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Click here to subscribeAn attractive Tunbridge ware rosewood casket, the canted rectangular top with a geometric mosaic motif within borders of stick ware and mosaic. The front fitted with a door with a fine mosaic and marquetry panel depicting Eridge Castle set in white wood within a border of mosaic. The door opening to reveal a set of four drawers with geometric and leaf mosaic, the stepped base raised on bun feet, 23.5 x 18.5 x 13cms.
A fine Regency brown leather needle packet box of sarcophagal form, in cross hatched leather raised on four brass ball feet, elaborate swivel catch, the lid with four flower head mounts enclosing a central panel inscribed in gilt 'Superior Silver Eyed Needles', the lid interior with printed silk panel of cupid with bow and arrow, 5.5 x 3 x 4.5cms. A passion for collecting lasting forty years Part 3
Five needle books, comprising an olive wood Sorrento example of shaped oval form one side inlaid with an oval panel of a resting traveller and a boy, the reverse inscribed 'Bellagio', 9.5cms, a Spa ware floral painted example with repairs to hinge area, another transfer decorated with a gated country house, a geometric needle work example and another in Bois Durci with leaf decorated covers, interior silk very worn. (5) From the collection of Enid Riley Part 3
Two Bristol card needle books apparently in their original box, each in embossed and pierced card, one with painted panel 'Forget Me Not' over a Bristol card panel embroidered 'In You May every virtue shine/And every happiness be Thine', the other 'From A Friend/Never Forget Me', both lined in silk and complete with flannels, the white card box edged in green, box 11 x 7.7cms. A Connoisseur's Collection
Two larger format Tunbridge ware slant top needle packet boxes, comprising a rosewood example the slant top with a panel of cube work the sides with two bands of geometric mosaic, 6.4cms high, the other with the slant top in floral mosaic the sides with two bands of geometric mosaic, 6cms high. (2) A passion for collecting lasting forty years Part 3
A rare rosewood Tunbridge ware sewing box in the form of a pyramid, the box based raised on four bun feet and fitted with a drawer, each side of the base with a band of stick ware over van dykes, each slanting face with a panel of cube work within borders of stick ware rising to a turned finial. Each face of the pyramid hinged, the interior with panels of silk, the base compartmentalised and fitted with a pin cushion and a tool card with four steel tools, 18cms sq., at the base, 23cms high. The unusual form of this box probably dates to 1820/1830 and follows the period of Napoleon's invasion of Egypt followed by Nelson's famous victory at the Battle of the Nile in 1798. The following years saw an 'Egyptian Revival' led by Thomas Hope (1769-1831), which introduced Egyptian themes and decoration previously not seen, pyramids, sphinx and alligators being most prominent.
A rosewood Tunbridge ware sewing box of sarcophagol form, the sides with a broad band of stick ware, the canted lid with a border of stick ware enclosing a diamond form panel of cubes within a narrow border. The interior with ruched red silk lid panel within a stick ware frame over a compartmentalised tray in original red paper with two stick ware lids flanking a silk tool card, replacement rosewood bun feet, 27 x 21.7 x 14cms.
A rosewood Tunbridge ware sewing box of sarcophagol form, the sides with two bands of stick ware, the canted lid with four diamond form stick ware panels within conforming spandrils and outer border, brass bun feet. The interior with pale blue ruched silk lid panel over a later lined white wood compartmentalised tray with box form pin cushion and silk tool card, 24 x 18.7 x 12.5cms.
A Tunbridge ware rosewood counter tape measure and a sewing clamp, the large tape measure of rib turned cylinder form below an overhanging top with a panel of geometric mosaic, printed tape commencing at 8 ins., 6.8cms max. dia., 5.8cms high, the rosewood cylinder form clamp with stick ware circular end panel below a pin cushion top, 5.6cms. (2) A passion for collecting lasting forty years Part 3
A Tunbridge ware coromandel wood small jewellery box labelled for Thomas Barton, of rectangular form the lid with a cube work panel within an unusual link form mosaic border, the sides with a narrow border of floral mosaic, the interior in green velvet with ring slot, circular printed label to base 'T. Barton late Nye .....', 14 x 8.8 x 4.2cms.
