Wallis (Edward, publisher). Wallis's Picturesque Round Game of the Produce and Manufactures, of the Counties of England & Wales, circa 1830,hand-coloured aquatint map, sectionalised on modern linen backing (South Wales and Cheshire sections erroneously transposed), toned and some marks, 66.5 x 49.5 cm, bound into original blind embossed navy cloth with gilt title to upper board, rubbed, together with a facsimile copy of the instructions bound in modern blind embossed navy cloth, slim 8voQTY: (2)NOTE:Attractive map game, each county decorated with vignettes highlighting the various types of manufacturing and produce associated with that location. It was first published in 1826 and there were several subsequent editions. The British Library holds a copy of the 1844 edition.
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* Toy Theatre. Excursions on Land & Sea: the World's Wonders, Birmingham: Joseph Walker, circa 1890s, 32 transparent colour-printed scenes on a paper scroll, each titled below image, mounted on two rollers turned by a wooden handle, lacking string for winding mechanism, back illuminated by a central candle (no candle present), contained within a decorative paper-covered cardboard theatre, some surface loss to edges where rubbed, dusty inside, 18 x 17 x 9 cmQTY: (1)NOTE:Joseph Walker applied for a US patent for his imitation show panorama in 1894. A rare survival.
* Austrian Paris Views Tarot. Pariser Ansichten tarot cards, Vienna, Austria: Josef Glanz, circa 1850s, 53 (of 54) hand-coloured engraved cards, ace of hearts replaced with facsimile, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black) and 4 double-ended court cards depicting historic or Shakespearean characters, plus 22 trump cards, comprising 21 trump cards (bearing double-ended Roman numerals I-XXI) and Fool card, the trumps depicting Parisian landmarks such as the Notre-Dame and the Palais-Royal, few cards with some light spotting or toning, a little heavier to right side of VII of trumps, versos with blue maze pattern, each card 103 x 55 mm, 41 cards corner mounted onto 2 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in a clear plastic bag, each display board 55 x 40.5 cm, together with: Tyrolean Rebellion cards, 'Andreas Hofer Pack', Innsbruck, Austria: Josef Fasser, 1879, the complete deck of 36 hand- and stencil-coloured wood-engraved playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 & 6-10 and 3 full-length court cards (most named), 6 of bells 'Welli' card with artist's name (E[dmund] v[on] Wörndle), Imperial tax stamp, maker's and printer's names on 7 of hearts, 7 of leaves with seller's name and 'copyright' information dated 1878, the cards depicting Andreas Hofer (king of hearts) and other figures and scenes relating to Tyrolean history, 10 of leaves with small loss (infilled) to upper left corner, generally lightly toned, few pale spots or brown marks, 6 of acorns with corner crease, 7 of acorns with 3.5 cm vertical crease, versos with coloured acorns within trellis pattern, each card 95 x 55 mm, 24 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, display board 54.5 x 40 cmQTY: (2)NOTE:First item: Kaplan (Encyclopedia of Tarot), I, p.321.Rare. This pack can be dated to the 1850s from the manufacturer's address of Kohlmarkt, No 279 printed on the knave of hearts. The deck described in Kaplan (see above) has a tax stamp dated 1855. Second item: a rare and complete example of a local Tyrolean pack celebrating the 1809 rebellion and Tyrolean culture. The only related record we have found is a mention by Sylvia Mann (All Cards on the Table, p.93) of a pack she calls 'the Tyrol's struggle for independence'. Mann gives no further details, but it seems possible at least that this may be the same design as the present pack.
* Austrian standard playing cards. A deck of Vienna Pattern (Wiener Bild) playing cards, Wels, Austria: Peter Schachner, 1805, the complete deck of 32 stencil coloured wood-engraved cards, comprising 4 suits of 8 (French suits), each with pip cards ace & 7-10 and 3 double-ended court cards, Austrian tax stamp and maker's stamp (both dated) on ace of hearts, knave of clubs with maker's name, spotting and toning (mainly affecting pip cards), some staining to ace of clubs, court cards lightly rubbed, king of hearts with some surface loss, versos with a small blue pattern, each card 85 x 56 mm, 16 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, display board 53.5 x 42 cmQTY: (1)NOTE:An early Vienna Pattern deck from this unusual Austrian playing card maker.
