* English fortune telling pack. Love fortune cards, 1784, 23 (of 48) playing cards numbered sequentially, each with miniature woodcut playing card (hearts and diamonds printed in red), with printed verse below, the text divided into two answers, one for 'The Lady', the other for 'The Gentleman', plus an accompanying instruction card 'The Table of Fortune', giving directions for using the pack, with the maker's pseudonym 'Cornelius Agrippa, Conjuror' and pseudo-address 'From my residence in the Satalites [sic] of Jupiter, 1784', dusty, some finger-soiling, light stains and creases, few cards rubbed in places, card 10 (8 of hearts) with closed edge tear and with loss to upper left corner, instruction card soiled and rubbed, probably plain versos, each card 95 x 65 mm, all cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (none examined out of boards), the boards 54.5 x 40 cm and smallerQTY: (1)NOTE:This rare fortune telling pack has been well-used, judging by the number of pin-pricks in the Table of Fortune. This example comprises cards 1-2, 6, 8, 10, 12-13, 21, 25, 27, 32-34, 36, 38-44, 46, & 48, in addition to the instruction card.
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* Bohemian playing cards. Upper Austrian Animal Tarot, Prague: Wenzel Sewera, 1858, a complete deck of 54 stencil coloured woodcut playing cards (French suits), double-ended courts, jacks of clubs and diamonds with maker's details, double-ended trumps with Roman numerals I-XXI to two corners, trump I with maker's details, tax stamp and date stamp, trump XXI with Industrie und Gluck, some light soiling or minor marks, few pip cards and trump X with pale brown stain, versos red & yellow paste marbled, each card 105 x 52 mm, 41 cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder contained in a plastic bag, the boards 42 x 59.5 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis, previously from the collection of David Temperley.Altfahrt, Makers of Playing-Cards in Prague (IPCS Papers #8), pp.61-62; Kaplan I, p.303; Mann, All Cards on the Table, pp.109-110; Reisinger, Tarocke, volume I, pp.274-276 (this actual pack illustrated); World Web Playing Cards Museum, WWPCM00497.The tax stamp on trump I, in use between 1857-1858/59, agrees with the date stamp. However, it is very possible that the deck was produced somewhat earlier and only stamped in 1858 ready for sale. This pack appears to be indentical with that illustrated in both Altfahrt and Kaplan, except for their trump I KARTEN tax stamp which is dated 1849. Intriguingly, the second tax stamp that appears on their trump I is, according to Peter Endebrock one that was used later, between 1858/59-1877.
Middleton (Christopher). Poems, 1st edition, London: The Fortune Press, 1944, original red cloth in pale blue dustwrapper, 8vo, authors presentation copy inscribed to front endpaper 'K. J. F. Bickersteth under whose auspices the seed of this book took to earth. In gratitude, Christopher Middleton, July 1944', together withWoodcock (George). The White Island, 1st edition, Fortune Press [1940], original black cloth in grey dustwrapper, spine darkened, lightly rubbed to extremities, 8vo, authors presentation copy, inscribed 'to Derek Savage in friendship, from George Woodcock. Sept. 1940', plusRodgers (W. R.). Awake! and other Poems, reprinted, Secker & Warburg, 1941, some light spotting, original cloth, rubbed and some spotting, spine discoloured, 8vo, with pencil ownership inscription to front endpaper 'from W. S. Graham, Cornwall August 1944', and Corman (Cid). A Table in Provence, poems by Cid Corman, drawings by Barnet Rubinstein, 1st edition, Origin Press, 1959, monochrome collotype reproductions after Rubinstein, original cloth-backed card covers, rubbed and somewhat toned, oblong folio, limited edition 168/200, signed by the author, and other modern poetry, including Robert Kelly, Songs I-XXX, Cambridge, Massachusetts: Pym-Randall Press 1968, limited signed edition 42/90 from a total edition of 1000, Stuart Montgomery, Circe & Shabby Sunshine 1st editions 1969/73 respectively, each inscribed by the author, Les A, Murray, The Boys who Stole the Funeral, 1st edition, 1980, Lorine Niedecker, My Life by Water, Collected Poems 1936-1968, 1st edition, Fulcrum Press, 1970, limited signed editon 80/100, Robert Garioch, Chuckies on the Cairn, 1ste ediiton, Chalmers Press, circa 1940, signed, Anne Stevenson, William Corbett, Laura Riding, FT Prince, Bernard Kops (Poems 1955, limited signed edition of 100 copies), Alan Halsey, Geraldine Monk, and others, many signed, original cloth, and many in original printed wrappers, 8vo or slim 8voQTY: (approx. 90)