A Tunbridge ware stationery box, by Wm. Upton, the curved lid with a panel of cube ware within a stick ware border, the sides in burr maple, compartmentalised interior in blue paper, some divisions replaced, complete with key, the base with a printed paper label, indistinct but presumably Wm. Upton, 20.5 x 11.5 x 12.5cms max. . See Austen (B), Page 152 for a copy of Upton's label, 72C.
A rare Tunbridge ware rosewood book slide labelled for T. Waterman and Son, the rosewood frame with two hinged ends of square form with cut top corners, one with a panel of cube work, the other inset with a mosaic panel of a flower spray, with printed rectangular label to base 'Manufactured By T. Waterman and Son, Grafton House, Parade, Tunbridge Wells', 32cms closed, 16cms high. . For an account of this little known maker see Austen (B), Tunbridge Ware, page 161/162, with an identical example illustrated page 161, 80a.
Boyd (Kelly [editor]). Encyclopedia of Historians and Historical Writing, 2 volumes, 1st edition, London: Fitzroy Dearborn, 1999, original uniform boards, large 4to, together with;Howard (Deborah), Venice & The East, 1st edition, New Haven: Yale University Press, 2000, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusSchmidt (Victor M.), Italian Panel Painting of the Duecento and Trecento [studies in the history of art 61...Symposium Papers XXXVIII], 1st edition, New Haven: Yale University Press, 2002, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern scholarly history reference books, including publications by the Universities of Oxford, Cambridge, California, Johns Hopkins, Illinois, Princeton, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQTY: (3 shelves )
Hodges (Charles, publisher). Astronomical Playing Cards, London, c.1828, a complete deck of 52 hand-coloured engraved playing cards, comprising 4 suits of 13: pike heads (blue), trefoils (green), hearts (red), and diamonds (gold), the court cards depicting Roman gods and goddesses, the pip cards 2-10 portraying the constellations overlaid with the suit signs, and 3 aces representing spring, summer and autumn, the ‘Old Frizzle’ duty ace with the name of Stopforth & Son, gilt edges, plain versos, few minor spots or marks, some light toning and dust-soiling, Queen of Clubs (Diana) with faintly impressed lines, each card 96 x 63mm, the cards corner-mounted onto 3 lightweight display boards, encapsulated in clear plastic (not examined out of display boards), with original blue-green printed card box, lid lacking top panel, rubbed and faded, some discolouration and soiling, a little wear to some edges, one narrow side of lid with surface loss, one side of box faintly printed with ‘New Royal Playing Cards Patronized by His Majesty Published by Charles Hodges 27 Portman Street, Portman Sq. London’, the other side with ‘London Printed and Published by Charles Hodges Bookseller & Stationer [?] 27 Portman Street Portman Square’, each display board 54.5 x 40cmQTY: (1)NOTE:Mann, Collecting Playing Cards, p.137; Tilley, pp.152-153 (illustrated p.113); Wowk, p.145.This pack is the second issue of these cards engraved and printed by Stopforth & Son and published by Hodges: the original printing lacked suit signs and comprised 36 pip cards only. H.T. Morley describes this “very carefully engraved, and beautifully finished in colours” pack of cards as being “worth studying, not only for its historical, but also for its artistic value” (see Old and Curious Playing Cards, 137). Catherine Perry Hargrave explains that “the workmanship is beautiful” (see A History of Playing Cards, 212).
Ackermann & Co. (publishers). By Permission of the Patentees, This Engraving of the First Carriage, the "Aeriel" is respectfully inscribed to the Directors of the Aerial Transit Company, March 28th, 1843, hand-coloured lithograph, trimmed to image with the title in a separate mount aperture, image size 225 x 300 mm, mounted, framed and glazed, together with Fairburn (J. publisher). Gurney's New Steam Carriage, December 12th, 1827, etching with contemporary hand-colouring, some creasing and staining, trimmed to the neatline and laid on a canvas album page, with a chromolithographic portrait on the verso, 240 x 355 mm, mountedQTY: (2)NOTE:The first print described is a scarce depiction of William Henson's patented Aerial Steam Carriage. The design was one of the first to conceive of what a 'modern' aeroplane would look like and although plausible on paper - and several models were made - the finished machine never flew because the steam-powered engine proved too heavy. The prints were produced to encourage investors and there are several variants showing the plane flying over various parts of the world.The second item illustrates two examples of Gurney's steam carriages on the road, with a panel of explanations below the image. Influenced by meeting Richard Trevithick, the pioneer of steam propulsion, Cornishman Sir Goldsworthy Gurney (1793-1875) built a steam-powered road vehicle himself in 1823. In 1829, he successfully travelled from Bath to London and back at a sustained speed of 15 mph in his steam carriage, and encouraged by this he envisaged a regular passenger service using steam-driven road vehicles as opposed to a horse-drawn coach. It never materialised, because the influential operators of the mail coaches and associated passenger transport, joined forces to ensure that Gurney was forced out of business.