* Austrian Revolution of 1848 Tarock. Revolutions or Constitution Tarock, Vienna, Austria: Josef Glanz, 1848, the complete deck of 54 stencil coloured (with some hand-colouring) engraved cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black) and 4 double-ended court cards, ace of hearts with tax and maker's stamps (both dated), knave of clubs with maker's details, plus 22 trump cards, comprising 21 trumps (bearing double-ended Roman numerals I-XXI) depicting scenes reflecting the events and emotions of the time (some quite outspoken), and Fool card, toned, some foxing (mainly to pip cards), trump XX with small brown mark to left edge of image, queen of spades a little rubbed at one end, queen of hearts with horizontal crease sometime strengthened (recto and verso) with clear matt tape (partially removed), versos black asterisks and spots pattern, each card 104 x 54 mm, 41 cards corner mounted onto 2 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in a clear plastic bag, each display board 55 x 40 cmQTY: (1)NOTE:Hoffmann & Dietrich (Geschichte auf Spielkarten 1789-1871), 104; Kaplan, II, p.444 (illustrated p.445).Packs of this 1848 Revolution Tarock are rare as many were confiscated by the police (Kaplan).
* Austrian Tyrol Hunting Tarot. South Tyrol Hunting or Animal Tarot, Bozen, Austria: Karl Albrecht, circa 1870, the complete full deck of 78 stencil coloured wood-engraved cards, comprising 4 suits of 14 (French suits), each with pip cards ace-10 and 4 double-ended court cards, knave of clubs with maker's name, plus 22 trump cards, comprising 21 double-ended trumps (bearing Roman numerals I-XXI within panels), depicting mostly hunting (few animal) scenes, and Fool (Skys) card with maker's name and tax stamp, most cards toned with some (generally light) soiling, versos with trellis and stars pattern in colours, each card 110 x 58 mm, plus original paper wrapper with maker's name (closed tear to lower central area), 39 cards & wrapper corner mounted onto 2 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in a clear plastic bag, each display board 42 x 59.5 cmQTY: (1)NOTE:IPCS pattern sheet 47; Kohlmann, Radau & Schlede, Bube Dame König (1982), 40. Michael Dummett (The Game of Tarot, p.466) and the IPCS note that these Tyrol tarot packs are usually found as a reduced 66 card deck (see also Mann, All Cards on the Table #223 and Blass, Talon, Sonderheft 7 "Welli & Co", pp.73-79). It is more unusual to find the complete deck of 78 cards as here, and in this particular example it is interesting to observe that the cards frequently removed from these packs (ace-3 black & 8-10 red) are noticably cleaner, having presumably been less used.
* Austrian Viennese Town Cries Tarock. Wiener Ausrufer Tarock, Vienna, Austria: Josef Glanz, circa 1870s, the complete deck of 54 stencil coloured engraved cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black) and 4 double-ended court cards, ace of hearts with tax and maker's stamps, the knaves with maker's and printer's details, plus 22 trump cards, comprising 21 trumps (bearing double-ended Roman numerals I-XXI) depicting Viennese characters and street cries, all but trump I captioned, and Fool card, generally toned, trump XIV and two pip cards with brown marks, trump XVI with surface loss to upper edge (barely affecting Roman numeral), versos red geometric lozenges pattern, each card 106 x 61 mm, together with: Austrian Turkish Tarock, Turkish Siege Tarock, Vienna, Austria: Josef Glanz, circa 1870s, the complete deck of 54 stencil coloured lithographed cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red) or 7-10 (black) and 4 double-ended court cards, the courts portraying named leaders of Poland (spades), Turkey (clubs), Bavaria (diamonds) and Austria (hearts), plus 22 trump cards, comprising 21 double-ended trumps (bearing Roman numerals I-XXI) depicting characters and scenes relating to the Second Turkish Siege of Vienna (1683), and Fool card, generally toned and dusty, some light finger-soiling, few small marks or stains, queen of diamonds with small area of adhesion (from verso of another card) and associated minor rubbing to one end, rounded corners, gilt edges, versos blue geometric lozenges pattern, each card 110 x 61 mm, with original slipcase box with lift-off lid, covered in dark green straight-grained leather, with gilt-lettered 'Tarok' and bookseller's name 'Theyer & Hardtmuth, Wien', the lid with applied enamel playing cards decoration, 41 cards from each deck corner mounted onto 4 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained (with original box) in 2 clear plastic bags, each display board 54.5 x 40 cmQTY: (2)NOTE:Cary collection, AUS 213 and 215 respectively.Second item: very scarce.