![* Italian playing cards. Lyons pattern II, Bologna: [Angelo Dalla Casa], circa 1760-1780, a complete deck of 52 copper-engrav](https://cdn.globalauctionplatform.com/6810be4c-aba0-4a1d-b78f-b0050118a8d8/3b5f21ab-f828-478e-8d6f-b01501097957/468x382.jpg)
* Italian playing cards. Lyons pattern II, Bologna: [Angelo Dalla Casa], circa 1760-1780, a complete deck of 52 copper-engraved stencil coloured playing cards (French suits), full-length courts, maker's mark/address on jack of clubs: All' Aquila, generally discoloured and dampstained, some spotting and minor marks, lightly rubbed in places, all spade courts with worm trail below suitmark (affecting hand on king and queen), also single worm hole to 9 & 10 of spades, versos with central figure above All' Aquila maker's mark/address within border of diagonal stripes, turn-over edges, the cards apparently made from just two layers of paper and therefore relatively flimsy with some light cockling/creasing, each card approximately 97 x 53 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (none examined out of board), the remainder contained in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: previously from the collection of Sylvia Mann (inventory number 1419/66). Mentioned in her description of #166 in All Cards on the Table, where she states this pack is made by "All' Aquila" or Angelo Dalla Casa of Bologna.
Cunningham (Joseph Davey). A History of the Sikhs, from the Origin of the Nation to the Battles of the Sutlej, 1st edition, London: John Murray, 1849, folding map frontispiece (with outline colour), folding table, armorial bookplate of Douglas M Hogg to front pastedown, lacking other map, title and half-title supplied in facsimile, lacking final advertisement leaf, final 3 advertisement leaves with upper right-hand corner clipped, toned, endpapers renewed, hinges repaired, later prize calf gilt, later title labels, rubbed, 8vo, with ALS to Cunningham included, signed by Cunningham to versoQTY: (2)NOTE:'In 1837 he was selected by Lord Auckland to join Colonel Claud Wade, who was then the political agent upon the Sikh frontier, as assistant, with the special duty of fortifying Firozpur, the agent's headquarters. This appointment brought him into close connection with the Sikhs, and, as he spent the next eight years of his life in political employments in this part of India, he was able to obtain that thorough knowledge of their manners and customs which makes his History of the Sikhs one of the most valuable books ever published in connection with Indian history. In 1838 he was present at the interview between Lord Auckland and Runjeet Singh, the great Sikh chieftain; in 1839 he accompanied Colonel Wade when he forced the Khyber Pass, and he was promoted first lieutenant on 20 May in that year; in 1840 he was placed in charge of Ludhiana, under G. Russell Clerk, Colonel Wade's successor, and as political officer accompanied Brigadier-general Shelton and his army through the Sikh territory to Peshawur on his way to Cabul, and then accompanied Colonel Wheeler and Dost Muhammad, the deposed ameer of Afghanistan, back to British territory; in 1841 he was sent on a special mission to the principality of Jammu; in 1842 he was present at the interview between Lord Ellenborough and Dost Muhammad and the Sikhs… He spent four years on [the History], and on its publication in 1849 it was received with the greatest favor by the English press, a verdict which posterity has ratified, for it is universally recognized as the one authority upon the subject. But though this history made his name as an historian, it brought him into deep disgrace with his superiors. In his last chapter he treated of the history of the first Sikh war, and in it he made use of the knowledge he had obtained while acting as political agent with the army in the field, and distinctly asserted that two of the Sikh generals, Lal Singh and Tej Singh, were bought. Both Lord Hardinge and Colonel Henry Lawrence, who had acted as political agent after the death of Major Broadfoot, asserted that there had been no private negotiations with any of the Sikh leaders; but the confidential position which Cunningham had held, and still more his disgrace which followed, are strong arguments that such negotiations did pass'. (DNB)
