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An 18th century George III oak bureau having brass fittings and scrolled pull handles. The front folds down opening to reveal an appointed writing table desk/ interior with hidden compartments. Two twin drawers over a bank of two large drawers. Raised on scroll feet. AF. Measures approx 99 x 87 x 50cm
An early 20th century mahogany occasional table. Of circular shaped form with turned central column with carved splayed tripod legs. Together with a Queen Anne walnut hall / bedside / ladies writing console table with metal pendant pulls raised on cabriole legs. Measures approx.
Hallmarked silver desk stand with glass inkwell to centre, Chester 1901, maker George Nathan & Ridley Hayes, length 20cm, heart shaped bon bon dish, Birmingham, date letter indistinct, maker Levi & Salaman and a hallmarked silver topped dressing table pot, weight excluding glass parts 136g
George V hallmarked silver dressing table tray with neoclassical floral swag decoration, Birmingham 1911, maker's mark rubbed, length 24cm, pair of Edward VII hallmarked silver bon bon dishes, Chester 1907, maker Jay, Richard Attenborough Co Ltd, hallmarked silver lidded dressing table pot and hallmarked silver and other dressing table items including scissors, 184g weighable silver
Georgian and later hallmarked silver cutlery comprising pair of Bateman serving spoons, fiddle pattern table spoon, five tea or coffee spoons, sugar nips, silver handled bread knife and butter knife, cased set of silver handled knives and a Carr silver mounted clock, height 14cm, 260g weighable silver
Milne (A.A.) The House at Pooh Corner, limited deluxe edition issue of 20 copies, London: Methuen & Co., 1928, illustrations by E.H. Shepard, original vellum gilt, contained in cloth solander box, 4toQTY: (1)NOTE:Limited edition of 20 copies on Japanese vellum. This copy inscribed "This is a presentation copy for A.A. Milne, esq", and signed by A.A. Milne and E.H. Shepard beneath, and inscribed in blue ink by A.A. Milne "and a wedding presentation copy for Priscilla, with love and best wishes from Blue, 21.xi..51"Bound-in with adhesive tape to rear endpaper and pastedown are two letters from the author to Priscilla Chester-Master, on Cotchford Farm, Hartfield, Sussex headed paper, the first dated 1. ix. 51, "I should have sent the enclosed before but I wanted to be sure what the latest official rates were for High-Class-Typing-by-Oxford-Trained-Amanuensis and now I have found out here is a cheque with my love and my thanks. You have really been very helpful, and if you didn't go running around the country marrying farmers, Heaven knows what we mightn't have written next. As it is, I shall probably go in for sculpture instead. It seems easier. And you, poor child, will waste your talents on monthly returns, in triplicate of artificial manures and oil-cake, Ah me!, Yours affectionately and gratefully, Blue".The other letter, dated November 21, 1951, reads "All luck, most dear Priscilla. My thoughts for you would fill a whole book of moods and tenses; But my amanuensis has left me, Fate has blessed her with a better master (Chester-with). A.A. Milne".The dedicatee was Priscilla Lutyens (great niece of architect Sir Edwin Lutyens), A.A. Milne's neighbour at Posingford Farm. She would walk across the fields to Cotchford Farm to type the manuscript for his collection of stories A Table Near the Band (1950). She continued typing for him until her engagement to Richard Chester-Master, and remained in contact with him until his death in 1956.'Blue' was A.A. Milne's nickname and used by his close friends and family, apparently because of the colour of his eyes but also perhaps due to his perpetual glum demeanour.The proceeds from the sale will be donated to the Bristol Children's Hospital.
Finley (Anthony). A New General Atlas, Comprising a Complete set of Maps, Representing the Grand Divisions of the Globe, together with the several Empires, Kingdoms and States in the World; compiled from the best authorities and corrected by the most recent discoveries, Philadelphia, 1828, calligraphic title page, index and table, all with some staining, 57 engraved maps with contemporary wash colouring (of 58, lacking South America) and two comparison plates, slight dust soiling, occasional ink and pencil marginalia, later endpapers, old library stamp to verso of the title page, some adhesion scaring to the front endpaper and pastedown where old labels have been removed, modern quarter morocco with gilt title to the spine, large 4to, binding size 355 x 280 mmQTY: (1)NOTE:Sold as a collection of maps, not subject to return.