* German playing cards. Bavarian historical, Munich: Cajetan Göbl, circa 1850, a complete deck of 36 stencil coloured engraved playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 & 6-10, and 3 full-length court cards, each daus depicting a river god, the courts showing historic kings, knights and nobles, and the remaining pips with vignettes of incidents in Bavarian history, each 6 has a list of the people and events the cards in that suit portray, 7 of hearts with tax stamp, 2 of acorns with maker's details, lightly dusty, scarce minor spots, versos blue stars, each card 94 x 50 mm, with original card box, covered in green/blue paper, remnant of green silk ribbon inside, rubbed and marked, lacking top edge with fold-over flap, all cards corner mounted onto 2 display boards, encapsulated in clear plastic (none examined out of boards), box contained in clear plastic box in plastic bag, each board 53.5 x 40.5 cmQTY: (1)NOTE:Schreiber catalogue, German 78 (British Museum 1896,0501.270).
* German playing cards. Berlin monuments, Stralsund: Ludwig v.d. Osten, circa 1870, a complete deck of 36 stencil coloured engraved playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 & 6-10, and 3 full length court cards, the courts in historic costume, each daus depicting a Berlin monument, the remaining pips with vignette scenes at the foot, tax stamp to 2 of hearts, maker's details on 2 & 8 of hearts, few cards with very slight spotting (mainly to borders), 10 of leaves somewhat creased, 3 cards with faint fingermarks, versos red wiggly dotted lines, each card 92 x 59 mm, 20 cards corner mounted onto a display board, encapsulated in plastic (not examined out of board), the remainder contained together in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:An unusual non-standard pack. The Berlin monuments depicted are: Neue Wacheor (or New Guardhouse); Blücher Memorial; Pfaueninsel (or Peacock Island); Karl Friedrich Schinkel’s Kreuzberg Monument.
* German playing cards. Double headed Prussian pattern type I, Stralsund: W. Falkenberg & Co., circa 1870, a complete deck of 36 stencil coloured lithographed playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 and 6-10, and 3 double-ended court cards, each daus depicting a double-ended mythological god or goddess, the remaining pip cards with vignette scenes at foot ("Genrebildchen"), 2 & 8 of hearts with manufacturer's details and 'Straslunder Spielkarten Fabrik', 2 of hearts also with tax stamp, few minor spots or marks, unter of acorns lightly toned, 9 of acorns somewhat toned, with diagonal line of browning, versos diagonal red tartan, each card 99 x 57 mm, 20 cards corner mounted onto a display board, encapsulated in plastic (not examined out of board), the remainder contained together in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Fournier, Germanic 90: IPCS pattern sheet 110: Mann, All Cards on the Table, p.62.An unusual example of this Prussian pattern as it includes the 6s, which are seldom added.
* German playing cards. Kavalierskarte, Braunschweig: Friedrich Bieweg und Sohn, circa 1840, a complete deck of 36 stencil-coloured wood-engraved playign cards, comprising 4 suits of 9 (German suits), each with pip cards 2 and 6-10, and 3 full-length court cards, 2 of bells with tax stamp, 2 of acorns with place of manufacture, 7 pip cards with 4 lines of verse at foot, dusty with some light finger-soiling to edges, scarce spots, ober and unter of bells and few pip cards with brown marks, versos brown marbling, each card 101 x 59 mm, with original printed wrapper, darkened, spotted and worn, 24 cards and the wrapper corner mounted onto a display board, encapsulated in plastic (not examined out of board), the remainder contained together in a plastic bag, the board 59.5 x 42 cmQTY: (1)NOTE:Rare. Possibly the last example of this old pattern, from a little-known German maker. Apparently not in Fournier, Mann or Bube Dame König. The pattern conforms to the Lower Saxon Pattern (IPCS pattern sheet 61) which is Mann's Hanover pattern (All Cards on the Table, pp.61-61, illustrated p.71). See also Kohlmann, Berliner Spielkarten, pp.16-17 & 39.
