* English playing cards. Standard pattern, Joseph Reynolds, circa 1810, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure Type I courts, Garter ace of spades type A5 (die no.19) with maker's name, generally soiled and toned, jack of spades with black mark (printing ink?) at foot, 8 of clubs and 7 of spades with crease, versos plain white, each card 94 x 64 mm, together with: Standard pattern, Reynolds & Sons, circa 1858, a complete deck of 52 stencil coloured lithographed playing cards (French suits), single figure Type R1 courts, Exportation ace of spades for the Isle of Man type A11 (unnamed), scarce minor marks or spots (apparently unused), pip cards very lightly bowed, 10 of clubs lightly creased, square corners, versos blue with pattern of small blue wavy stems and leaves, each card 93 x 65 mm, plus: Standard pattern, Reynolds & Sons, circa 1855, a complete deck of 52 stencil coloured lithographed playing cards (French suits), early double-ended Type R4 courts (based on Type III), Old Frizzle ace of spades, lightly toned and dusty, few minor marks, square corners, versos pink floral design within ornamental foliate border, on white, each card 94 x 65 mm, with two other Reynolds & Sons decks: the first circa 1865, post-Old Frizzle ace, type R1 courts, 52 complete, versos small repeating pattern on green; the 2nd circa 1855, Old Frizzle ace, type R1 courts, 50 of 52 (without 3 & 6 of spades), versos diagonal pattern of blue flowers and wavy stems on pale pinkQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: John Berry (2001) does not list a Garter ace of spades (apart from an Exportation one) for Joseph Reynolds.
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* English playing cards. Standard pattern HB1, Hunt & Sons, circa 1835, a complete deck of 52 stencil coloured woodblock playing cards (French suits), Old Frizzle ace of spades, single figured courts, lightly toned, scarce light spotting, few minor marks, versos pink with blue dotted wiggly lines, each card 93 x 64 mm, together with: Standard pattern, Belgium?, circa 1820, a complete deck of stencil coloured woodblock playing cards (French suits), imitating Type I design (see Lodge: The Standard English Pattern), forged GIII ace of spades with no maker's name, and with wrongly inscribed 'Six pence addl duty', soiled, some staining and light cockling(mainly affecting hearts, a couple more severely so), slight wear to corners, versos plain white, each card 95 x 65 mm, plus: Standard English pattern, Belgium?, circa 1825, a complete deck of 52 stencil coloured woodblock playing cards (French suits), corresponding to Hunt Fake 1 (see World of Playing Cards website p.73: Fakes, Forgeries and Tax Evasion), single figured courts roughly imitating Type II, forged Hunt & Sons ace of spades, with GIIII instead of GIV, generally toned and soiled, some marks, few pip cards with small areas of abrasion, versos plain white, each card 92 x 63 mm, with 5 other English packs: two by Bancks Brothers Successors to Hunt & Sons, one circa 1849, Old Frizzle AS, HB1 courts, the other circa 1860, Old Frizzle AS, unusual Germanic double-ended courts with ornate borders; two by Joseph Hunt & Sons, circa 1865-70, Joseph Hunt type 1 AS, double-ended courts of H1 & H2 designs (the latter with pattern 24: Oxford University Arms on versos, the former with an extra 8 of spades); and one deck by Hunt's Playing Card Manufacturing Co Ltd, circa 1880, H3 design double-ended courts, rounded corners, 16 cards from each deck mounted with photo corners onto 8 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, each board 54.5 x 41.5 cm and similarQTY: (8)NOTE:Provenance: Collection of Dudley Ollis.First item: Lodge, The Standard English Pattern, pp.18-19; Mann, All Cards on the Table #189 a).
* English playing cards. French-style deck, Hardy & Sons, circa 1840, a complete Piquet deck of 32 stencil coloured woodblock playing cards (French suits), double-ended courts, 3 jacks with inscription Dumoutier a Nantes, Old Frizzle ace of spades, lightly dusty, scarce minor spots, KH with tiny surface loss to blank area, versos plain green, each card 86 x 59 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Fournier, British 223.The only other example of this uncommon pack that we have found is on the World of Playing Cards website. These cards are believed to have been made in France by Dumoutiers, but imported to England and sold by Hardy. The courts are loosely based on a Paris-style pattern.
* Translucent playing cards. Cards with hidden erotic illustrations, probably French, circa 1850, a complete deck of 52 stencil coloured engraved playing cards (French suits), each card with hidden erotic image visible when backlit, right-handed courts, single-ended pips, some additional stencil colouring to hidden images, generally toned, some light finger-soiling, brown marks and spots, few creases and short edge tears, jack of spades with tiny corner chip, plain versos, square corners, each card 87 x 57 mm, with original? metal slipcase-type box with lid, the cards corner mounted onto 3 display boards with cut-outs (in such a way as to enable backlighting of the cards), encapsulated in clear plastic, (not examined out of display boards), each board 54.5 x 40cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Denning, Transluscent [sic] Playing-Cards; Wowk, pp.66-67.Scarce. Translucent playing cards became popular in mid-19th century France. Mainly created cheaply as novelties, few complete decks have survived. The cards were created from two layers, instead of the usual three, and appear as normal cards when simply viewed. The upper layer is printed with the traditional face design on the recto, and an additional erotic image on the verso, while the lower layer is blank. The lack of a third layer allows enough light to penetrate the card, when strongly backlit, to view the hidden images. On the court cards, the hidden images were designed to align with the court card image. In this pack the pip card hidden scenes are much more elaborate than most of those illustrated in Trevor Denning's book. Here every scene includes a detailed background and the designs are generally quite different, including a nude blindman's buff game.