Wilson (James & John). A Journal of the Life of Thomas Story: containing, an account of his Remarkable Convincement of, and Embracing th Principles of Truth, as held by the People called Quakers:..., Newcastle Upon Tyne: printed by Isaac Thompson and Company, 1747, front gutter split, some light toning throughout, contemporary full calf, front board partially detached, boards & spine rubbed with some loss, folio, together with:Blanch Pawlet, printed for, A Collection of Articles, Injunctions, Canons, Orders, Ordinances, & Constitutions Ecclesiastical, with Publick Records of the Church of England,..., 4th impression, London, 1684, 406 pages plus 'The Table of the Principle Matters' to the rear, some light toning & spotting, period inscription to the head of the title page, modern endpapers, modern embossed full calf, 4to, plusThomas Maxey, printed by, Reliquiae Wottonianae. Or a Collection of Lives, Letter, Poems: with Characters of sundry personages:..., 2nd edition, London, 1654, engraved portrait frontispiece plus 2 further portrait plates, 514 pages, margins trimmed, bookplate to the front pastedown, later endpapers, some minor toning throughout, modern calf spine retaining 19th-century full calf boards, some minor rubbing & loss to head & foot, small 8vo, and other 17th - early 20th-century literature, including some French language, many leather bindings, some gilt decorated, some original cloth, some odd volumes, overall condition is generally good/very good, 8vo/4toQTY: (6 shelves)
* Bohemian small Trappola cards. Prague type II pattern, Prague: Jacob Wokaun, circa 1830, a complete deck of 36 stencil coloured engraved playing cards (Italian suits), double-ended courts, ace of batons with maker's details, somewhat dusty, some minor marks, ace & 2 of batons slightly rubbed with tiny surface loss, 2 of cups with central brown mark, versos red & yellow paste marbled, each card approximately 106 x 55 mm, 20 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder contained in a plastic bag, the board 59 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis. Previously from the collections of Sylvia Mann (1806/60); David Temperley.Altfahrt, Makers of Playing-Cards in Prague (IPCS Papers #8), pp.38-40; Cartorama 55, #59; Mann, All Cards on the Table, #16 (this pack illustrated in colour); Ortiz-Patiño 79; Reisinger, Trappola, p.233.
* Slovenian playing cards. Slovanski Tarok, 3rd edition, Ljubljana: Prva Slovanska Tovarna Igralnih Kart, circa 1919, the complete deck of 54 colour lithographed playing cards designed by Hinko Smrekar, fanciful suits (leaves, spearheads, swords hilts, shields), double-ended courts representing Slavic characters, copyright notice on knight of leaves, ace of shields with maker's details, trademark, and two tax stamps (one Austrian and one possibly German - very faint), 4 of shields with maker's details, trumps (with Roman numerals I-XXI to opposite corners) depicting Slavic customs and festivals, lightly toned and dust-soiled, scarce pale spotting (mainly to pips), trump XIX with faint mark to border, square corners, versos black crescents, dots and tiny stars, each card 131 x 75 mm, 41 cards mounted with photo corners onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder contained in a plastic bag, the boards 59.5 x 42 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Bube Dame König (1982) #161; Cary collection, AUS 237; Mann, All Cards on the Table, pp.109 & 165; Reisinger, Tarocke, vol. 6 (3), pp.106/1-8.Reisinger (see above) identifies three editions of this deck, with this third edition having square corners and slightly cropped images compared to the first two. The tax stamps here appear to be the Austrian stamp used between 1882-1899 (as also with the Bube Dame König copy), with possibly a faint purple Duetches Reich stamp (as mentioned in Cary). As the First Slavic Playing Card Factory (Erste Slawische Spielkartenfabriks AG) was not founded until 1910, by Fran ?ebokli and Nikolaj Novakovi?, the Austrian tax stamp must be an older stamp being used beyond its usual date (and therefore misleading). This Slavic Tarot deck was banned by the police in 1916 due to the clear patriotic pro-Slavic motifs, but presumably re-issued after the First World War ended. The use of swords, shields and spears as suit signs indicate armed rebillion, with linden leaves representing Slovenian identity. The cards depict not just Slovenian but also Serbian and Russian peoples and customs.
* Dutch playing cards. Non-standard piquet pack, Amsterdam: David Weege, 1748-1787, 30 (of 32, without king & queen of clubs, plus an extra card) stencil coloured woodcut playing cards, comprising 4 suits of 8 (French suits), each with 3 courts (Heer, Vrouw, Boer), and pips ace & 7-10, additionally the 6 of hearts present, each card with dog-tooth border, jack of spades with maker's initials 'C.V.D.W.', scarce minor marks, few cards with small brown stain to one corner, king of spades with trifling surface loss to one border, ace of spades with corner crease, 6 of hearts a trifle dented, versos black wavy dotted lines between rows of 4-point stars, each card 87 x 56 mm, contained together in 20th century wooden box, lift-off lid with illustration of gentlemen playing cards, the box 11.5 x 8.5 x 4 cmQTY: (1)NOTE:Kenter & Rijnen In de kaart gekeken (1976), Cat.11.David Weege is known to have been active between 1748 and 1787. Sylvia Mann (All Cards on the Table, p.149) mentions these cards are being one of 'a tiny number' of 18th century Dutch non-standard woodcut packs that have survived, and being one of two packs that have very early examples of double-ended courts. Mann describes the jacks in this pack as 'cheerful, plebeain Jacks'. In de kaart gekeken (p.41) points out that this pack is unusual in having an original design, as most Dutch packs were based on the designs of foreign cards.
* Bohemian playing cards. Prager Doppel-Deutsche pattern, Prague: Mathew (Mathias) Mischak, circa 1840, a complete deck of 32 stencil coloured woodcut playing cards (German suits), double-ended courts, daus of bells with maker's details, faint tax stamp (and part of another unknown stamp), and two-tailed Bohemian lion, daus of acorns with Habsburg eagle, much soiled and rubbed, extremities worn, few cards lightly creased, versos very dark green marbling with hint of red, each card approximately 98 x 55 mm, 20 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder contained in a plastic bag, the board 54.5 x 39.5 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis. Previously from the collections of Sylvia Mann (1653/77); David Temperley.Altfahrt, Makers of Playing-Cards in Prague (IPCS Papers #8), pp.63-64 (probably illustrated p.64); Mann, All Cards on the Table, pp.89, 99, & 260 (this actual pack mentioned); Reisinger, Herz, Schelle, Laub, Eichel, vol. 2 pp.148-149 (this pack described & illustrated).Sylvia Mann observes that this particular double-ended pattern has some important differences that separate it from the standard double-ended Bohemian pattern: Klaus Reisinger calls this the Bohemian Type I pattern to differentiate it.
* Italian playing cards. Lorraine pattern in Tuscany, Florence: unknown maker, circa 1818, a complete deck of 52 stencil coloured woodcut playing cards (French suits), 'Firenze' on jack of hearts, tax stamp on jack of spades (used 1816-1820), full length courts with later 19th century ink manuscript ranks added (that to king of spades and jack of hearts removed by abrasion), pip cards with fleur-de-lys watermark, soiled and rubbed, some stains or water damage and marks, few pip cards creased, some singed, versos red small flowers pattern, each card 97 x 63 mm, together with: 'Imperial pattern', Naples: Real Fabrica de Fogli a Contorno, circa 1850, a complete Piquet deck of 32 stencil coloured wood-engraved playing cards (French suits), double-ended courts, faintly printed manufacturers details on jacks of diamonds & clubs, and queen of clubs, Bourbon tax stamp and another stamp on ace of hearts, somewhat dusty, few cards lightly spotted (jack of hearts with abraded spot), 8 of spades lightly scuffed, versos red spots and crescents, each card 88 x 54 mm, plus: Standard Spanish pattern, Naples: probably Real Fabrica de Fogli a Contorno, circa 1850, 44 (of 48, without jack, king & 9 of coins, and 4 of swords) stencil coloured lithographed playing cards (Spanish suits), with pintas, Bourbon tax stamp on 3 of coins, lightly dust-soiled, kings of swords 7 cups with minor surface damage at/near top (that to king of cups stained), versos red spots and crescents (identical to the deck listed above), turn-over edges, each card 95 x 60 mm, 16 or 21 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of board), the remainder contained in plastic bags, the boards 54.5 x 40.5 cm and similarQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First pack: Mann, All Cards on the Table, #173. This pack, and the almost identical pack that Mann describes, must have been almost the last Lorraine pattern decks produced in Florence (see Mann, above). After this date, the purely Florentine patterns were being made. Second pack: British Museum 1938,0813.5.1-32. See also Mann, All Cards on the Table, p.106 (illustrated p.107) for an example with some suits switched.