* German playing cards. Napoleon's Victories, Frankfurt: C.L. Wüst, circa 1840, a complete deck of 52 stencil coloured lithographed playing cards, comprising 4 suits of 13 (French suits), each with pip cards ace-10, and 3 double-ended court cards, each ace with 2 captioned scenes illustrating battle victories of Napoleon from 1796 until 1812 (Lutzen), non-standard courts, the queens wearing fashionable dresses and headwear, few minor spots to queen of diamonds, jack of hearts, and 2 of clubs, versos blue flowers and dotted scrollwork, each card 87 x 61 mm, together with Allies against Napoleon, [Leipzig: Industrie Comptoir?], circa 1815, 50 (of 52, without king of hearts and 10 of clubs) stencil coloured lithographed playing cards, comprising 4 suits of 13 (French suits), each with pip cards ace-10, 3 3 double-ended courts, each suit representing an allied nation: Russia (spades), Prussia (iron crosses, for clubs), England (diamonds), and Austria (hearts), the aces with national banners, symbols and military equipment, the kings portraying an allied leader (king of hearts present as a facsimile): Tsar Alexander I, Kaiser Fredrich Wilhelm I, King George III, and Francis II, the jacks depicting soldiers in the relevant national army uniform, somewhat dusty with slight finger-soiling in places, occasional minor spotting and marks, 4 of diamonds creased, 2 of spades with 8 short green ink lines (2 from each edge), ace of clubs and queen of hearts with minor area(s) of abrasion, versos red dotted wiggly lines, each card 88 x 60 mm, plus Italian War "Battaglie Italiane", Frankfurt: C.L. Wüst, circa 1861, a piquet deck of 32 stencil coloured lithographed playing cards, comprising 4 suits of 8 (French suits), each with pip cards ace & 7-10, and 3 double-ended courts, made for the Italian market, the aces depict battles from the Italian war of Liberation in 1859, the kings and jacks portray relevant kings and commanders, toning to some cards, versos red dots 'cells' pattern, each card 90 x 61 mm, and one other German Anti-Allies Propaganda deck, possibly Bad Dürkheim: Rheinberger, circa 1941, a complete deck of 52 colour printed playing cards, plus 2 jokers, 16 or 17 cards from each listed pack corner mounted onto 4 display boards, encapsulated in clear plastic (none examined out of boards), the remainder contained in clear plastic bags, each board 55 x 42 cm and similarQTY: (4)NOTE:First item: Schreiber catalogue, German 227: Shaw & Symons, Playing Cards from the Factory C.L. Wüst, Frankfurt, Germany (1811-1927), Catalogue of the exhibition held at the Nationaal Museum van de Speelkaart, Turnhout, Belgium, 23 September- 31 december 2005, Set 29.Second item: Sylvia Mann, in All Cards on the Table p.79, mentions a pack made by Industrie Comptoir of Leipzig with portraits of the Napoleonic allied leaders. This is the only probable reference to the offered deck that has been found.Third item: Shaw and Symonds (as above), Set 31 (for a 52 card deck with the Wüst star present).
![* German playing cards. Orakelkarte [Oracle Cards], [Nürnberg: Johann Ernst Backofen], circa 1817, a complete deck of 36 sten](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/83ecd99d-b291-4c15-8c81-af5f011eca69/468x382.jpg)
* German playing cards. Orakelkarte [Oracle Cards], [Nürnberg: Johann Ernst Backofen], circa 1817, a complete deck of 36 stencil-coloured engraved playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 & 6-10, and 3 full-length courts, each card with fortune caption at foot in both German and French, each 10 with Roman numeral X at top, 6 of acorns with 'J.Wolf Sc', 2 of leaves with tax stamp, browned and dusty, few minor marks or spots, versos blue diagonal pattern of spots and dashes, each card 93 x 52 mm, 20 cards corner mounted onto a display board, encapsulated in clear plastice (not examined out of board), the remainder contained in a clear plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Bube Dame König Band 2, Nr.25 (for a version with German & Polish captions); Hargrave, p.149; Willshire, Miscellaneous G.140.3 (British Museum no's.1883,1110.127-8).The space on the 7 of hearts that usually incorporates the maker's name is empty in this example.
