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Costume playing cards. Cartes Parisiennes, Paris, France: O. Gibert, circa 1850, printed title card, the complete deck of 52 etched playing cards, comprising 4 suits of 13 cards (French suits), each with 10 pip cards, and 3 hand-coloured court cards featuring French historical nobility, on all cards the 'black' suit-signs are printed in gold, the 'red' suit-signs in rose-gold, the king and queen figures named at the foot of their cards, the knaves unnamed, knave of trèfles has 'Gibert à Paris', knave of cÅ“urs has 'France', a trifle toned, some spotting, kings of carreaux & cÅ“urs lightly marked, gilt edges, pale blue versos, each card 83 x 55mm, 17 cards corner mounted onto a display board, encapsulated in clear plastic (not examined out of display board), the remainder loosely contained in a clear plastic bag, the display board 54.5 x 40cmQTY: (2)NOTE:Fournier, France 222; Hargrave, p72; Mann, All Cards on the Table, pp.117-118; Ortiz-Patino collection, 54 & 56; Schreiber, French 75; Tilley, p. 161; Hoffmann, p. 35 (illustration 52b).In All Cards on the Table, Mann describes these (and other similar French fashion-plate packs) as 'well-engraved' and 'much sought after'. The printed title card states Publication des Costumes historiques français et étrangers, 1re série: France: Gibert (sometimes incorrectly spelt Gilbert) also produced similar packs with court cards depicting British historical characters, for an example see Hoffman 52b.
Lenthall (John, publisher). Love Cards, or the Intrigues and Amusements of that Passion Merrily Display'd, London, circa 1712-1717, the complete deck of 52 uncoloured engraved playing cards, each with an illustration on the theme of love, accompanied by two lines of verse below, each upper corner with miniature playing card incorporating suit sign and value, King of Hearts with red tax stamp of crown within filigree border, dust-soiled with some spotting or brown marks, 5 of Hearts somewhat creased with previously repaired short tear (associated slight surface loss), Knave of Hearts minor wear to lower left corner, 10 of Spades with few faintly impressed short lines centrally, plain versos, each card approximately 95 x 61mm, plus an additional defective 2 of Spades, contained together in 3 ringbinder album leaves with clear pockets, each album leaf 33 x 32.cmQTY: (3)NOTE:Fournier, British Isles 30; Hargrave p.201; Mann, All Cards on the Table, p.342 (mention only); Mann, Collecting Playing Cards, p.145 (Lenthall's advertisement no.XXIV), illustrated plate III; Ortiz-Patino collection, 9.There appears to be some uncertainty regarding the publishing history of this pack. Several sources name this pack as above, which is the title given to a pack advertised by John Lenthall in 1714, following on from a similarly-named (but probably different) pack advertised in 1709. Some sources also date their packs to circa 1700: although this pack has a 'crown' tax stamp, there are decks in existance which have no tax stamp, indicating that packs identical to this one were made before tax stamps were required in 1711. Finally, in his IPCS journal supplement Taxation on Playing-Cards in England... John Berry concludes that the 'crown' tax stamp, when unnumbered (as here), was used for packs made after August 1712 and before January 1718.
Rowley and Co. (publishers). European Monarchy, London, circa 1765 -1776, the complete deck of 52 engraved playing cards, comprising 4 suits of 13: pikeheads (blue-black), clovers (green), heart on chalices (red), and faceted diamonds (orange-red), each with pip cards 1-10, and 3 copper-engraved court cards printed in blue-black (colour suit-signs to upper left corners), with half-length oval portraits of the kings and queens of England (George III), France (Louis XVI), Spain (Carlos IV), and Prussia (William II), with their attendants as Knaves, aces with allegorical symbols denoting Nobles, Clergy, Citizens, and Peasantry, ace of spades (printed in black) with duty number 1, Rowley & Co, and G III Rex, plain versos, some cards spotted, each card 91 x 63mm, 17 cards corner mounted onto a display board, encapsulated in clear plastic (not examined out of display board), the remainder loosely contained in a clear plastic bag, the diplay board 54.5 x 40cmQTY: (2)NOTE:Fournier, British Isles 65; Hamilton 141; Hoffmann 55b (illustrated); Mann, All Cards on the Table, p.134; Mann, Collecting Playing Cards, p.163; Tilley, p.129; Willshire E.169 & 170.A scarce and unusual pack of playing cards with an innovative design, it can be dated to between 1765 and 1776 from the duty ace which is of the type A1 (modified) printed at the Stamp Office between those dates (see John Berry, Taxation on Playing-cards in England from 1711 to 1960, IPCS Papers No.3, 2001). The pack in the Victoria and Albert Museum has been dated to between 1774 and 1776, but it is not clear how they arrived at this narrower date range.This attractive deck was an attempt by Rowley & Co. to introduce an alternative to the traditional suit signs and imagery, but it did not prove popular. The intention was clearly to make the French suit-signs more consistent with the Italian origins of their names, with pikeheads for piques, clovers for trèfles, faceted diamonds for carreaux, and hearts on chalices (or cups) for coeurs. The cups were probably included to connect with the early Italian suit of cups, which was believed to represent the clergy, as is explicitly the case here with the ace depicting a bishop's mitre, staff and cross.
Blyton, Enid. Famous Five illustrations, 1977-84, pen, ink & watercolour, monochrome and colour, depicting various scenes showing the Famous Five in a wide variety of different situations from discovering jewellery to discussing plans around a table, includes 10 storyboards, printer's notes to margins, some toning to margins of some smaller illustrations, various sheet sizes from 8.4 x 7.5 cm (3 1/4 x 3 ins) to 22.5 x 29 cm (8 7/8 x 11 3/8 ins) mounted, various sizes from (15.3 x 20.4 cm) to (25.4 x 35.5 cm)QTY: (87)NOTE:The illustrations were executed for, but not limited to, Five Go on a Hike Together and Five Go off to Camp published by Purnell in the 1970s-80s.
Christie (Agatha). Death in the Clouds, 1935; Cards on the Table, 1936; Ten Little Niggers, 1939; Murder is Easy, 1939, 1st editions, some light spotting, light toning to endpapers, previous owner inscription to Death in the Clouds, original cloth, some fading and light spotting to spines, 8voQTY: (4)
A pair of 19th century Wedgwood Jasperware table candlesticks: typically applied with classical-style maidens, one playing a lyre the other resting upon a plinth; the circular bases decorated with anthemions, impressed marks to underside of bases (20cm). Together with a pair of burly 20th century armorial-style leaf-shaped pottery dishes, transfer marks of 'Lille' to undersides (2 pairs)
A 19th century novelty oak table safe: the hinged door with applied Royal crest above a 'Secure' lock and opening to reveal two drawers with metal handles, lower plinth with registered design number 176550 (16cm wide x 15.5cm deep x 19.75cm high)Condition Report: There is no key to this item. The door closed flat although two of the bullethead-shaped volutes are missing from the left-hand side of the door, as is the archway around the applied crest and escutcheon. If a key could be located the mechanism appears in good original order.
In the style of ELOISE HARRIET STANNARD - A still life with a multitude of fruit upon a marble-topped table, oil on canvas, a painted oval, bears a name on a label verso (26in x 36â…›in, 66cm x 82.5cm). Relined and restored, profuse craquelure, cupping, bitumen separation, thinnessesCondition Report: as per the lot description.