Yorkshire. Teesdale (Henry & Stocking C.), To the Nobility, Gentry & Clergy of Yorkshire, this map of the county constructed from a survey commenced in the year 1817 & corrected in the years 1827 & 1828 is respectfully dedicated by the proprietors, April 21st, 1818, Teesdale & Co. and C. Stocking, April 21, 1828, large scale engraved map with contemporary hand colouring, sectionalised and laid on linen on three sheets, calligraphic title, compass rose, table of explanation and a table of the altitudes of the principal mountains and an uncoloured engraved vignette of the North West View of York Cathedral, some offsetting from the title, slight spotting, marbled endpapers, edged in green silk, overall size 1840 x 2230 mm, contained in a contemporary blind-stamped gilt morocco book box, some wear and rubbing to the extremitiesQTY: (1)
* Italian playing cards. Dauphiné pattern, Milan, Italy: Gentilini & Zoya, circa 1807, the complete deck of 52 stencil coloured woodcut playing cards (French suits), king of hearts with tax stamp (used 1807-1816), queen of spades with maker's details, jack of spades with Milano, jack of clubs with Basseta, 3 of diamonds with maker's monogram, all pip cards (and likely court cards also) made with heavily watermarked paper showing an eagle, scarce minor marks or finger-soiling, jack of hearts faded, 2 of clubs & 5 of hearts rather marked, 8 of diamonds stained, versos plain blue-grey, each card 79 x 44 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (none examined out of board), the remainder contained in a plastic bag (in a thick card sleeve), the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis, previously from the collection of Sylvia Mann (see: All Cards on the Table #169, illustrated in colour).World Web Playing Cards Museum, WWPCM03444.Basseta is the game for which these cards were obviously intended to be used.
Evelyn (John). Silva: or, A Discourse of Forest-Trees, and the Propagation of Timber in his Majesty's Dominions: as it was delivered in the Royal Society on the 15th Day of October, 1662...., together with an Historical Account of the Sacredness and Use of Standing Groves, York: Printed by A. Ward for J. Dodsley [& others], 1776, engraved portrait frontispiece, 40 plates (1 folding), folding table at rear, occasional spotting and toning, near-contemporary reversed calf, rebacked retaining red morocco title label, board corners neatly repaired, large 4to QTY: (1)NOTE:Nissen BBI 615.
Trevor-Roper (H. R.). Hitler's Table Talk, his private conversations 1941-44, 1st edition, London: Weidenfeld and Nicholson, 1953, signed by the author to the title page, facsimile frontispiece, some light spotting to the text-block, original cloth in dust jacket, spine slightly rubbed to haed & foot with some minor loss, 8vo, together with:Glubb (John Bagot 'Glubb Pasha'), War in the Desert, an R.A.F. frontier campaign, 1st edition, London: Hodder and Stoughton, 1960, monochrome frontispiece & maps, original cloth in dust jacket, covers lightly rubbed, includes a hand written letter by the author, dated 19th March 1956, 8vo, plusAtcherley (harold), War Diary, Singapore, Siam & Burma 1941-1945, 1st edition, privately printed, 2004, inscribed by the author to the front endpaper, monochrome illustrations, original cloth in dust jacket, 8vo, andSosabowski (Stanislaw), Freely I Served, 1st edition, Nashville: The Battery Press, 1982, inscribed & signed by Stan Sosabowski (the author's son) to the half-title, monochrome illustrations, original cloth in dust jacket, spine faded, covers lightly rubbed to head & foot, 8vo, plus other modern military reference, all signed by the authors and/or associated persons, mostly original cloth in dust jackets, G/VG, 8voQTY: (3 shelves & a carton)
Devon. Donn (Benjamin), A Map of the County of Devon with the City & County of Exeter Delineated from an actual Survey on Twelve Sheets..., by Benjamin Donn. Engraved by Thos. Jefferys Geographer to His Majesty..., Printed for the Author, and sold by the Booksellers of Devon; by Mr Johnston, Mr Law & Mr Baldwin, 1765, printed title with a contemporary manuscript ownership signature, 8 index pages including the list of subscribers, key map with slight spotting and staining and 12 (complete) double-page engraved map sheets, all with contemporary wash colouring, elaborate cartouche and compass rose, table of explanation, inset town plans of Plymouth, Exeter, Lundy Island and Stoke Town, each sheet approx. 620 x 490 mm, some offsetting, later endpapers with an old library stamp, modern half morocco with gilt title to spine, slim upright folio, binding size 535 x 380QTY: (1)NOTE:Batten and Bennett. The Printed maps of Devon, number 44. Arguably the best known of all the large-scale county maps due to the 100 Guineas award from the Royal Society of Arts. Donn's map of Devon was the first map to receive the award which had been conceived by the society in 1762. Donn had taken five years to survey the county and claimed to have measured over 6000 miles of roads and rivers. Highly accurate and exhaustively detailed, the map clearly benefits from Donn's training as a mathematician, but the skill of Thomas Jefferys as an engraver cannot be understated. The map was sold in a simple twelve-sheet format for one and a half guineas and with an extra five shillings for colouring. It was also available (as in this example) in a de-luxe state with a title page, printed index, subscribers list and index map for two guineas plus extra for colouring.