* English playing cards. Standard pattern type I, Gibson & Gisborne, circa 1795, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Garter type A3 ace of spades with maker's name (die no.126, not recut), generally dust-soiled and toned, some marks and minor stains, 6 of clubs lightly cockled, two pip cards with several shallow dents (tooth marks?) to one corner, a little wear to some corners, versos plain white, each card 93 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum, 1896,0501.958 (Schreiber, English 13).
* English playing cards. Standard pattern type I, James Hardy, circa 1819, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Garter type A4 ace of spades (die no.8, 2nd recut, with QVI), ace of clubs with Superfine stamp, very scarce minor spots, versos plain white, each card 93 x 65 mm, together with: Standard pattern type III, Hardy & Sons, circa 1828, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Old Frizzle ace of spades, dusty and somewhat soiled, some marks, KC with two horizontal partial width creases, 9D slightly scratched, 9C with very small loss to top right corner (excised), versos pink with blue dotted wiggly lines, each card 93 x 64 mm, plus: Standard pattern type IIIa/HD1, Hardy & Sons, circa 1830, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Old Frizzle ace of spades, some slight toning, very scarce minor marks, 5D with corner crease, versos plain pink, each card 94 x 64 mm, 16 cards from each deck mounted with photo corners onto 3 display boards, encapsulated in clear plastic (not examined out of board), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, Playing-Cards of the World, [431]; Berry, The Waddington Playing-Card Collection, [W211]; Fournier, British 55 (incorrectly dated).Second item: Berry, The Waddington Playing-Card Collection, [W212]; British Museum 1896,0501.961 (Schreiber, English 25).Third item: Berry, Playing-Cards of the World, [539].Here are examples of Hardy's early type I courts, the later type III courts, and Hardy's type III courts redrawn in his own style with staring eyes.
Transformation Playing Cards Ephemera. Transformation of Cards. Metastasis, Designed by J. Dixon Esq. [so titled and identified on upper cover], c. 1811, pamphlet of 6 leaves including wrappers, comprising tipped-on cover-title and four playing card designs in pen and ink and watercolour, the cover-title depicting a large black and white Ace of Spades title design with 22 smaller colour and monotone playing cards shown scattered around the larger card, artist’s signed inscription in the lower margin within outer black border, 146 x 118 mm, the 4 smaller pen and ink and watercolour transformation card designs tipped onto rectos of four interior leaves, each with neat ink humorous captions within the images, 63 x 92 mm and very similar, the third with an additional larger neat ink inscription on mount beneath, ‘A French Dinner’, contemporary stitched thick wove paper sheets and matching wrappers, 164 x 130 mmQTY: (1)NOTE:John Colley Nixon (1755-1818) was an artist and caricaturist, as well as being a successful London businessman and an amateur actor. His first pack of transformation cards was published in 1803 by H. Angelo, with S. & J. Fuller publishing a redesigned pack in 1811. These appear to be near-contemporary faithful copies of the original designs made by Nixon in 1803. The original for the cover-title design has not been identified but the credit to Nixon in the border suggests it too is a copy, the hand seemingly not Nixon’s. (For a similar title design for the 1811 Nixon-Fuller cards see Albert Field, Transformation Playing Cards, 1998).A rare piece of transformation playing cards ephemera. The four cards depicted have the following captions within the images: ‘Champanzee in the pantomime of Perouse’ [Ace of Hearts]; ‘Ah Child when I as at your age I never had occasion to go abroad for admirers. The young fellows used to give me as a Toast. “Fanny the Fair”, and prodigiously clever at all kinds of Work – that I was!’, ‘Ah, Mama, I have heard that so often’ [Two of Spades]; ‘Frogs What have I been swallowing Frogs’, ‘Green Owls why [‘Damme’ in the original] the’re nothing but Frogs’, ‘Ils sont les veritable Grenouille[s] Monsieur’ [Three of Diamonds]; ‘Well Mr Spriggs as soon as my Cousin Molly had baited the Mouse Trap - Why [‘Zounds’ in the original] Mr Spriggs your [sic] Asleep’ [Two of Hearts].
* English playing cards. Transformation deck, C.B. Reynolds of Liverpool, 1863, the complete deck of 52 colour lithographed playing cards (French suits), single figure non-standard courts, clubs representing South American characters, diamonds and hearts European style rulers or gentry, spades seems to show ordinary folk, pip cards with small caricatures within the pip signs, ace of hearts showing Prince Edward and Princess Alexandra, ace of spades with maker's details and images of Liverpool, ace of diamonds with two tavern scenes, lightly dusty, variable (generally light) toning, some minor marks or spots, few cards with slight brown staining to edges, ace of spades with 2 very small yellow marks centrally (and one to bottom edge), some corners very lightly worn, versos gilt cherub with bow and arrow on yellow, Prince of Wales's Feathers in top border, each card 95 x 65 mm, 32 cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder in a plastic bag, each board 53.5 x 41 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum 1896,0501.940 (Schreiber, Eng 29)This pack was produced to commemorate the wedding of Prince Albert Edward (later King Edward VII) to Princess Alexandra of Denmark in 1863. Apparently this is the only pack produced by this otherwise unknown card maker.