19th century Japanese print - Portrait of an actor dressed as a warrior and carrying a large lacquer table or screen, printed slogan and signature laid down on board, unframed (13½in x 9in (34.5cm x 23cm). poor condition, discoloured, worm holes, losses and poor old restorations
A large and impressive Venetian style triple plate lady's dressing table mirror; the arched pediment decorated with a central urn with flowers and tendrils, similarly decorated central arched plate, flanked by two smaller hinge-shaped plates further engraved with stylised flowerheads, leaves and tendrils (97.5cm high x 110cm fully extended)
An interesting late 19th century oak Aesthetic movement side table (loosely in the style of Dr Christopher Dresser): the top inset with four ceramic tiles (damage) and above turned legs united by a cross framed stretcher and terminating in unusual tapering and banded slightly splaying legs (46cm square x 42cm high)
A late 19th century Aesthetic movement Oregon pine writing table: the leather inset top with faux bamboo edge above a single central drawer with further faux bamboo moulding, raised on four turned tapering faux bamboo style legs (100cm wide x 64cm deep x 78.5cm high)Condition Report: The leather could very well be original, it has faded quite significantly mostly to the middle/front writing area and there is a 4cm tear in from the border (left-hand side). General scuffing commensurate with age and usage. Original drawer on the lower handle. All of the faux bamboo moulding is present, the bamboo top rail at the back has faded significantly and underneath the rail is considerably darker as the top overhangs. Front left-hand leg at the top has two old nail holes and historic small splits to the front left-hand top section - not particularly apparent. No major problems underneath (a bit dirty) and could do with a professional clean. Overall good original condition
An early / mid 20th century figured walnut veneered serpentine-fronted dressing table: the quarter veneered and crossbanded moulded top above a central bow-fronted drawer flanked by two further graduated ogee-shaped drawers to each side with Dutch-style drop brass handles, raised on cabriole legs carved at the knees with scallop shell motifs and terminating in pad feet (glass top) (106.5cm wide x 58.5cm deepest x 82cm high)
An early 19th century George IV period mahogany and rosewood crossbanded sofa table: two half-width drawers and two dummy drawers opposing, on turned stem leading to four downswept tapering reeded legs carved at the knees with acanthus and terminating in ornate brass cap castors (95cm wide (leaves down) x 71cm deep x 73cm high)
A good walnut coffee table in 18th century style: the quarter veneered crossbanded moulded top above central scollop shell style carved motifs to sides and ends, the cabriole legs carved at the knees with further scollop shell style motifs and terminating in scrolls in Braganza style, circa mid 20th century (79cm wide x 42cm deep x 42.5cm highest)
An early 18th century elm side table with fruitwood base: thumbnail-moulded top above a full-width drawer with ovolo mouldings and probably original pierced brass swan-neck handle, raised on baluster turned supports united by similarly turned high stretchers (73.5cm wide x 61cm deep x 72cm high)
A 19th century lady's Belgian (Brussels) cut-glass and silver-lidded mounted seven-piece dressing table jar set comprising a pair of octagonal scent bottles (one minus glass stopper) (17cm), a slightly smaller pair of conforming scents (one minus glass stopper) (14.75cm), a pair of squat flat-sided octagonal jars and cover together with one matching larger (the larger 8.5cm high x 9cm wide), the silver mounts marked 950M (7)
A large oval topped 18th century oak drop-leaf gateleg table: the two drop-leaves supported on double gateleg action baluster turnings united by stretchers (one tip away) (152cm wide x 177cm leaves up x 71cm high)Condition Report: Honest, original condition but not without faults. General discolouration, fading and water marks, some ink marks, scratches and knocks and minor damage commensurate with age and usage. There is a small 6cm long/1cm 'let-in' piece to one of the flaps (where it affixes to the rule joint), varying coloured boards to the top. The tip of one of the leaves is away and needs re-affixing.
A good late 17th century style (modern reproduction); side table with two leaves opening onto loppers; the front section with small single central draw and raised on bobbin-turned legs united by a U-ended moulded H-form stretcher (162.5 cm x 81cm (both leaves extended) x 77cm high)
A fine Regency-style mahogany three-pillar dining table having two extra leaves: the reeded edge and crossbanded top of good colour; the three pillar bases with turned supports and square tapering moulded downswept legs terminating in brass cap castors, maker's label of Redman & Hales Ltd. Hatfield (318cm (leaves in) x 122cm wide x 73cm high)
ERCOL DARK OAK DINING ROOM SUITE OF DRAW LEAF DINING TABLE (28" x 69" when fully extended) OFFERED FOR SALE WITH 4 MATCHING ERCOL DINING CHAIRS EACH WITH 2 TURNED VERTICAL STICKS TO THE CARVED BACK, THE SEATS UPHOLSTERED IN MULTI-COLOURED FLORAL PATTERNED CONTEMPORARY CLOTH
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1181390 item(s)/page