* Italian Iron Crown Tarot. Corona Ferrea, Milan, Italy: L. Lamperti (for F. Gumppenberg), 1847, the complete deck of 78 stencil coloured engraved playing cards, comprising 4 suits of 14 (French suits), each with pip cards ace-10, and 4 double-ended court cards depicting people connected with the Iron Crown, with Italian captions, jack of diamonds with printed maker's name Gumppenberg Milano, plus maker's ink stamp L. Lamperti Mil, and Lombardy tax stamp dated 1847, ace of diamonds with maker's details (Gumppenberg), plus 22 trump cards, comprising 21 trumps (bearing double-ended Roman numerals I-XXI), depicting full-length scenes from the history of the Iron Crown between 590-1558, and captioned Fool (Excusée) card, dusty, some minor marks, spotting or finger-soiling, some trumps with light discolouration to end panels, trump I with one end panel rubbed, versos pattern of blue dots & dotted flowers, each card 97 x 52 mm, 41 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 55 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.See Fournier Italy 57, Kaplan II, p.442-443 and https://www.wopc.co.uk/italy/solleone/corona-ferrea for the 20th century facsimile version of this pack. This original 19th century pack appears to be extremely scarce, not found in either of the above collections, nor in Cary collection, British Museum, Berry (Playing Cards of the World), Waddington collection, Mann (All Cards on the Table), or Ortiz-Patiño collection. The only other original deck found is that in: Reisinger, Tarocke, vol. 1 p.450 (the pack more fully illustrated and described on pp.447-449 is again a facsimile).Ferdinando Gumppenberg has been described as, "ingenious in the field of playing card production" (according to the publisher Osvaldo Menegazzi: see https://www.wopc.co.uk/italy/gumppenberg/). The World of Playing Cards website mentions that Gumppenberg’s son and successor Lattanzio Lamperti published this deck in the 1840s as a probable reissue of an earlier pack. According to the 7bellonline.it website (https://www.7bellonline.it/cartedagioco/fabbricanti/?maker=gumppenberg), Gumppenberg did not hand over the business to his son until 1848, yet our example has the ink stamp of L. Lamperti, indicating that the son was already in the process of taking over the business in 1847.
* Belgian playing cards. Cartes Moyen-Age, 1st edition?, Bruges: E.A. Daveluy, circa 1840s, a complete deck of 52 colour lithographed porcelain playing cards (French suits), double-ended medieval fantasy style courts with landscape backgrounds, each end slightly differing, ace of diamonds with title, ace of hearts with Daveluy, Breveté Bruges, no indices, square-cornered gold borders, some light dust-soiling, rubbed in places, especially affecting some black pip cards, few minor marks, 2 of diamonds with small crease near one edge, queen of diamonds with rubbed crease to blank sky area, versos plain white, each card 88 x 58 mm, together with: Cartes Brevetées, Bruges: E.A. Daveluy, circa 1850, a complete deck of 52 colour lithographed playing cards (French suits), double-ended courts, depicting named historical characters (jacks as jesters) with landscape backgrounds, each end slightly differing, king of spades with title, aces decorated with plants and shells, lightly browned, few minor spots or marks, jack of spades with brown stain to one corner, one pip card with corner crease, versos red dots and dotted circles, each card 88 x 58 mm, plus: Cartes Moyen-Age, Bruges: E.A. Daveluy, circa 1850, a complete deck of 52 colour lithographed porcelain playing cards (French suits), double-ended medieval fantasy style courts with landscape backgrounds, each end slightly differing, ace of diamonds with title, ace of hearts with Daveluy, Breveté Bruges, no indices, round-cornered gold borders, dusty, somewhat soiled and rubbed, few minor creases, versos pale pink with gold dots and dotted circles, each card 88 x 58 mm, original slipcase box with lid, front with jack of clubs, worn, two sides of lid replaced, 16 or 17 cards from each deck mounted with photo corners onto 3 display boards, encapsulated in clear plastic (not examined out of boards), the remainder contained in plastic bags, each board 54.5 x 40.5 cm and similarQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First and third items: Cary collection, Bel 41 & 42; Daveluy 18; Fournier, Belgium 15; Mann, All Cards on the Table, 194; Both packs of Cartes Moyen-Age are on thin glazed 'porcelain' paper. The first pack listed appears to be a very early edition - possibly the first - of this much-repeated design. We have found no other example like this, with beards as well as moustaches for jacks (except for the notably clean-shaven jack of spades), and with square corners to both the cards and their gold borders. The third pack listed here agrees with Mann 194 (also with Daveluy 18), which she describes as being one of the earliest designs of this pack and dates it to circa 1850. All other examples we have seen show moustaches (only) for all jacks, and later designs include indices, crown over the king suit signs, and eventually rounded corners. Therefore we suggest that our first pack is very possibly the first Cartes Moyen-Age design that Daveluy produced. Daveluy was printing playing cards from around 1840, and filed his patent for chromolithographic production in 1847.Second item: Cartorama 62 #22; Cary collection, Belgium 43 (similar); Daveluy 15.