Victoria (1819-1901). Queen of Great Britain & Ireland, 1837-1901. A group of 4 tableaux vivants photograph albums taken at Balmoral Castle, 5 & 6 October 1888, 5 October 1889 and 8 & 10 October 1890, plus Osborne, Isle of Wight, 24-25 January 1890, the first album containing 28 window-mounted cabinet cards featuring Princesses Maud of Wales, Alice of Hesse, Margaret of Connaught, Beatrice, Louise of Wales, Princes Arthur of Connaught, Albert Victor of Wales, Henry of Battenberg, et al, and including 2 'India' cards featuring Mahomed Buksh, Hafiz Abdul Karim, Syed Ahmed Husain and Khairat Ali, neat four-page manuscript index of the first 18 cards at front, contemporary embossed padded morocco with clasp, upper cover titled 'Balmoral. Tableau-vivant. October 5 & 6 1888', rubbed and a little frayed at extremities, 4to; the second album containing 2 panel print photographs by G.W. Wilson & Co. of the performance of 'Used Up', including Princess Beatrice and Princess Henry of Battenberg in the cast, images 18 x 30 cm, hinged into an album with a printed programme similarly hinged at front, inscribed by Queen Victoria to front free endpaper, 'The Viscount Cross, G.C.B.' and signed 'The Queen' beneath lower left, inner hinges broken, contemporary gilt-titled and decorated red morocco gilt by Eyre & Spottiswoode, rubbed and a little frayed at head of spine, narrow oblong folio; the third album containing 7 cabinet cards, the first by W. Watson, Ballater, showing Queen Victoria signing while attended by 'Munshi' Abdul Karim, inscribed to lower mount, 3 others with inscriptions by Queen Victoria to lower part of image and mounts, and final image of ‘Oriental bazaar’ inscribed and dated by her to verso, four-page printed programme bound at front, presentation inscription to front free endpaper for Viscount Cross in the hand of Queen Victoria and signed 'The Queen', all edges gilt, contemporary gilt-decorated red morocco by Eyre & Spottiswoode, rubbed, 8vo; the fourth album of performances at Osborne containing 5 mounted photographs by Mullins, Ryde, Isle of Wight, of performances of Esther, (featuring Hafiz Abdul Karim, Saiyad Ahmad Husain and Mirza Yusuf Beg), Fotheringay, The Surrender of Calais (with Princesses Beatrice, Louise, Henry of Battenberg, et al.), and Little Toodlekins (2 photos), images 18 x 23 cm, original studio mounts with printed four-page programme bound at front (listing fourth and fifth A Bedouin Encampment and Twelfth Night for which there are no photographs present), a separate loose printed programme for the final tableau, hinges broken and contents detached, contemporary red half morocco gilt by Eyre & Spottiswoode, rubbed and covers partly damp-stained, oblong small folioQTY: (4)NOTE:Richard Assheton Cross, 1st Viscount Cross (1823-1914), British statesman and Conservative politician who served as Home Secretary 1874-1880 & 1885-1886.Tableaux vivants were particularly popular during the Victorian era. They involved dressing up in costumes with plenty of props and creating a scene from a story before remaining completely still to hold the pose as a living picture for the photographer. Queen Victoria and Albert were fond of such activities with which they included their children, friends and members of the royal household.NB. An amendment regarding the contents of the fourth album has been made to this description.