Rackham (Arthur, illustrator). Peter Pan in Kensington Gardens, by J. M. Barrie, London: Hodder & Stoughton, 1906, 50 tipped-in colour plates (including frontispiece) with captioned tissue guards, some spotting mostly to initial leaves, original cloth gilt, some wear at head and foot of spine, 4to, together with:Rackham (Arthur, illustrator), The Rhinegold & The Valkyrie, by Richard Wagner, translated by Margaret Armour, 2nd impression, London: William Heinemann; New York: Doubleday, Page & Co., November 1910, 34 tipped-in colour plates (including frontispiece) with captioned tissue guards, some spotting and toning, pictorial endpapers, original cloth gilt, slightly rubbed, 4to,Rackham (Arthur, illustrator), Undine, by De la Motte Fouqué, adapted from the German by W. L. Courtney, London: William Heinemann; New York: Doubleday, Page & Co., 1909, 15 tipped-in colour plates (including frontispiece) with captioned tissue guards, toning and scattered spotting, pictorial endpapers browned, original cloth gilt, upper joint split and two closed tears to spine, board fore-edges worn, 4to, plus others illustrated by Rackham including Alice's Adventures in Wonderland by Lewis Carroll ... with a Poem by Austin Dobson, London: William Heinemann: New York: Doubleday, Page & Co., [1907], A Midsummer-Night's Dream, by William Shakespeare, London: William Heinemann; New York: Doubleday, Page & Co., 1908, The Ingoldsby Legends or Mirth & Marvels, by Thomas Ingoldsby, London: William Heinemann, 1909, Tales from Shakespeare, by Charles & Mary Lamb, London: J. M. Dent; New York: E. P. Dutton & Co., 1909, Arthur Rackham's Book of Pictures, with an introduction by Sir Arthur Quiller-Couch, London: William Heinemann, 1913, The Romance of King Arthur and His Knights of the Round Table, abridged from Malory's Morte d'Arthur by Alfred W. Pollard, London: Macmillan & Co., 1917, The Springtide of Life, Poems of Childhood by Algernon Charles Swinburne, London: William Heinemann, 1918, The Sleeping Beauty, told by C. S. Evans, London: William Heinemann; Philadelphia: J. B. Lippincott Co., 1920, The Compleat Angler, by Izaak Walton, London: George G. Harrap & Co. Ltd., 1931, QTY: (12)
* Belgian playing cards. Provincial variant of the Paris pattern, Belgium?, unknown maker, circa 1810, a complete deck of 52 stencil coloured woodcut playing cards (French suits), double-ended courts, kings and queens named, jack of clubs with letter 'B' centrally, king of diamonds with turban and crescent moons, most courts with fleur de lis, dusty and lightly browned, some light spotting, few pip cards more browned and spotted with some minor stains, one pip cards with corner crease, versos blue floral & foliate pattern, each card 89 x 57 mm, together with: Family of the Paris pattern, Brussels: Kessman-Servaes, circa 1830, a complete deck of 52 stencil coloured woodcut playing cards (French suits), double-ended courts, king of clubs with Brussel, queen of hearts with maker's name, jack of diamonds with J.P. on halberd, somewhat browned and dusty, few minor marks, versos red dots and dotted flowers, each card 88 x 57 mm, plus: Family of the Paris pattern, Liege: J.J. Dubois, circa 1820, 49 (of 52, without queen and 7 of hearts, and ace of clubs) stencil coloured woodcut playing cards, king of spades with maker's name, jack of clubs with A Liege, soiled and worn, 10 of hearts with small loss to one corner, ace of spades corner chipped, versos red stars and wavy dotted lines, each card 84 x 56 mm, 16 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 3 plastic bags, the boards 54.5 x 40.5 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Mann, All Cards on the Table, #133, and World of Playing Cards for similar decks, but lacking the fleur de lis. The WoPC copy also lacks the turban and crescent moons on the king of diamonds (this card not illustrated or described in Mann). This pack is likely to be a type of Provincial Variant F-1.32, a rare example of an intermediate stage between PV1 & PV2.Second item: Cartorama 62 #18 (later example from an unknown maker); Cremers, Cartiers en Wallonie, #50.