Rengifo (Juan Diaz). Arte Poetica Espanola, con una fertilissima sylva de consonantes comunes, proprios, esdruxulos, y reflexos, y vn diuino Eestimulo del Amor de Dios, 1st edition, Salamanca: Miguel Serrano de Vargas, 1592, [12], 324, 40 pp. (pi4, *2, A-2R4, 2S2, a-e4), old ownership inscription to foot of title (probably late 17th or early 18th century), folding letterpress table, some manuscript additions to the lists of vocabulary, a few marks and crease to title, small light waterstain to foot of first few leaves, contemporary limp vellum, yapp fore-edges, lightly rubbed and marked, lacks ties, 4to (198 x 144 mm)QTY: (1)NOTE:Provenance: Jesuit College of Vergara (inscription to foot of title-page).Palau 72824.Rare. Only one copy in the UK (Bodleian). Juan Diaz Rengifo was the pseudonym (using his brother's name) of the Jesuit father Diego Garcia (1553/4-1615) who was born in Avila, and studied theology at the University of Salamanca. His Arte Poetica Espanola became the standard manual of poetic metre during the Spanish Golden Age in the 17th and 18th centuries. As a poetry manual, the first section explains various poetic forms and meters, giving brief examples of each. The Divino Estimulo del Amor de Dios (Divine Stimulus of God’s Love) is then offered as a more extensive example of the application of rhyme and meter. The final part of the book has a glossary of rhyming words to be used in writing poetry with the silva meter.
* English musical playing cards. The Beggar's Opera, printed for Carington Bowles, No. 69 in St. Pauls Church Yard, London, circa 1770, the complete deck of 52 engraved playing cards (French suits), red suits with stencil coloured pips, each card with music and lyrics from the opera, and miniature playing card to upper left corner, no tax stamp, maker's details on king of clubs, 10 of spades and ace of hearts, generally lightly toned, some finger-soiling and marks, knave of hearts with small chip and tear to top edge, ace of hearts with previously repaired surface tear at upper left corner, king of clubs with narrow horizontal brown stain (and associated very slight surface loss in places), king of diamonds final lines of text lightly rubbed, 5 of diamonds lightly creased, 4 of diamonds with larger brown mark, square corners a little worn, some cards close-trimmed (as usual), affecting some borders, rarely clipping text or music, plain versos, each card approximately 95 x 63 mm, all cards mounted with photo corners onto 3 display boards, encapsulated in clear plastic (not examined out of boards), each board 40 x 54.5 cm, together with a folder of notes (printed and handwritten) mostly regarding the Beggar's Opera on which the cards are based, including manuscript notes prepared (presumably by Dudley Ollis) for a talk on this themeQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.Hargrave, pp.197-201; Mann (All Cards on the Table) 264; Ortiz-Patiño 13; WCMPC Collection Acquisition No. 451.John Bowles probably produced the first set of playing cards based on the Beggar's Opera soon after it opened in 1728. The great popularity of the opera meant the pack was reprinted often during the next few decades, first by John and later by his son Carington, who took over the business of his uncle Thomas Bowles II in 1764. Carington is known to have been working from 69 St. Paul's Churchyard by 1766. Packs produced after 1765 had a duty ace, rather than a tax stamp. However, the duty ace requirement was sometimes avoided by ingenious card-makers, as here. The last known Beggar's Opera pack was published by Carington's son and successor Henry (under the imprint Bowles & Carver) in 1795.
Swammerdam (Jan). Historia Insectorum Generalis, ofte Algemeene Verhandeling van de Bloedeloose Dierkens, Utrecht: Meinardus van Dreunen, 1669, half-title, 11 engraved plates only of 13 (including 8 folding, lacking plates 3 & 10), folding table, some browning to plates, contemporary vellum, small 4toQTY: (1)NOTE:Garrison & Morton 294; Nissen ZBI 4052.Jan Swammerdam (1637-1680), was 'one of the greatest of the early microscopists, spent much time on the study of insects, and mapped out a natural classification of them' (Garrison & Morton).
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1177565 item(s)/page