* German playing cards. Schiller, Frankfurt am Main: C.L. Wüst, circa 1825, a complete deck of 36 stencil-coloured lithographed playing cards, comprising 4 suits of 9 (German suits), each with pip cards 2 & 6-10, and 3 full-length court cards, the pip cards with act & scene number to top right corner and portraying the scene with caption below, the court cards depicting characters from the plays, with their names below, each 10 with Roman numeral X at top, 8 of hearts with 'Schiller' and maker's details, cards very lightly bowed, versos red/brown dotted tendrils with flowers, each card 97 x 56 mm, 20 cards corner mounted onto a display board, encapsulated in clear plastice (not examined out of board), the remainder contained in a clear plastic box within a bag, the board 54.5 x 39.5 cmQTY: (1)NOTE:Bube Dame König (1982), 96; Willshire Miscellaneous G.140.3 (British Museum no's. 1883,1110.126 & .129).
* Popish Plot. Horrid Popish Plot playing cards, between 1679-circa 1704, the complete deck of 52 uncoloured etched playing cards (French suits), comprising 4 suits of 13 cards, each card depicting events relating to the 'Popish Plot', after a design by Francis Barlow, with caption beneath, an upper panel with suit signs on the left (hand-coloured red suit signs), and Roman numerals or court names on the right, toned and dust-soiled, some light creasing, generally close-trimmed to sides, occasional minor edge wear, queen of hearts with 14mm closed tear, 1 of diamonds with small loss to upper blank margin, corners slightly rounded (a couple chipped), plain versos, each card approximately 88 x 52mm, contained together in 3 ringbinder album leaves with clear pockets, each album leaf 33 x 32cmQTY: (1)NOTE:Provenance: from the Sylvia Mann collection.Fournier, British Isles 9; Mann, Collecting Playing Cards, pp.153-154. See also: Ortiz-Patino collection 19 & 121, Whiting, pp.50-63, and Willshire E.186 for variants.There were at least six variants of this pack known to be produced between 1679 and 1704, with the first advertisement (by Robert Walton) appearing in 1679, and the last (by H. Newman) in 1704. This deck apparently conforms to SM (Sylvia Mann) type V.
* Spanish playing cards. A non-standard deck, Barcelona: Antonio Lopez & Co., mid-late 19th century, a complete deck of 48 wood-engraved playing cards, with pintas and indices, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, including a lady or 'dama' instead of the more usual jack, each suit printed in a different single colour, the courts representing historical named figures, 4 of cups with maker's details, lady of swords with possibly engraver's signature, 4 pips cards somewhat marked (one of swords faintly so), versos red diagonal pattern, each card 89 x 59 mm, together with A non-standard deck, Barcelona: Antonio Lopez & Co., late 19th century, a complete deck of 48 stencil-coloured lithographed playing cards, with pintas and indices, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, ace of coins with 'Con privilegio esclusivo de S.M.', 4 of cups with maker's details, a trifle dusty, some very light finger-soiling, 8 of clubs with slight corner crease, versos black pattern with wiggly lines, each card 90 x 55 mm, plus Macia pattern, Barcelona: Pedro Macia, 1857, 45 (of 48, without ace of coins, 7 of cups & 5 of swords) hand-coloured wood-engraved playing cards, with pintas and indices, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, 4 of cups with maker's details and date, soiled with some spotting, 9 of cups with brown stain to lower area, versos blue circlular pattern of spots and dashes, each card 91 x 56 mm, with 14 other decks of Spanish playing cards, most 20th century, most complete, 15-22 cards from each deck listed corner mounted onto 17 display boards, some encapsulated in clear plastic (none examined out of boards), the remainder contained in clear plastic bags or boxes, 6 with original card box, one with paper wrapper (worn), the boards 54.5 x 40.5 cm and similarQTY: (17)NOTE:First item: Willshire, Spanish 34 (not in Fournier). Rare. The British Museum dates these cards to 1856-1866.Second item: Fournier, Spain 446 (Museo Fournier de Naipes de Alva no.43794).Third item: Probably one of the last packs produced by this famous family firm. The wood blocks are worn, and the block for the 4 of cups has been amended to give the 'new' date of 1857.