* English playing cards. William IV Coronation deck, Reynolds & Sons, 1831, the complete deck of 52 stencil coloured woodcut playing cards (French suits), the faces printed on unusual blue-grey paper, single figure type III courts, Old Frizzle ace of spades with maker's name, somewhat dusty and soiled, few minor marks, most edges lightly yellowed, queen of clubs with few black speckles near one eye (original printing ink?) and small pale circular mark at bottom of design, versos elaborate pattern in gold on a cream background, the design incorporating crowns, flags and sceptres, with the initial W at one end and A at the other, square corners, each card 92 x 64 mm, with (apparently) original two-part dark green leather box, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder with box in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.The only other example of this rare commemorative pack that we have found is on the Dondorf.co.uk website, on their webpage 'Featured English Makers'. The box accompanying the pack is listed by Dudley Ollis as Original green leather box.It is well known that Reynolds & Sons claimed their founder Joseph Reynolds had produced the first decorative back design, especially created for the coronation of William IV in 1831. This design, produced in gold on a colour (most often on white) has generally been identified as that later used in a more colourful variation for the Prince of Wales's wedding in 1863: a central oval shield, and the Prince of Wales's Feathers to each of the four corners. However, this is disputed, as William was not Prince of Wales therefore the design better fits a celebration of Albert Edward, created Prince of Wales shortly after his birth in 1841. We believe that the pack offered here is the original Reynolds Coronation deck. The Literary Gazette and Journal ... for the Year 1831 contains, on page 590, a description of Coronation Cards produced by Messrs. Reynolds, which describe this present pack exactly (a copy of the extract is included with this deck): The backs are like fine porcelain, with the letters W., A., surrounded with foliage, and crowns, flags, and other ornaments, printed in gold upon them.The extract ends with noting that they are ... too handsome for shuffling, cutting, and dealing. The initials W. and A. are for William and his wife Adelaide.
* English playing cards. Standard pattern type I, Gibson & Gisborne, circa 1780, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, Garter type A2 ace of spades (die no.27, 1st recut), Superfine stamp on ace of clubs, some light toning, 2 of hearts with some faint red pencil lines, king of clubs with very slight wear to top right corner, versos plain white, each card 93 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum, 1934,0414.2.1-13.
* Richardson (Agnes, 1885-1951). Girl Picking Daffodils, gouache on card, depicting a young cherubic girl leaning over a flower bed picking daffodils, signed lower right, minor spotting to margins, sheet size 33.5 x 25.5 cm (13 1/4 x 10 ins), mounted (44 x 35 cm), together with 12 pencil drawings of children, four initialled MLA, one initialled MA, depicting children doing various tasks including: washing up, carrying fireworks, telling the time, playing with baby blocks, carrying a bucket, spade and duck, etc., various sizes, 17.5 x 13 cm and smaller, 7 framed, 5 mounted, largest framed (34.5 x 40 cm)QTY: (13)
* English playing cards. International Playing Cards, Thomas De La Rue, 1874, the complete deck of letterpress playing cards (French suits) published to commemorate the marriage of Albert Ernest Albert, Duke of Edinburgh, to Princess Alexandra, Daughter of the Emperor Alexander II of Russia, designed by Reuben Townroe, double-ended courts depicting contemporary European royalty and characters, aces showing Queen Victoria (hearts), Wilhelm I (clubs), Alexander II (Russia) and General Grant (spades), a trifle dusty, some light finger-soiling and minor marks (mainly affecting pip cards), square corners, versos green with Arms of the bride and groom in gold, each card 93 x 64 mm, together with: Fourth Quality Royal Bezique set, De La Rue, circa 1870, 4 packs (2 complete with 32 cards, 2 packs with 31 of 32, each without ace of spades) of letterpress playing cards (French suits), double-ended De La Rue type D5 courts (used circa 1865-1875) printed in black & red, unusual 'Fourth Quality' ace of spades (present in two packs of 4), no indices, variable spotting, one pip card with edge stain, versos blue small repeating 3-pointed shapes (2 packs) or green diagonal basket weave (2 packs), square corners, each card 94 x 65 mm, plus: London and Paris deck, De La Rue, 1867, a complete deck of 52 letterpress playing cards (French suits), double-ended courts in historical costumes, no indices, ace of spades with 'London & Paris' and maker's name within decorative oval centrepiece, some minor marks or light finger-soiling, 5 of clubs with pale staining, square corners, versos blue, each card 88 x 56 mm, with 7 other De La Rue decks (not examined for condition): later London & Paris deck, 1880 (Plainbacks M112); standard type D4.1 with Old Frizzle ace and simple Owen Jones-style versos, circa 1855-1865; Japanese Lacquer deck, with original titled box, circa 1870 (51 of 52, without 2 of hearts); Golden Jubilee of Queen Victoria deck, versos with Royal arms & symbols of the dominions, 1887; 20th Hussars deck, circa 1890; standard type D6.1 deck, versos yellow & red design; standard type D6.1 with larger indices, versos dark blue with ornate gold design, original box (defective), circa 1900, a quantity of cards from each deck mounted with photo corners onto 8 display boards, most encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cm and similarQTY: (10)NOTE:Provenance: Collection of Dudley Ollis.First item: Fournier, British 276.Second item: Berry [2001], p.31 & illustrated p.69; Article by RTEW?, in EPCS Newsletter (September 1984) p.2, "Extremely rare, the only quality to state so on AS".Third item: Plainbacks M113.
* Swiss playing cards. Occupation of the Borders 1914-1915, St Gallen: E. Funke & Cie, 1915, the complete Jass deck of 36 colour lithographed playing cards (original suits), the suits being: J for infantry (rifle bullets), A for artillary (gun shells), C for Cavalry (horse's heads), G for genius/pioneer (spades), the courts depicting army officers: kings = Hauptmann (captain), obers = Oberleutnant (lieutenant, or first lieutenant), unters = Korporal (corporal), the tens showing banners, soiled, browned and marked, few corner creases, ober of A and 8 of C each with small edge chip, 9 of C with surface loss to central blank area (just touching one horse), versos brown & blue plaid, each card 86 x 54 mm, together with: Jass de Luxe 10001, A.G. Müller, 1982, the complete deck of 36 offset playing cards (Swiss suits), the first edition of this design by Egbert Moehsnang, with muted colours, versos purple diamond pattern, rounded gilt corners, each card 89 x 57 mm, with original box and leaflet/questionnaire, with 13 other 20th century Swiss decks, including: Italian suited Tarot, by J. Müller & Cie of Schaffhouse, c.1975; Swiss Costumes, by AG Müller, c.1960; traditional Jass deck, by J. Müller & Cie, c.1975; Jass 11110 'Swiss Party Cards', by AG Müller, designed by Seppi Amrein (oversize cards), c.1950s, also several publicity packs and Basler Fasnachtskarten, a Tressette deck, all complete except a Tarot Classic deck by Müller & Cie (77 of 78, without trump X, but with 16 duplicates), a quantity of cards from each deck mounted with photo corners onto 16 display boards/cards (the tarot ones double), the first board encapsulated in clear plastic, none examined out of boards, the remainder contained in clear plastic bags, several with original box, the boards 54.5 x 40 cm & similarQTY: (16)NOTE:Provenance: Collection of Dudley Ollis.First item: Cartorama 45 #289; Schweizer Spielkarten 63; World Web Playing Cards Museum, WWPCM00346.
* French playing cards. Gatteaux Empire design, Liege: J.T. Dubois, 1811, a complete deck of 52 stencil coloured wood engraved playing cards (French suits), single figure neo-classical named courts, each with dot indices to indicate ranks (double-ended), also with double-ended suit signs, jack of hearts with maker's ink stamp, eagle watermark, occasional minor foxing spots or marks, versos plain white, each card 82 x 54 mm, together with: Gatteaux portrait officiel, unknown maker, between 1816-1830, a complete deck of 52 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 181[6] (indistinct), most courts with fleur de lys, ace of clubs with garland of fleur de lys, fleur de lys watermark, somewhat toned and soiled, jacks of diamonds and clubs with some pale brown marks, king of hearts toned with light spotting, two pip cards with pale brown stain to one blank corner, another with tiny area of abrasion to one corner, versos plain pink, each card 83 x 54 mm, plus: 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), king of diamonds and queen of hearts each with a tiny spot of surface abrasion (to face and gown respectively), queen of clubs with tiny brown spot to neckline of gown, versos plain blue, 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; British Museum 1896,0501.761 (Schreiber, Flemish 13); Cary, FRA 359; Hoffman (1973) p. 34 & illustrated plate 53b. Uncommon.Second item: Berry, Playing-Cards of the World, [522], [56] & [352a]; Berry in The Playing Card vol. XIII no. 1 Aug 1984, pp. 21-23; Cary, FRA 16 & 18.Third 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.
* English playing cards. Standard pattern type I, Samuel & Joseph Fuller, circa 1809, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts printed with blue outlines, Garter type A5 ace of spades with maker's name (die no.16, no recuts), one way pips, ace of clubs with Superfine stamp, occasional light toning, few minor brown marks or stains (mainly to edges), 3 of clubs somewhat marked, versos plain white, each card 95 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.An uncommon standard deck example from this minor English cardmaker.
* English playing cards. Crowquill Transformation pack, Reynolds & Sons, circa 1850, the complete deck of 52 stencil coloured lithographed playing cards (French suits), designed by Alfred Henry Forrester, also known as Alfred Crowquill, single figure caricature courts, the pip cards with uncoloured suit signs each containing small caricatures, on plain backgrounds (pink for hearts & diamonds, blue for spades & clubs), Old Frizzle ace of spades with maker's name (toned), lightly dusty, some minor marks (mainly to pip cards), few pip cards with minor dents to an edge, 6 of diamonds with two tiny spots of surface loss (centrally and near right edge), square corners, versos blue dotted hexagons, each card 92 x 65 mm, 32 cards mounted with photo corners onto a double (folding) display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54.5 x 40 cm (folded)QTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Cary collection, ENG 148; World of Playing Cards website, Crowquill Transformation page; World Web Playing Cards Museum, WWPCM03552.
* Board game. The New Fox and Hens Game or the poultry-yard, circa 1840, rare hand coloured etched sheet, laid onto a sheet of folding pink card, with numbered 2-74, a vignette in the middle depicting a woman feeding chickens, verso strengthened with archival tape, 32 x 31 cm, together with a 4 pp. leaflet on the rules of playing, dissected horizontally through the middle, and die, all housed in a box with gilt trimmed lid, printed hand-coloured label pasted to top, some juvenile pencil marks, 17.5 x 17.5 x 2.6 cm, plus folding board for the game Nouveau Jeu Du Renard, Paris: Basset, mid 19th-century, rare chromolithograph, 53.5 x 42 cm QTY: (2)
* English playing cards. Standard pattern, Thomas Wheeler, circa 1802, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figured courts of early Wheeler type, Ludlow Garter type A4 ace of spades (die no.44, 1st recut), few minor spots or marks, four pip cards with small surface loss/abrasion mainly to blank areas: on 3 of spades affecting one suit sign, square corners, gilt edges (added later?), each card 88 x 62 mm, with early two-part box, covered in decorative watered silk, with gilt-lettered label 'Principal Superfine Cards', 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.The Playing Card, vol.31, no.1 (July-Aug 2002) pp.20-33 (this actual pack illustrated p.23).This deck is one of Wheeler's early packs, with a design crudely copied from the courts that Hall was producing at the time.
* English playing cards. Ludlow & Co Patent Knight's Cards, Thomas Wheeler, circa 1800, 50 (of 52, without ace of clubs & 10 of spades) stencil coloured woodcut playing cards (French suits), engraved aces representing different Orders of chivalry, single figure courts of early Wheeler design, and with a single suit sign to top corner, Ludlow Garter type A3 ace of spades (die no. 42, 1st recut), unusual suit signs throughout, clubs and diamonds with uncoloured centres, spades and hearts with additional outlines in colour (possibly hand-coloured), browned and spotted, some brown stains or marks, a little wear to some corners, ace of spades with tiny blue stain to lower right corner, many cards poorly centred/trimmed, affecting some court card borders, and affecting one suit sign outline on four of hearts, square corners, gilt edges, versos plain white, each card approximately 88 x 61 mm, ace of clubs present as a photocopy, 20 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 53.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.British Museum, 1876,1014.1565-1616 (Willshire, English 280) for the double-ended version; The Playing Card, vol.31, no.1 (July-Aug 2002) pp.20-33 (this actual pack illustrated pp.24-25); Tilley, p.118 (illustrated).This design, with only one pip sign on the courts, is possibly the first edition of these Ludlow Knight's Cards: other packs are known with two pips signs on the courts, one at each end. This single figured version seems to be a little less commonly found than the slightly later double-ended edition.
Large collection of Elvis Presley memorabilia including clocks, pictures, books, belt buckles, mugs, rug, mirror no frame, Zippo lighter, commemorative plates, stamp paperweights, thimble, playing cards, collectors cards, CDs card sleeve singles, videos, figures, guitar lucite Elvis figure display - gangster figures ( in 4 boxes and pictures ) see photos great collection for the collector
Charles Hodges Geographical Playing Cards, London, Stopforth & Sons, circa 1827, 52 hand-coloured engraved cards with duty card, the aces with maps of the four continents with the pip cards showing land masses or political divisions to each continent suit, King George IV pictured on the ace of hearts (Europe), George Washington pictured on the ace of spades (Americas), a Chinese Emperor on the ace of diamonds (Asia) and an Egyptian King on the ace of clubs (Africa), contained in green leather caseThe playing cards are generally in good condition, with a few issues. All cards bear varying degrees of foxing and staining, especially around the edges and to some extent to the reverse. Some marking and scuffing in places. A minority of the cards bear creasing to the corners. The case bears clear wear and scuffing, but is generally in tact.
A Meissen group The Good Mother, 19th century, with good detail to the clothing, playing cards and base, blue crossed swords mark and model no. E69, 21.5cm high, arm detached but present***CONDITION REPORT***As catalogued, blue boy’s right arm detached and retained; the playing card held in this detached arm/hand one corner chipped and incomplete. Otherwise good.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
This vintage grouping of cookie cutters includes Christmas, animal, gingerbread people, playing card suits, and a donut cutter all made of tin and aluminum. Large Santa cutter is in its original box which measures 8.25"L x 6.25"W x 1"H. Also featured, 5 Chilton ware Christmas cutters in original box which measures 9"L x 8.5"W x 1.25"H. Issued: 20th CenturyCondition: Age related wear.
LOUIS VUITTON PLAYING CARD SET Comprising six card decks, a small leather case containing two additional decks of cards and a notebook, within original Louis Vuitton briefcase 6.5cm x 48.5cm x 26cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
An Edwardian rosewood envelope top card table, with four boxwood strung and marquetry panels opening to reveal a baize-lined playing surface and counter wells, above a frieze drawer, raised on square tapered supports united by an undertier and moving on ceramic castors. H74cm, W55cm., D55cm.
A George III Irish mahogany card table, the D-shaped fold-over top having a reeded edge and on double gateleg rear action, opening to reveal a baize lined playing surface, the whole raised upon slender baluster reeded and part fluted tapering supports with brass lion paw caps, w.93cm, d.45cm, h.73cmStands well.Action good.Has been recently polished.Both rear legs with old breaks to lower sections which have been well restored.Otherwise very good with minor blemishes / age wear only.
THE MOUTHPIECECGC Graded Lobby Card (11" x 14")Near Mint Warner Bros., 1932An exceedingly rare card, as paper from this title rarely surfaces, with an eye-catching art deco design, this is only one of the exceptional Pre-Code pieces you'll find in this auction.This lobby card has been CGC graded at 9.4, which is Near Mint. Warren William, pictured on the lobby card offered here, was a well-known actor in 1932, renowned for playing shady businessmen, duplicitous lawyers, and devious con men. He was also the first actor to play Perry Mason in a quartet of mystery films and the second to play Sam Spade in Satan Met a Lady (1936), an adaptation of Dashiell Hammett's The Maltese Falcon. Alline MacMahon, opposite William on this card, was a frequent character actor in films of the 1930s, 1940s, and beyond, known for her sharp wit and sarcastic delivery. This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.
LOUIS ARMSTRONGWindow Card (14" x 22")Very Fine Joe Glaser, Inc., c.1945This Golden Age-era window card was printed to advertise a live appearance by Louis "Satchmo" Armstrong at McElroy's in Portland, Oregon on Oct. 18th, 1945. Throughout the 1930s and 40s, Armstrong - then considered the King of the Trumpet - was known to play up to 300 gigs a year across the country. This window card exhibits minor discoloration as well as corner and edge wear, most visible in the upper center. It remains in excellent overall condition.One of the most important and influential artists in the history of jazz, Louis "Satchmo" Armstrong (1901-1971) was known both for his innovative and original trumpet-playing as well as his distinctive baritone. Born and raised in New Orleans, Armstrong first gained notice in the 1920s before joining the Creole Jazz Band with his mentor, "King" Joe Oliver. He then came to the attention of bandleader Fletcher Henderson, who brought Armstrong to New York, where his quickly became recognized for a bevy of hit songs including "Hello, Dolly," "What a Wonderful World," and "When You're Smiling," all of which helped him to cross over from predominantly Black American audiences to recognition as a seminal American artist around the world.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
BRINGING UP BABYLobby Card (11" x 14")Very Fine RKO, 1938This is a lovely copy of a very scarce card from this famous set. Other than a very slight registration issue and a tiny corner bend in the upper right, it is immaculate.Katharine Hepburn and Cary Grant create some fantastic screwball chemistry in this Howard Hawks comedy initially created as a vehicle for Hepburn, playing a woman who turns the life of Grant's brontosaurus-constructing paleontologist upside-down. Though a flop on release, it's since become recognized as a genre classic.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
BRINGING UP BABYCGC Graded Lobby Card (11" x 14")Near Mint RKO, 1938This lobby card has been CGC graded at 9.4, which is Near Mint. Katharine Hepburn and Cary Grant create some fantastic screwball chemistry in this Howard Hawks comedy initially built as a vehicle for Hepburn, playing a woman who turns the life of Grant's brontosaurus-constructing paleontologist upside-down. Though a flop on release, it's since become recognized as a genre classic.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
PEARL AND DIAMOND TIARA/NECKLACE, CIRCA 1890Composed of graduating foliate drops with old brilliant, single and rose-cut diamonds, terminating with a pearl, interspersed by diamond-set spacers of similar design, on a backchain of alternating old brilliant-cut diamond trefoils and collet-set brilliant-cut diamonds, the openwork clasp set with a central old brilliant-cut diamond and single-cut diamonds, mounted in silver and gold, pearls untested, tiara frame deficient, diamonds approximately 6.50 carats total, later paste-set silver clasp, length 39.0cmFootnotes:Provenance:Countess Haig (1879–1939), wife of Field Marshal Douglas Haig, 1st Earl Haig, KT, GCB, OM, GCVO, KCIE (1861-1928); thence by descentThe Hon Dorothy Maud Vivian married Field Marshal Douglas Haig, 1st Earl Haig on 11th July 1905 after a whirlwind courtship (she had spotted him for the first time when he was playing polo at Hurlingham two years earlier). Dorothy was a daughter of Hussey Vivian, 3rd Baron Vivian and Louisa Duff. The couple had four children, Lady Alexandra Henrietta Louisa Haig (1907-1997), Lady Victoria Doris Rachel Haig (1908–1993), George Alexander Eugene Douglas Haig, 2nd Earl Haig (1918-2009) and Lady Irene Violet Freesia Janet Augusta Haig (1919-2001).Dorothy and her sister, Violet, were ladies-in-waiting to Queen Alexandra and this lot is accompanied by a presentation card from Queen Alexandra inscribed, Presented together with 'Tiara' to Dorothy Vivian on her Marriage Day July 11th 1905.Black and white photograph: Douglas Haig, 1st Earl Haig and Dorothy Maud (née Vivian), Countess Haig wearing lot 93 on 24th November 1922. © National Portrait Gallery, LondonSaleroom notices:Prior to marriage, Dorothy and her twin sister, Violet, served together as Maids of Honour to Queen Alexandra and not as Ladies in Waiting as stated in the catalogue entry.For further information on this lot please visit Bonhams.com
A 1905 NEW ZEALAND INTERNATIONAL ALL BLACKS RUGBY UNION JERSEY MATCH-WORN BY LOOSE FORWARD FRANCIS TURNBULL GLASGOW (1880-1939)The most iconic of all historic rugby union jerseys characterized by the quilted overlay to shoulders, leather neckline with believed original lace, large embroidered ‘silver fern’ and stitched 'hidden' ‘M’ to hem, unique to the 1905 All Blacks jerseys and believed to stand for 'Mary' (Mary Stubbs and her husband John founded J Stubbs, Hosiery Manufacturer, later to be known as the Manawatu Knitting Mills). The back of the jersey stitched with white canvas square bearing printed No.7. Believed to be the first time that an ‘Originals’ jersey has appeared at auction with the playing number remaining on the back. It is thought that the numbers were tacked on to player's backs in most cases.Together with framed period black and white team photograph ‘NEW ZEALAND v WALES at Cardiff, December 16th, 1905’ with player’s names listed below, 46 x 56cms, incl. frameProvenance: the jersey was swapped with Wales’s Charles Meyrick Pritchard (1882 – 1916) after the famous Wales v New Zealand ‘Match of the Century’ on 16th December 1905. Preserved with other important jerseys, caps and photographs by Charlie Pritchard which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium.The 1905 New Zealand Rugby Union team were the first to tour outside of Australasia. By the time the tour arrived for the match against Wales, the All Blacks had not conceded a single point in their last 600 minutes of rugby. They had played 27 matches scoring 801 points and conceding just 22 and had won all three of their preceding international matches, two without conceding any points (12–7 against Scotland, 15–0 against Ireland and 15–0 against England).They became known as ‘The Originals’ and for the first time labelled ‘The All Blacks’ by the British Press. In readiness for the tour, the New Zealanders had embraced new strategies and had studied assiduously what was permitted within the laws of the game. The tour was a benchmark in world rugby and laid the framework for all rugby tours since. It cemented Rugby Union as New Zealand’s national sport, embedded the sport in the national psyche and commenced a ‘new order’ of world rugby with The All Blacks at the helm, a position which has rarely been threatened in 120 years.Wales versus The Originals, in Cardiff, is a match regarded as one of sport’s greatest with over 47,000 spectators at the Arms Park. It was eagerly anticipated by swathes of rugby fans and by the press, according