A painting of a prince, Jaipur, North India, circa 1890, gouache on paper heightened with gold, shown on a terrace under a columned pavilion hung with pink fabric, seated on a European style chair and wearing a black robe trimmed with gold embroidery, the table behind him with a mirror and before him a table with blue floral tablecloth, books and a vase of flowers, 25.5 x 20.5cm. and a modern manuscript illustration of polo players (2) (VAT charged on hammer price)
Lovers on a terrace, Oudh, North India, late 18th century, opaque pigments on paper heightened with gold and silver, depicted wrapped in each other arms on a canopied bed, with gold patterned jamas adorning their entwined legs, he holds a flower in one hand and they both turn their heads to speak to the servant who brings them a cup and saucer, the moon above reflects in the lake behind them, jewelled vessels on a table below them contain food and drink and the terrace is lit with candles, outer border with repeated pattern of gold flowers, glazed and framed, painting 35.2 x 18.5cm., with border 34 x 25cm.Provenance: Private collection, LondonCondition Report: Glued down on card
Trixon Floor Tom with original skin on top. (Phil Seamen) late 1950s/early 60s. Last remaining piece of the 'Seaman' drum kit.Legendary Drummer who even taught the great Ginger Baker.Phil Seamen English jazz and rock drummer, born 28 August 28 1926 in Burton-on-Trent, Staffordshire, England, died 13 October 1972 in London, England (aged 46).One of Britain's best bebop drummers, he later played a pivotal role in Joe Harriott's free quintet. Resident drummer at Ronnie Scott's between 1964 and 1968. Played with virtually every major British jazz figure, including Tubby Hayes, Kenny Baker, Stan Tracey, Ronnie Scott, Dick Morrissey, Harold McNair, Don Rendell, Victor Feldman, Dizzy Reece, Tony Coe, Tony Lee, and George Chisholm.In his later years he also played with blues and rock units led by Alexis Korner and Ginger Baker.Up for sale is the original Phil Seamen Floor Tom with original top skin still intact. Alas the decal of Trixon has been lost on the drum but is an original. The bottom skin has been replaced.Following is the vendors story in his own words of how he came to own this drum.English jazz and rock drummer, born 28 August 28 1926 in Burton-on-Trent, Staffordshire, England, died 13 October 1972 in London, England (aged 46).One of Britain's best bebop drummers, he later played a pivotal role in Joe Harriott's free quintet. Resident drummer at Ronnie Scott's between 1964 and 1968. Played with virtually every major British jazz figure, including Tubby Hayes, Kenny Baker, Stan Tracey, Ronnie Scott, Dick Morrissey, Harold McNair, Don Rendell, Victor Feldman, Dizzy Reece, Tony Coe, Tony Lee, and George Chisholm.In his later years he also played with blues and rock units led by Alexis Korner and Ginger Baker.Year 1973. I was 9 years old. My mum used to go to a local prize bingo at Burton on Trent Working Men's Club every Tuesday evening. I used to go with her most weeks.I diverse a little, from an early age (4-5) I loved watching people play drums (Top of the Pops etc). I used to put cushions on the floor, find a couple of pencils as sticks and off i'd go. I used to tap out rhythm's on absolutely anything, it used to drive my parents crazy. At the age of 9, my parents bought me an old drum kit. The manufacturer was 'President'. It consisted of Bass Drum, Tom Tom (on the bass), Snare drum, Hi-hat and 1 cymbal on the Bass drum, all pig skin drum heads. It didn't have a floor tom. Anyway, going forward again to 1973. Burton working mens club, Tuesday evening, as usual I went with mum to the bingo. We sat at a table. There was lady who had started to go a few months previous. She seemed a bit of a loner and seemed to always find a table to sit on her own. This particular week, there were no spare tables. She came and sat with me and mum. There wasn't much conversation between us until she saw me doing my usual 'tapping rhythms on the table'. This sparked conversation. She told us her son played drums. At this point we still had no clue who she was, just a lovely old lady. I told her i had a drum kit at home. She asked if I had a floor tom tom. As i mentioned earlier, the kit hadn't got a floor tom. She said 'I have one you can have if you'd like it? Of course, I said yes. My dad went to pick the tom tom up from Outwoods Street where she lived and brought it home on the cross bar of his bike. It was a Trixon tom. It was in a hard tom case with labels on which had 'Oslo, Frankfurt', two of the cities the drum had been. We were still none the wiser to who this drum belonged and who the lady was.The following Tuesday, i went to bingo with mum again. The old lady came and sat with us again. She took this brown crumpled up paper bag out of her shopping bag and gave it to me. Inside were 2 small chinese cymbals (about 8 inch i think they were). She said 'You can have these too if you can use them, but if not I'd like to keep them as they have a sentimental value'. I couldn't take them. They were obviously precious to her. Later that evening, a chap called Dave Farmer who organised the bingo each week came up to me and mum and said 'Do you know who that lady is? It's Mrs Seamen. Phil Seamens mum'. My mum was amazed, me at that stage not so much, as i was 9 years old and hadn't really heard much about him. We were told her Son, Phil had died in London(1972). This drum was part of a Trixon kit he toured with, and as drummers do, over time he had another kit. This kit was set up at his home for him to practice on.Over the next few years, i have to say the floor tom was a welcome addition to my President Kit. I played percussion with Stan Schofield's Accordion Band hence the orange labels of mine on the tom case. In 1975 after my grandfather died, i was bought a brand new kit. My president kit was sold on, but i kept Phil's drum as i'd promised Mrs Seamen i would. It sat in the spare room of my parents house for years.Over time, and doing some research into who Phil was, the importance of the tom started to sink in a little.Recently, i was made aware of a book launch of a biography on Phil's life written by a local chap called Peter Dawn from Woodville. I was asked if I could take the drum along to the launch for people to see. I took it. The response was amazing. People were touching the drum head, kissing their hand then touching it. Some were getting quite emotional. I can't explain how much this got to me. The penny dropped further of just how famous and important Phil actually was. It almost brought me to tears. Whilst at the launch I met another guy 'Arthur Roe' who also knew Mrs Seamen.We shared a few stories. There was one which was indentical. Phil's mum had almost begged both of our mums, not to allow us to go to London to play. This was where her beloved Phil had died of drug related illness. He also told me Mrs Seamen was so heart broken and angry that the thing which Phil loved doing the most, in her mind had led to his death', she threw the rest of his kit in the back of the weekly dust cart collections apart from it's floor tom.I also found out Phil's dad 'Joe' died the following year, in 1973 of cancer. Today, I realise just how hard it must have been for Mrs Seamen to part with the drum but It feels like it was meant to be that it came to me. She'd lost both her husband and son very close together. It kinda explained why she was so quiet at the bingo. Mrs Seamen passed away in 1981. My parents have now both passed away and i feel it's time to sell Phil's tom tom onto someone else who will enjoy it, owning a piece of Jazz music history. Thank you Mrs Seamen and Phil for allowing me to own and play your drum. It's been a privilege. Photocopy and an email can be sent of pictures of Phil playing this actual drum.
A Victorian part canteen of silver Fiddle pattern cutlery, comprising six tablespoons, nine table forks, five dessert spoons and four dessert forks, London 1847 and 1849 by Joseph & Albert Savory, together with three Scottish silver Fiddle pattern table forks, Edinburgh 1851 by James McKay, total weight 1830.9g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George V silver mounted Wedgwood blue jasperware biscuit barrel and cover with swing handle, Chester 1924 by Barker Brothers, total height 21.5cm, and a group of other silver and silver mounted items, including a pair of cut glass knife rests, Chester 1913, an egg cup with integral circular stand, Birmingham 1958, and a pair of cylindrical dressing table jars and screw tops, London 1903 by Drew & Sons, weighable items 262g, together with a square cut glass inkwell with hinged lid.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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