Victoria (1819-1901). Queen of Great Britain & Ireland, 1837-1901. Autograph New Year's card signed, 'Victoria RI', 1895, a tri-fold chromolithographic Christmas and New Year card, printed by W. Hagelberg, Berlin, with a cut and pierced floral border design raised above the central panel, continuing around the closed lower flaps with a small cloth daisy and bow onlaid, signed in black ink in a thick nib for 'Viscount Cross, 1895', petals of one raised flower a little creased, 110 x 210 mm, together with the original stamped and postmarked royal envelope with black mourning border, initialled VRI lower left and with black royal monogram to verso, together with a telegram from Queen Victoria to Viscount Cross, Broughton-in-Furness, 26 December 1895, 'Accept my best thanks for telegram and my sincere good wishes for a Happy Christmas V.R.I.'QTY: (3)NOTE:Richard Assheton Cross, 1st Viscount Cross (1823-1914), British statesman and Conservative politician who served as Home Secretary 1874-1880 & 1885-1886.
Lambarde (William). Eirenarcha, or of the Office of the Justices of Peace, in foure bookes, Revised, corrected, and enlarged, in the eighth yeere of the peaceable Raigne of our most gracious King James. First collected by William Lambard of Lincolnes Inne gent, London: Printed [by Adam Islip] for the Companie of Stationers, 1614, title within ornamental border, some early underscoring, bound with, Lambarde (William), The Duties of Constables, Borsholders, Tythingmen, and such other lowe and Lay Ministers of the Peace. Whereunto be adioyned, the severall offices of Church Ministers, and Churchwardens, and Overseers for the Poore, surveyours of the highwaies, and distributors of the prouision against noisome fowle and vermine. First collected by William Lambard of Lincolnes Inne gent. and enlarged in the yeare. 1610, London: Printed [by Adam Islip] for the Companie of Stationers, 1614, without final blank, few worm holes to last few leaves, some damp staining and scattered spotting throughout volume, later endpapers (lacking front free endpaper), contemporary calf, old reback with loss of lower spine panel, lower board detached, board edges and corners worn (board corners showing), 8vo, together with:London, The freemen of London’s necessary and useful companion: or, the citizens birth-right, With The Foreigners and Aliens best Instructor..., London: Printed by W. Pearson for J. Baker, 1707, light dust-soiling, damp staining and browning, contemporary half calf, joints and extremities worn, 12mo (ESTC T139506, A reissue of the 1706 London edition, with the title page partially reset),Marine Society, The Bye-Laws and Regulations of the Marine Society, incorporated in MDCCLXXII, with the several instructions, form of indentures, and other instruments used by it, 5th edition, London: Printed by Strahan & Preston, 1809, half-title and engraved frontispiece, contemporary marbled calf, gilt decorated spine, joints and extremities rubbed, 12mo,Court of Chancery, Observations upon the power exercised by the Court of Chancery, of depriving a father of the custody of his children, London: John Miller, 1828, half-title, contemporary half calf, spine rubbed, slim 8voQTY: (4)NOTE:Lambarde - STC (2nd ed.) 15173; ESTC S108212 and STC (2nd ed.) 15159; ESTC S108250.
Addison (Joseph, & others). The Spectator, 8 volumes, London: Printed by H. Baldwin; for Messrs. Longman, Dodsley, Law, Robson [& others], 1797, titles with engraved illustration (some lightly spotted), title pages to volumes 5-8 bear the imprint: "London, printed by T. Bensley, [etc.]", all edges gilt, together with:Addison (Joseph, & others), The Tatler, 4 volumes, London: Printed by Bye and Law; for Messrs. Longman, Dodsley, Law, Johnson [& others], 1797, titles with engraved illustration (some lightly spotted), all edges gilt, contemporary uniform panelled and gilt decorated calf by Edwards of Halifax (unsigned), dyed decorative motifs to boards including urn within radiating sunburst effect to central panel, contrasting morocco labels to spines, occasional light cracking to joints, upper joint of volume 4 of The Tatler neatly repaired, large 8voQTY: (12)NOTE:ESTC T123111 & T99975 respectively.
Bindings. The Remains of that Sweet Singer of the Temple George Herbert, London: Pickering, 1848; The Temple, Sacred Poems and Private Ejaculations by Mr. George Herbert, London: Pickering, 1850, together two volumes, engraved portrait frontispiece to each, decorative titles, all edges gilt, contemporary gilt decorated morocco by Hayday, extremities lightly rubbed, spine to second volume rubbed, 8vo, together with Critical and Historical Essays contributed to the Edinburgh Review, by Lord Macaulay, new edition, London: Longmans, Green, Reader, and Dyer, 1870, contemporary calf by Riviere, gilt decorated spine, dark green morocco title label, extremities slightly rubbed, 8vo; The Miscellaneous Works of Oliver Goldsmith, The Globe Edition, London: Macmillan & Co., 1884, engraved frontispiece and title lightly damp stained, contemporary calf by Macmillan & Bowes of Cambridge, blind panel and gilt motif decoration, 8vo; plus other 18th and 19th century full & half leather bindings, including few school presentation bindings etc., and six Victorian decorative cloth bindingsQTY: (59)
Greene (Graham). Our Man in Havana, 1st edition, London: William Heinemann, 1958, original cloth, dust jacket, spine a little faded with nicks at ends, 8vo, together with Amis (Kingsley). The Old Devils, 1st edition, London: Hutchinson, 1958, original cloth, dust jacket with the Booker Prize shortlisted yellow wraparound band, 8vo, signed by the author, plus Spark (Muriel). The Pride of Miss Jean Brodie, 1st edition, London: Macmillan & Co., 1961, original cloth, dust jacket, light ring mark and stains to rear panel, 8vo, with others including Philip Guedalla's The Second Empire, 1922, and Palmerston 1784-1865, 1927 (both with ALS loosely inserted), Truman Capote's Breakfast at Tiffany's, 1st UK edition, 1958, seven Spike Milligan war autobiographies (Adolf Hitler. My Part in his Downfall, 1971, "Rommel?" "Gunner Who?", 1974, Peace Work, 1991 signed or inscribed by the author), The Lyttelton Hart-Davis Letters, volumes 1-6, 1978-84, 14 Left Book Club Edition titles, 1938-46, John Le Carre's Tinker Tailor Soldier Spy, 1974, The Honourable Schoolboy, 1977, Smiley's People, 1980, etc.QTY: (42)
A 19th century Tunbridge Ware jewellery box, slightly waisted outline with castle scene to top, with lift out interior tray, plush lined. Height 8 cm, length 20.5 cm, depth 14 cm (see illustration). CONDITION REPORT: The box is in generally good order with no significant issues. There are some minor stress fractures to the Tunbridge ware on the top panel but no lifting sections and no losses that we can see. The top closes correctly. The hinges are original. We do not have a key. The piece is not locked. The interior is in generally good order with rubbing to the velvet lining around the ring apertures and dividers. There is some perishing to the material beneath the lift out tray. The base has some losses to the applied surface.
A 19th century Tunbridge ware book slide, with castle to one end and parquetry to the other. Length 29 cm, depth 13 cm, height 15 cm. CONDITION REPORT: The end panels have slightly rippling surfaces but no loose sections of Tunbridge ware or parquetry. The end panels have clearly been flat for a long period of time and the inside edge of each end panel and the silhouette outline beneath is considerably darker in colour than the rest of the book slide.
A Tunbridge ware rectangular pin tray, with parquetry centre. Length 12.5 cm, together with a rectangular lidded casket, a tall rectangular form casket with parquetry top and a square form box decorated with birds. CONDITION REPORT: The tray and lidded box with handle are in good order with no issues. The tall casket looks to have had some repair to two corners and one edge. The parquetry top itself is in good order. The main body of the piece is in good condition with no issues. The small flat box with bird and floral pattern has a joint issue. The left-hand panel has slightly sprung in the corner and there is movement. Other than this the box is in generally good condition.
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![Boyd (Kelly [editor]). Encyclopedia of Historians and Historical Writing, 2 volumes, 1st edition, London: Fitzroy Dearborn, 1](https://cdn.globalauctionplatform.com/21b22f34-a274-4e72-bd63-aea600d93d9e/3fbb2636-73b3-4224-b471-aea601034b54/468x382.jpg)