![* Spanish playing cards. Four Empires design, [Felipe Ocejo, Madrid], circa 1810, a complete deck of 48 hand-coloured engrave](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/a7a40e84-f15b-4d9b-9d03-af5f011ece29/468x382.jpg)
* Spanish playing cards. Four Empires design, [Felipe Ocejo, Madrid], circa 1810, a complete deck of 48 hand-coloured engraved playing cards, with pintas, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, the courts representing Four Empires (coins: American Indians, clubs: Arabs, swords: Roman Empire, cups: Spanish Empire), 4 of clubs with printed details: designed by J. Ruiz, drawn by J. Altarriba, engraved by J. Fonesca, 6 of cups with possible maker's signature, few cards lightly rubbed, versos grey-brown intertwined leaves, each card 86 x 56 mm, together with: Four Empires design, Clemente Roxas, Madrid, circa 1805, 46 (of 48, without 4 & 5 of swords) playing cards, etched in blue, with stencil- and hand-colouring, with pintas, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, the courts representing Four Empires as above, king of cups with printed maker's initials, generally spotted, 7-9 of coins with small dampstain to lower right corner, versos red asterisks, each card 88 x 56 mm, plus: French style deck, Gombau y Labad, Madrid, circa 1865, a complete deck of 52 stencil-coloured lithographed playing cards, without pintas, comprising 4 suits of 13 (French suits), each with pip cards ace-10, and 3 Germanic style double-ended court cards, each named after a heroic character from story or legend (after the French style), king of hearts with maker's name, occasional light dust- or finger-soiling, few creases and closed edge tears, 3 of spades with adhesive tape staining from old repair of full horizontal tear, versos wiggly lines of blue dots, each card 84 x 55 mm, 16-25 cards from each pack corner mounted onto 3 display boards, encapsulated in clear plastic (not examined out of boards), the remainder loosely contained in clear plastic bags (the Roxas pack with (original?) marbled paper-covered card box with lift-off lid), largest board 59 x 42 cmQTY: (3)NOTE:First item: Fournier, Spain 101 (& 102 for an uncoloured example); Schreiber collection, Spanish 7 (uncoloured) & 27.This design (and also that of the second pack) was also known as 'Four Continents'. In this particular example the manufacturer's name has been removed from the 2 of coins, as with the hand-coloured example in the British Museum (Schreiber, Spanish 27). The same card in the uncoloured version they hold gives the maker as Don Felipe Ocejo.Second item: British Museum 1938,0813.6.1-47; Denning (The Playing-Cards of Spain), p.94; Fournier, Spain 76; Willshire, Spanish 263.Third item: Fournier, Spain 277.
* Spanish playing cards. Garcia Pattern playing cards, designed by Raimundo Garcia, published by Juan Humanes y Ca, Madrid, 1865, a complete deck of 40 stencil-coloured lithographed playing cards, with indices and pintas, comprising 4 suits of 10 (Spanish suits), each with pip cards ace-7, and 3 full-length court cards, 4 of coins with maker’s details and date, ace of coins (lightly toned, a couple of pale edge marks) with date and place of manufacture, cavalier of coins lightly toned to lower edge, king of coins with faint brown spotting to upper blank area, 3 of coins lightly marked, versos with tangled blue lines, each card 92 x 56 mm, together with: Four Empires design, Clemente Roxas, Madrid, circa 1805, 47 (of 48, without 2 of clubs) playing cards, etched in sepia, with stencil- and hand-colouring, with pintas, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, the courts representing Four Empires (coins - American Indians, clubs - Arabs, swords - Roman Empire, cups - Spanish Empire), king of cups with printed maker's initials, generally spotted, few cards with tiny spot of surface abrasion, versos with tiny green triangles, each card 87 x 55 mm, 18 cards from the first pack and 20 from the second corner mounted onto 2 display boards, encapsulated in clear plastic (not examined out of boards), the remainder loosely contained in clear plastic bags, each board 40 x 54.5 cmQTY: (2)NOTE:First item: Denning (Spanish Playing Cards) p.54; Denning (The Playing-Cards of Spain) pp.60-63; Fournier 333-334 (for later examples); IPCS pattern sheet 25; V&A collection E.383(-429)-1944.Garcia was known to sub-contract the production of his design of playing cards throughout the 19th century.Second item: British Museum 1938,0813.6.1-47, also 1876,1014.671-718 (Willshire, Spanish 263); Denning (The Playing-Cards of Spain), p.94; