RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation….from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact…..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich….I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour…..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation…..I will give you back your expenses after the case has been won…..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free….I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed…..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel'…..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film…..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty.Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year.Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française.Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.
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LEOPOLD III: (1901-1983) King of the Belgians 1934-51. A fine vintage signed and inscribed sepia 9 x 12.5 photograph by King Leopold III, the image depicting the monarch seated in a three-quarter length pose wearing a pinstripe suit. Photograph by Robert Marchand and bearing his credit as 'Photographe du Roi' alongside a crown beneath the image. Signed by King Leopold III in dark ink to the lower photographer's mount, 'Au Comte Capelle avec mon souvenir bien amical, Leopold', and dated Christmas 1959 in his hand. Framed and glazed in the original dark brown tortoise shell frame to an overall zize of 10.5 x 14. About EXCount Robert Capelle (1889-1974) Belgian diplomat who served as a secretary to King Leopold III and was the monarch's closest adviser during World War II, leaving his post in 1947.
DODGSON CHARLES LUTWIDGE: (1832-1898) Lewis Carroll. English author, poet and mathematician whose works include Alice's Adventures in Wonderland (1865). A good A.L.S., C L Dodgson, two pages, 8vo, The Chestnuts, Guildford (Surrey), 5th January 1874, to 'My dear Jebb', father of one of the author's 'child-friends'. Dodgson, writing in his characteristic violet ink, explains that he delayed from writing until knowing something of his plans, continuing 'Would it suit you to take me in for 2 or 3 days about the 17th?' and further stating 'I should much like to see you all again - though I can't help fearing that at last Edith has ceased to be a child, & that I shall find her with her hair done up 'a la grown-up' - Is it so? It will be a great shock to my feelings! But if it is so, I must bear it'. Dodgson also remarks 'I used to have a paper of your children's ages & birthdays, but have lost it. Could you tell me them again? I have lost count & can't make out Edith's age', before concluding by sending his regards to Mrs. Jebb and his 'Love to any daughters not too old'. With only a small, thin portion of the integral leaf of the bifolium remaining. Some very light, extremely minor age wear, VGDodgson had first encountered Edith Jebb (b.1858) in 1866 whilst staying in the coastal town of Whitby, North Yorkshire. The author sought an introduction to Edith and her sister, describing them as 'remarkably pretty', and succeeded in making their acquaintance. He took a photograph of Edith, her sister Florence, and their brother Alvery, at Braithwaite's in Whitby on 25th September 1866. Edith would also sit again for Dodgson in 1874, presumably soon after the present letter was written.
Six vintage rabbit soft toys, including a Merrythought with cinnamon and white mohair, remains of felt eyes on a plastic outer, label to foot pad --14in. (35.5cm.) high; a smaller blue grey rabbit with blue and black plastic eyes in a white cotton dress and a small card suitcase with Little Grey Rabbit playing cards and other items (wear and thinning, handle loose on one side of suit case) - from the Susan Collard Collection
A part suit of armour, 16th century and later, comprising an Italian cabasset, 23.2cm wide, 26.5cm long, 19cm high, a cuirass, 75cm high, a backplate, 44cm high, and gauntlet, complete with inner leather glove, 32cm long (4)Condition ReportWear, knocks and oxidisation throughout. Degradation and cracking to the leather.
Rosebud - Mattel - Man In Space - 2 x carded 1966 dated Mattel's Man In Space sets, Major Matt Mason with Moon Suit # 6303 and Moon Suit Pak # 6301. Both have been opened and used so show signs of age and use, the rubber arms on the suits have perished. The packaging is Poor, unchecked for completeness. (This does not constitute a guarantee) [ba]
Mixed militaria to include: WW2 1937 Pattern British Water Bottle in unissued condition: Suit Protective NBC No.1 MkIIIB size Large dated 1985 in DPM Camo pattern: Cover Brassard & Shoulder Pad Osprey DPM Desert Large MKII (Right) dated 2007: Water bottle & Cover: RAMC Stable Belt approx. 32 inch waist: "Crewsaver" Sou-Wester Coat.
A BOXED STEIFF LIMITED EDITION 'MR TOD' EXCLUSIVE TO DANBURY MINT, no.690525, ltd ed no.173/5000, russet mohair, with three piece suit and brooch, height 30 cm, tags and labels attached and with certificate (1 + box and certificate) (Condition Report: box lacks labels, otherwise good condition)
Gents Harrods Wool and Silk Mix Dinner Suit, with silk mounted collar and stripe to the trousers (size 44R), Austin Reed wool mix dinner suit with silk mounted collar and stripe to the trousers (size 38R), (2)Sold on Behalf of the Terry Family of York (Terry’s Chocolates)Measurements Harrods suit - trousers 37" waist, inside leg 33", appears to have had an insertion to the crotch - see image.Austin Reed - trousers 32" waist with elasticated back with buttons to the back of the waistband, inside leg 31.5. Appears to have had an insertion to the inside legs - see image.
Gents Modern Costume, comprising a Cecil Gee navy cashmere double breasted overcoat, Christian Dior Monsieur navy wool single breasted pin stripe suit, Canali Italy grey wool single breasted suit,tweed jacket in grey, orange and brown wide checks, bright yellow lining,(4)Cecil Gee coat - 48" chest, slight wear.Christian Dior Suit - 42 jacket and 36" waist, zip is stiff, some marks inside the waisband, slight wear to the pin stripes.Canali suit - 48 jacket and 40" waist, slight wear.Tweed jacket - 48" chest, some pen marks and slight bobbling to the yellow lining, slight wear to the tweed.
Chanel Boutique Pale Pink and White Boucle Wool Mix Skirt Suit, comprising a straight skirt with three Chanel 'coins' to the split at the back (size 38) and matching jacket with round neck, long sleeves, double patch pockets to the front, weighted hemSold on Behalf of the Terry Family of York (Terry’s Chocolates)Jacket is discoloured mainly around the neck and inside neckline, sleeves. Threads pulls and some rubbing overall. Jacket unlined, some staining to the skirt lining.
Bruce by Bruce Oldfield Navy and Cream Two Piece Suit, in wool and silk mix comprising a sleeveless shift dress with cream bodice, scooped neckline, navy skirt with cream hem and matching cropped jacket with collar, three quarter length sleeves, double breasted with covered buttons (size 10),Tomasz Starzewski Green Crepe Two Piece Suit, comprising a cropped jacket with round neck, attached crepe scarf, decorative gilt and green 'jewelled' large buttons, and a pleated tulip shaped skirt (size 10),Alistair Blair London Black Wool Tailored Coat with long sleeves, wrap style fastening with belt loops (no belt), with fitted bodice and stylish flared hem (size 12),(3)Tomasz Starzewski - small hole to back of the skirt, small brown mark and some wear. Some staining under the arms and slight wear to the jacket.Alistair Blair coat - belt missing and slight wear.
Three Staffordshire royal figures, circa 1850, modelled as a juvenile Prince of Wales in a sailor suit, on a naturalistic rocky ovoid base, 31cm high, together with a white enamel figure with polychrome details, modelled as a woman on horseback mounted on a naturalistic rocky ovoid base inscribed 'PRINCESS', 26cm high, and a figure of Empress Eugénie, consort of Napoleon III, modelled as a woman sitting side-saddle in cobalt blue dress, 29cm high (3).
* English playing cards. Standard pattern, J. & W. Mitchell of Birmingham, circa 1890, a complete deck (without joker?) of 52 colour printed playing cards (French suits), double-ended courts printed in four colours, decorative ace of spades with maker's details and registration number, indices, dust- and finger-soiled, toned and marked, 7S with small corner crease, rounded corners, versos ornamental design in white on brown, each card 89 x 63 mm, together with: Deakin's Political Playing Cards, Willis & Co, 1881, double-ended courts with caricatures of named political figures, ace of spades with title and maker, triplicate type indices on pip cards, dusty, few minor marks, KC with tiny edge tear, rounded corners, versos red ornate pattern on yellow, each card 89 x 64 mm, with original titled two-part box, plus: Standard type WY2, Woolley & Co, circa 1875, a complete Piquet deck of 32 colour printed playing cards (French suits), double-ended unturned courts, Woolley ace of spades type 1, no indices, square corners, dusty, versos plain blue, each card 94 x 65 mm, with five other decks by Willis: Deakin's Political Playing Cards 2nd edition, 1887; standard deck, circa 1878, double-ended unturned courts, one ways pips, no indices, square corners, ornate colourful floral pattern versos; standard deck, circa 1880, double-ended unturned courts, one way pips, no indices, slightly rounded corners, pink floral versos; standard deck, circa 1885, triplicate indices obscuring pip signs on courts, double-ended turned courts, two way pips, versos Chinese style with bird, fish and lady with fan in red on yellow; standard deck, circa 1885, triplicate indices obscuring parts of courts (eg. weapons), with suit signs opposite to usual, versos brown red & black shadows of men playing cards in a window, and three other decks by Woolley: Eureka Harrys, circa 1880, with original two-part box (defective); standard pack, circa 1887, double-ended turned, small indices, original Great Mogul Eureka wrapper; standard pack, circa 1880, courts printed in black & red, later use as a fortune-telling pack with most cards having ink manuscript 'Fortunes' added to one end, all complete, various conditions, a quantity of cards from each deck mounted with photo corners onto 11 display boards/cards, most boards encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40.5 cm and similarQTY: (11)NOTE:Provenance: Collection of Dudley Ollis.First item: Plainbacks M43 & M105. An unusual manufacturer who only produced playing cards for a few years.
* English playing cards. Standard pattern type I, James Stopforth, circa 1815, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, KH with initials HC on axe-haft, Garter type A4 ace of spades (die no.9, 1st recut), Superfine stamp on ace of clubs, browned and somewhat soiled, few marks, JH with very small surface loss (possibly from manufacture) to edge of right sleeve, 4C with edge crease, 8S with tiny surface loss to one suit sign, 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 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Berry, Playing-Cards of the World, [665]; British Museum 1938,0813.2.1-52.
* French playing cards. Imperial pattern, designed by J.L. David, 1810, a complete deck of 52 stencil coloured wood engraved playing cards (French suits), neo-classical single-figure courts, each with additional stencilled suit sign at bottom corner, and with additional stencilled indices/ranks to both diagonal corners, named kings, JH with engraver's name Andrieu, JS milestone with printed text (partially obscured by stencilled suit sign): A. Mongez Del., Andrieu Sc., F. Didot, MDCCCX, JD with seller's ink stamp: Agneessens F. Longue ... A Gand, dusty, some light toning (KD & JD toned), few minor marks or foxing spots, few suits signs lightly rubbed, 3C somewhat rubbed and soiled, versos central black stencilled flower, eagle watermark, each card 82 x 54 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.D'Allemagne, Les Cartes á Jouer... I, pp.145-148; Cary, FRA 354 & 355; The Playing Card Vol XIII no1, Aug 1984, p.21; Verame, Sublimes Cartes á Jouer, p.60.This design was commissioned by the Régie administration in 1808 and finally published by Didot in 1810. However it did not find favour with the public and was quickly replaced. Therefore packs with this short-lived design are most uncommon.
* French costume playing cards. Fashion plate pack, Paris: Migeon, circa 1850, a complete deck of 52 hand-coloured lithographed playing cards (French suits), single-figured courts displaying contemporary fashions, KS with maker's name, dusty, some toning, scarce spotting and minor marks, some pip cards creased, AS with small corner chip, 4S soiled, versos plain pink, each card 84 x 56 mm, together with: Cartes Parisiennes, Paris: [for] Le Caméléon, ou le Propagateur des Modes, circa 1850, a complete deck of 52 hand-coloured engraved playing cards (French suits), all pip signs gilt (lightly rubbed in places), single-figured courts displaying contemporary fashions, JS with engraver's name Beyer, JH with artist's name Janet-Lange, and with address of the publisher, JD with printer's name Pierrat, aces with decorative gilt garlands around pip signs, dusty, occasional minor spots or marks (mainly to pip cards), versos plain blue, each card 86 x 55 mm, plus: Cartes françaises avec personnages anglais, Paris: O. Gibert, circa 1856, a complete deck of 52 hand-coloured engraved playing cards (French suits), single-figured courts, the kings and queens portraying named historic British characters, the jacks in historic costume, JS with maker's name, some light spotting or brown marks (mainly to pip cards), versos plain blue, each card 84 x 56 mm, with two other French costume decks: one by Avril, circa 1865, single-figured courts (using Gibert's plates), kings and queens portraying named historic French characters, 52 complete; the other by Le Bourgeois, circa 1870, historic British characters deck (as Gibert above), with scenic aces, imprint on all aces and courts, rounded corners, gilt edges, 52 complete, a quantity of cards from each deck mounted with photo corners onto 5 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: Cartorama 63 #68 (with vari-coloured suit signs); Cary, FRA 349 (the later Le Bourgeois edition); Fournier, France 249 (the later Le Bourgeois edition); Ortiz-Patiño #46 (with scenic aces).Second item: Cary, FRA 388; Tilley, p.158. Pierrat is known to have printed Cartes Parisiennes for Le Caméléon (see Verame, Sublimes Cartes á Jouer, p.108 for an example).Third item: Cartorama 58 #100 (the much later Le Bourgeois edition); Cary, FRA 346 (the later Avril edition).
* English non-standard playing cards. Shakespearean Playing Cards, Munich Lion-Brew Company, circa 1910, a complete deck of 52 + 1 colour lithographed playing cards (French suits), double-ended courts portraying characters from Shakespeare's plays, designed by Frederic Colin Tilney, with jester Touchstone as the joker, each named and with suitable quote alongside, decorative ace of spades with maker's details amidst a foliate design with two lions, indices, dusty, some minor marks, few pip cards with minor edge/corner crease, KS with strong corner crease, JS with crease affecting one suit sign, rounded corners, versos elaborate yellow and red design incorporating lions and maker's name, each card 91 x 61 mm, with original box (defective), together with: Shakespeare Playing Cards, C.W. Faulkner & Co Ltd, 1905, a complete deck of 52 + 2 chromolithographed playing cards (French suits), double-ended courts portraying characters from Shakespeare's plays, based on paintings by John H. Bacon, each named on the accompanying title card, the joker is a jester on a donkey, ace of spades with maker's details, indices, lightly dusty, few very minor marks, title card with horizontal crease below text, rounded gilt corners, versos ornamental design in shades of brown/orange, each card 92 x 60 mm, with original two-part box stating C.W. Faulkner & Co Ltd, plus: Chinese Euchre deck, Bijou Stationary (ie. Mullord Brothers), circa 1880, a complete (though probably mixed) deck of 32 Oriental-themed playing cards, lithographed with metallic inks, plus instruction card and two blank thick packing cards, non-standard suits: frogs/toads (copper/bronze), dragons (silver), cats (pale gold) and birds (yellow gold), full length courts depicting comic Chinese characters with a 3-line rhyme beneath (relating to the appropriate suit animal), probably a mixed deck as 7 of frogs is silver (not copper) and 7 of cats is silver (not pale gold), strangely there is an additional 6 of dragons card (no 6s normally in a Euchre deck), generally rubbed (especially king of birds), frog courts each with horizontal crease (faintly to jack), square corners, versos plain black, each card approximately 103 x 68 mm, with original decorative titled box, stating 'Bijou Stationary', and with: Royal Geographical Whist, Nash, Waters & Nash of Bournemouth & Poole (?), circa 1880, the complete deck of 52 colour lithographed playing cards, each suit representing a continent and printed in a single colour: Europe (blue), Asia (purple), America (red) & Africa (black), the numbered pip cards with views from suitable countries, courts with portraits of relevant named people, aces show a globe with an outline of the continent, toned and dusty, spotting, finger-soiling to edges, light wear to few corners, Asia 5 with short vertical crease, Europe 2 with corner crease, slightly rounded corners, versos mottled pink, each card 95 x 65 mm, with a photocopy of the original rules leaflet, a quantity of cards from each deck mounted with photo corners onto 4 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, each board 54.5 x 40.5 cm and similarQTY: (4)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry, The Playing-Cards of the World, [457]; Cartorama 62 #189.This pack, like that published by Swan Sonnenschein, was printed by Bemrose & Sons Ltd, as stated on the ace of spades.Second item: Darbyshire, Bargains! The History & Games of C.W. Faulkner & Co., pp.26-29.This pack was printed by Dondorf and is virtually identical to their own Shakespeare pack (Braun, Die Spielkarten B. Dondorf, BD 1895/1). C.W. Faulkner became a Limited Company in 1905.Third item: British Museum 1896,0501.1079 (Schreiber, American 9). This deck, advertised as both Chinese and Japanese Euchre, seems to be most uncommon. We have found only two other examples: the British Museum (BM) incomplete deck (incorrectly attributed to America), and that described in Neil Darbyshire's Comical Card Games by The Mullord Brothers (pp.42-43). Like ours, his deck is also mixed. Interestingly, his suit colours and those of the BM copy are different to our pack, supporting his theory that the game was reprinted with different allocation of colour. The BM copy also has additional 6s, not used for Euchre.Last item: The Playing Card, vol.XXVII no.4 (Jan/Feb 1999), p.121. This is the only mention of this unusual geographical whist pack we have found. The photocopy rules give the name of the printers Nash, Waters & Nash at the foot. They were in business under this name in 1881, and it is certainly possible that they not only printed the leaflet but also the cards, perhaps experimenting with playing card production. The rules explains that the rank order of the courts is full-figure, then half-figure, with the busts being the lowest rank. The leaflet also describes how the pack can be used to play Snap and a Geography game in addition to whist.
* French playing cards. Cartes Historiques, Paris: Mlle Hautot & M. Paris, circa 1865, a complete deck of 52 chromolithographed and gilt playing cards (modified French suits), heart and diamond suit signs as gilt outlines containing birds or fruits respectively, clubs gilt with overprinted violas, pike-heads instead of spades, single figure courts in historical costume, with traditional Paris pattern names, KD with B.S.G.D.G. to bottom corner, dusty, some toning and (generally minor) marks or spots, JH with faint edge crease, square corners, gilt edges, versos plain pale green, each card 98 x 62 mm, 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 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Berry, Playing-Cards of the World [499]; Cartorama 63 #71; Cary, FRA 348; Verame (1989), illustrated p.70.Verame calls these cards Jeu de l'Antiquité et de la Légende. Berry details how the booklet which accompanies the pack he lists enables him to date their production to around 1865, and also how the patent (BSGDG) associated with this design was registered in 1863. Apparently they were printed by Hangard-Maugé.
* English playing cards. Standard pattern Faro/Bassette pack, Edward Hall, circa 1803, a complete deck of 52 stencil coloured woodblock playing cards (French suits), reduced size with wide borders, single-figured courts with type I eyes, Garter type A4a ace of spades (die no.4), two court cards with a tiny brown mark to blank border, KD with very small area of surface abrasion to blank border, versos plain white, each card 87 x 57 mm, together with: Standard pattern type II, Hall & Son, circa 1810, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single-figure courts, KH with initials HC to axe haft, Garter type A5 ace of spades (die no.76, 1st recut), AC with Superfine ink stamp, lightly toned and dusty, two small wormholes affecting 4 court cards and 3 pip cards, several pip cards and 2 court cards with surface loss affecting suit signs (black pips sometimes neatly re-coloured), on QD also slightly affecting bottom of costume, gilt edges, versos plain white, each card 88 x 61 mm, plus: Standard pattern type HB2, Hall & Bancks, circa 1830, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single-figure courts, Old Frizzle ace of spades, lightly toned and dusty, 6H & 8H with some brown marks, minor mark to KH upper border, versos plain green-blue, each card 93 x 64 mm, with a Hall & Bancks Piquet deck, circa 1830, 30 (of 32, without QC & 8D), type II courts, with clean-shaven kings & jacks, Old Frizzle AS, lightly toned and dusty, AS with light brown mark horizontally, 7H with short crease, versos plain blue, each card 85 x 58 mm, and another 20 English late 19th-early 20th century decks, comprising: 4 packs by Bancks Brothers late Hunt, circa 1865-1880, including 1 pack with HB1 courts, one with HB1.1, and two with HB6 type courts - one being smaller format and printed in turquoise/red/yellow; five Goodall packs, circa 1860-1902), including one double-ended standard pattern with Old Frizzle and fuchsias versos, one Scientific Whist deck, Historic Playing Cards deck (with original box plus 2 advertising slips), Historic Shakespeare pack (with original box), Japanesque Playing Cards (with original box); one Heartsette pack, by Herbert Fitch of London, 1883 (with original box & rules booklet); De La Rue pack with Goodall AS (circa 1925); and 9 London Playing Card Company packs (one lacking KC, another without 3D & 8H), including a Copechat Paramount Sorting System deck, some with original box, all complete unless mentioned above, various conditions, a quantity of cards from all but one deck mounted with photo corners onto 15 display boards/cards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40.5 cm and similar QTY: (24)
* French transformation playing cards. Cartes á Rire, Jeu des Journaux, Paris: Grandebes, circa 1819, 48 (of 52, without QC, A & 4 & KS) hand coloured engraved and captioned playing cards (French suits), designs attributed to Baron Louis Athalin, full-length courts representing Parisian newspapers, pip cards with humerous scenes, 7D probably added from another deck, dusty, somewhat soiled and marked, some stains, few (mainly corner) creases, 5D with closed 1cm ege tear, versos plain white, each card 90 x 61 mm, with original (very damaged) two-part box, label of A. Giroux & Cie, Paris to inner lip, together with: Belgian Animal Tarot, Ghent: J. De Porre, circa 1795, a shortened deck of 52 stencil coloured woodcut playing cards (French suits), comprising 12 courts (without caveliers) and 40 pip cards only (without trumps), single figure court cards, JS holding an armorial, JH with armorial and banner giving maker's details, some toning and spotting (mainly to pips), JH darkened and dusty, versos red dots and dotted flowers, each card 110 x 60 mm, plus: Spanish Archaic Pattern, Bayonne: Bernain (Antoine Joseph?), circa 1812, 36 (of 48, without 3, 4 & 5 of each suit) stencil coloured woodcut playing cards (Spanish suits), single figure courts, each stamped with 'France' and 'Bernain', some toning, courts and aces each with faint impression of a previous ownership signature, 7 of swords with some pale brown staining, versos plain white, each card 87 x 58 mm, and with another part pack: Theatrical playing cards, Strasbourg: Pflüger, circa 1850, 12 (of 52) hand coloured wood engraved playing cards (French suits), comprising all courts except QH and only one ace (diamonds), double-ended courts portraying named characters from theatre plays, each with central bar containing 'France Pflüger Strasbourg', the ace showing two scenes from 'Don Quichotte', lightly toned, corner chips and wear, JC with small stained surface abrasion to blank area, versos pale pink dotted swirls, each card 87 x 61 mm, a quantity of cards from each pack mounted with photo corners onto 5 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 59 x 42 cm and similarQTY: (4)NOTE:Provenance: Collection of Dudley Ollis.First item: D'Allemagne, Les Cartes á Jouer... I, pp.260-264; Berry, Playing-Cards of the World [71] & [659]; British Museum 1896,0501.731.1-52 (Schreiber, French 97); Cary, FRA 325; Field #27; Morley pp.120-122; WWPCM00582.Second item: Mann, All Cards on the Table #221.
* English playing cards. Standard pattern type I, Henry Hart, circa 1780, a complete deck of 52 stencil coloured woodblock playing cards (French suits), single figure courts, KH with faint initials HC to axe-haft, Exportation Garter type A8 ace of spades with QVI (die no.44, 1st recut), one way pips, browned, rubbed and soiled, 3 pip cards & JC with worming centrally (that to JC not full thickness), 2 pip cards & KC with single worm hole centrally, 2 pip cards & KS with small surface loss (from single worm graze), some slight delaminating (interestingly revealing 4 layers, not the 3 expected), versos plain white, each card 94 x 64 mm, together with: Standard pattern type II, Josiah Stone, circa 1812, 51 (of 52, without 10 of diamonds) stencil coloured woodblock playing cards (French suits), single figure courts, KH with initials HM to axe-haft, Garter type A5 ace of spades (die no.9, not recut), browned, soiled and worn, some creases and corner losses, larger loss to 5S (one suit sign lost), additional 5D (from another similar pack), versos plain white, each card 93 x 64 mm, with contemporary two-piece box covered in patterned paper, plus: Standard pack extension cards, unknown makers, circa 1810?, three sets of 24 woodblock playing cards, each apparently made to extend a standard pack for an as yet unknown game, each set with 3 suits of 8 (French suits), comprising pip cards 11-18 in hearts, clubs and diamonds only, the first set with the usual layout of pip signs and an additional central X to each card (ie. 10 + a number of pips from one to 8), one set with a single pip sign to each card and the Arabic numerals 11-18 beneath, and the final set similar to the second but cards 11 & 12 each with 11 or 12 pip signs instead of a numeral, the first set browned and soiled, second set with very scarce minor spots, third set lightly toned, a little dusty, very scarce minor spots, versos plain white, each card 93 x 64 mm (1st set) or 92 x 63 mm (2nd & 3rd sets), with: Standard pattern pack, James English, circa 1880, a complete deck of 52 colour lithographed playing cards (French suits), double-figure type E2 courts, English type E2.2 ace of spades, indices, toned, soiled and worn, some tears and losses, rounded corners, versos with portrait of a Victorian army general (possibly Wolseley) within decorative border, in pale burgundy, each card 88 x 63 mm, and with a pack from the Peerless Card Co., circa 1885, 48 (of 52, without K & JC, Q & 10D), poor condition, plus a deck by Hunt's Card Manufacturing Company Ltd, circa 1875, 52 complete, type H1 courts, soiled, a quantity of cards from each deck mounted with photo corners onto 6 display boards/cards, encapsulated in clear plastic (not examined out of boards), the remainder in plastic bags, the boards 54.5 x 42 cm and similarQTY: (8)NOTE:Provenance: Collection of Dudley Ollis.First item: Plainbacks A30. Hart aces of spades can often be found with cards made by other (sometimes American) makers. However this appears to be a genuine Hart deck and therefore an relatively uncommon survival from this 18th century card maker. Second item: Fournier, British 107; Plainbacks B7.Third item(s): These cards apparently were produced for an unknown card game in which the spades and court cards would be discarded from a standard pack, and the remaining suits extended to 18 by using these cards.
Glossy figural seated surrounded by books, dressed in brown suit with professor's cape and glasses on top his head and on his leg. Royal Doulton backstamp. Artist: M. NicollIssued: 1965 - 1981Dimensions: 6"L x 5"W x 8.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Cream color matte figure of a sharply dressed lady in a red suit and wide brimmed hat with her dog standing next to her. Florence Sculture d'Arte affixed label. Artist: Giuseppe ArmaniIssued: c. 1997Dimensions: 5.5"L x 4"W x 13.25"HManufacturer: Florence Sculture d'ArteCondition: Age related wear.
A WILLIAM & MARY FIGURED WALNUT AND 'HERRINGBONE' BANDED CHEST OF DRAWERS CIRCA 1690 89.5cm high, 97cm wide, 58.5cm deep Condition Report: Chest with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old splits and chips. Old repairs with small amounts of filler used in places - see images. Handles and escutcheons are replacements but are in period taste and suit the piece well. Two lock plates are old replacements, the others appear original. No key is present but all locks are open. The expected evidence of old worm in some places. Later runner to the undersides of the drawers. Some later blocks to the interior of the carcass. Drawer linings with some old repairs in places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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