to the South Wales Echo's report on the morning before the match, 'Never in the long annals of Rugby football has a match excited more widespread interest than today's International at Cardiff. The all-conquering career of the New Zealanders has been watched with a keenness that has never been equalled, and as they were meeting a side whose style more closely resembles their own than any they have met on their brilliantly successful tour...The Great Western Railway Company had made arrangements for thirty excursion trains from all parts of the country, the first of which arrived at about 10.20am. This was from Frome and the West of England, and was a long train, crowded. At 10.50 the Ogmore and Garw Valleys contingent came - a large and enthusiastic crowd of footballers - closely followed by people from the Western Valleys of Monmouthshire, from Weymouth, Birmingham, Liverpool, Swindon, London, Paignton. All reports went to show that these trains were full, and a special from London, due to arrive at 12.10, brought 700....the officials at the TVR station, Cardiff, estimate that, including ordinary, the trains on their service from mid-morning brought from 12,000 to 15,000 people into Cardiff up to 1 o'clock. A similar estimate as the Rhymney railway station shows that up to the same hour about 8000 to 9000 people had arrived over that line'.Even before the eagerly anticipated kick-off the match had become a landmark game given that the Welsh supporters sang ‘Hen Wlad Fy Nhadau (Land of My Fathers)’ in response to the New Zealand player’s stirring performance of the Haka. The South Wales Echo commented that its effect was electrifying. It was the first time a national anthem had been sung before any sporting fixture.There had already been a degree of controversy leading up to the test, particularly in relation to the choice of referee John Dallas. Also with regards to the tactics New Zealand had brought with them to the Northern Hemisphere, in particular the role of captain Dave Gallaher as a roaming wing-forward. Many remarked the tactic as unsporting with the intent of obstructing opposition players. The controversy continued as the game developed with decisions seeming to go against The Originals. The referee, wearing formal clothes including walking shoes without bars or sprigs in wintry conditions, struggled to keep up with play. But the experience Welsh team crafted a first half try through Teddy Morgan. In the second half there was a ‘try that never was’ when Bob Deans, The All Blacks centre-three-quarter, was adjudged to have grounded the ball short of the try-line. Wales’s first half try was enough to seal a 3-0 victory for the home-side. New Zealand’s incredible unbeaten run was over and a 'humorous' obituary card 'In memory of the New Zealand Football Team' was printed and circulated in Wales.On their first overseas tour the All Blacks played thirty-five matches, winning thirty-four of them, scoring 976 points and conceding only fifty-nine. . The loss to Wales and its controversial manner rankled the New Zealanders for years to come but it acted as a catalyst for future successes and their superiority in subsequent tours.Frank Glasgow was one of the successes of The Originals tour, playing 27 of the 35 matches, he appeared in all five international games and was the leading scorer amongst the forwards with a points tally of 32. Glasgow was said to be a tough, athletic, and an intelligent loose forward. Originally from Dunedin, Glasgow represented Wellington, Taranaki, Hawke's Bay, and Southland. A bank-manager by trade, Glasgow generally played in the front-row but also played as flanker and back-row forward. He also played occasionally as hooker including against the Anglo-Welsh tourists in 1908 when he scored a try against the tourists.
George Romney (Beckside 1734-1802 Kendal)A three-panelled screen: Classical figures dancing oil on canvas, laid on card184 x 60.6cm (72 7/16 x 23 7/8in). each; 184 x 182.2cm. (72 1/2 x 71 3/4in.) overallFootnotes:ProvenanceAntichità Triboldi, Brescia, 1994, where purchased by the present owner's late motherThat a painted screen decorated with dancing females was part of Romney's estate has long been familiar to students of the artist. Lot 90 in Romney's posthumous sale at Christie's on 27 April 1807 was: Five leaves for a Screen, Dancing Nymphs; bought by 'Long' – probably Romney's friend the surgeon William Long – for 5 guineas.The screen was presumably returned by Long's heirs to Romney's, since it next appeared in the sale at Christie's in April 1894 of the effects of Miss Elizabeth Romney, the artist's grand-daughter. Here it was titled: A Five-Leaf Screen, painted with 'The Singers go before, the Minstrels follow after, in the midst are the damsels playing with the timbrels,' one panel painted by the artist's son, Rev. John Romney. The buyer was Miss Romney's nephew, Lawrence Romney, who dealt in the works of his great-grandfather in the early years of the 20th century. Beyond the surmise that he removed the panel painted by John Romney, his contribution to the screen's history is uncertain. Unprepossessing photographs of two of the leaves appeared in Ronald Sutherland Gower's monograph on Romney of 1904, and the screen re-surfaced, with four leaves only, in 2018, in the estate of the Romney scholar Patricia Jaffé. It is now at Abbot Hall Art Gallery in Kendal.The present screen is a version of sobering exactitude of three of the leaves of the Kendal screen. The circumstances of its making are unknown; it is not mentioned in any Romney literature, it has not appeared in any known sale, and its provenance goes no further back than to an antique shop in Brescia, Italy, where it was bought by the last owners in 1994. The presence of only three leaves could be thought very promising, as implying that it was produced before a fourth leaf was added to the Kendal screen by Romney himself (as may conceivably have happened). That this was the first screen, and the Abbot Hall one came second, seems perfectly possible.As has been shown in an article by Olivia Ghosh (Transactions of the Romney Society vol. 24 [2019]), the figures are derived from volume 1 of the famous neo-classical primer Le Antichità di Ercolano Esposte, published in 1757. As painted by Romney, the rather immature classical figures betoken a young man's keenness to graft his work on to a new, exciting artistic fashion, and he must have made the first of the screens, whichever it was, shortly after his arrival in London in the spring of 1762.The inferential evidence offered by the present screen is bewildering. The mounting of the canvases on to card rather than panel, the Italianate framing, and the manuscript note on the reverse stating that the dancers are 'portraits of Lady Hamilton' (correcting 'Lady Romney' – who she?) combine to suggest the possibility of a connection with Lady Hamilton's life in Italy. On this view, if the card backing was to make the canvases light to transport, and they were only framed at their destination, could it be that Romney made the screen as a wedding present – a reminder of the old days in his studio – for Lady Hamilton, which she took to Naples?The text of the manuscript label mentioned above reads: Screen by George Romney 4-fold belonging to John Orbes [Orde] Romney of Whitestock Hall Ulverston, Cumberland represents Lady Romney [corrected later to Hamilton] in 4 different positions. John Orde Romney (1851- 1924) Lawrence Romney's brother, Elizabeth Romney's nephew, was the titular owner of Whitestock from 1875 until he sold the estate around 1904, and this label, presumably a memorandum about the other version, must date from within that period.We are grateful to Alex Kidson for kindly writing this catalogue note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Collection of Ephemera Related to Bruce Bairnsfather, comprising a framed montage of a printed photographic portrait of him with his sketch book, an ink signature and four Old Bill postcards; six midget message cards, framed as one; two framed postcards "So Obvious", signed and "Situation Shortly Vacant"; three acetate cells framed as one; a framed poster and a folding programme for "The Better 'Ole" together with the music score; The Bystander Jigsaw in original box; a set of playing card; five various postcards, two Midget Message cards and a match book for Adkin's Empire Nut Brown (18)
A 18th century Gibson & Gisborne Superfine small format playing cards, complete set of thirty-two cards, wood block and stencilled, George III garter Ace of Spades, Ace of Clubs stamped Superfine, plain verso, 1776-1789 —3 1/2in. (9cm.) height of card (very slight signs of use) - this format of cards with wide margins and small pops and court cards is believed to have been developed for the game of Basset, to avoid seeing other players cards
A very rare Robert Morden Miniature Map Playing Cards probably circa 1676, complete set of fifty-two cards with Explanation card, each featuring a county of Great Britain, the King features a roundel of Charles II, the Queens, Catherine of Braganza and various males as Jacks, hand-coloured, square corners, gilt edges, held in purpose made conservator’s box —3 3/4in. (9.5cm.) height of cards (eight of clubs slightly larger and not coloured, from a later edition) - this set is believed to be a first or early edition as adjacent counties not named, some of the first maps to show main road
Three packs of Continental playing cards, an Italian Dal Negro Trevigiane pattern Tarot forty playing cards; a Faustino Solesio (Genova) forty playing cards, the Ace of Hearts stamped Gen.1927, tax stamp for Lire Tre, in original green packet (missing top); and an Altenburger & Stralsunder Speilkarten Fabriken thirty-two card set
A very rare Henry Brome 1st edition Geographical Cards playing cards circa 1675, engraved by F H van Houe, hand coloured, held in purpose made conservator’s box -4in. (10cm.) height of card — the four suits are the four Parts of the World; the hearts describe Europe, the diamonds Asia, the spades Africa, and the clubs America or the West Indies. A suit-mark and Roman numeral at the top identify each pip card, while the court cards have a bust of a kings or queen, knaves represented by a native of a country listed on that card
A fine De La Ru & Co Henry VIII playing cards in original wrapper circa 1870, complete set of fifty-two cards, square corners, Duty Three Pence, plain green reverse, in original King Henry VIII wrapper with two leaflets De La Rue & Co’s Whist Roles and separate advertising card —3 3/4in. (9.5cm.) height of card (wrapper opened and some tears)
A very rare John Lethal Love Cards playing card, complete set of fifty-two cards with tax stamp on the Ace of Spades, uncoloured engraved cards and plain versos, early 18th century —just under 4in. (10cm.) height of card (light staining to some cards) Notes - Lenthall advertised this pack of cards in 1709 and in 1714; Literature - Ortiz-Patiño 9; All cards on the table 265; Fournier, British Isles 30 (dated to c. 1700); Hamilton, Playing cards in the Victoria & Albert Museum 111
A Sutton & Co Knights playing cards circa 1800, complete set of fifty-two cards, unturned courts, plain backs, the Ace of Spades has at the centre ‘Nemo Me Impune Lacessit’ (No-one provokes me with impunity), the dates 1703 and 1800 also appear —3 3/4in. (9.5cm.) height of card (slight wear and discolouration) - the Ace of Spades has the motto for the Order of the Thistle and is believed to be a forgery to evade tax
A rare Thomas Cheswick Non Standard playing cards 1820-28, complete set of fifty-two cards, the courts historical Kings and Queens, although unnamed, the King and Queen of Clubs are Henry VIII and Elizabeth I, King of Spade is Carlos I, King of Diamonds Solima II and King of hearts French, had stencilled, Duty Ace of Spaces with One Shilling and Sixpence tax and George IV, in a period box with castle, gilt leaves and cards of the period —just under 3 3/4in. (9.5cm.) height of card (a little discoloured and not a little worn, probably missing lid)
A very rare Thomas Bowles South Sea Bubble Stock-jobbing Cards or The Humours of Change Alley playing cards circa 1720, complete set of fifty-two cards with red tax stamp on Ace of Spades, engraved cards with hand coloured hearts and diamonds, plain verso —just over 3 1/2in. (9cm.) height of card (some with worn corners, mainly square, possibly from two sets, Queen of Hearts with staining and fading to speech bubbles, some red pips discoloured) - The South Sea Bubble was the financial collapse of the South Sea Company in 1720. The company was formed to supply slaves to Spanish America.The South Sea Company was formed in 1711 in London and its purpose was to supply 4800 slaves each year for 30 years to the Spanish plantations in Central and Southern America.Britain had secured the rights to supply slaves to Spanish America at the Treaty of Utrecht in 1713. The South Sea Company bought the contract from the British government for £9,500,000, a large proportion of Britain’s national debt. The sum was so huge because it was hoped that more lucrative trading rights with South America could be won once Britain got a toehold in the market. It was also assumed that the profits from slave trading would be enormous, which proved not to be the case.Speculators paid inflated prices for the stock, leading eventually to the company’s spectacular financial collapse in 1720. A large number of people were ruined by the share collapse, and the national economy greatly reduced as a result. A parliamentary inquiry held afterwards, found that many had profited unlawfully from the company and had their assets confiscated.
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