun, 47” overall, barrel 31½”, the back action lock signed “Wilson”, half stocked with replacement steel ramrod. GWO & FC (2)
Lot 329
5 Dinky Toys Racing Cars. Cooper Racing Car (240) in light blue, RN20. Ferrari Racing Car (242) in red, RN36. H.W.M. (23J) in pale green, RN7, with grey rubber tyres. All boxed, some wear/damage. Plus 2 loose Ferrari (234) in dark blue, one with yellow nose and yellow metal wheels and the other with yellow triangle to nose, with mid blue plastic wheels, both with RN5 and grey rubber tyres. Cars GC-VGC some wear/chipping. £60-90
Lot 58
A reproduction locomotive nameplate LADY PATRICIA. A cast brass plate with black painted background. Lady Patricia 46210 was an LMS Princess Royal Class 4-6-2 designed by William Stanier and built at Crewe in September 1935. It's last shed was 68A Carlisle Kingmoor and it was withdrawn in October 1961 and cut up in May 1962. Length approx 840mm. VGC, some light surface marking and paint repair etc. Viewing recommended. £60-80
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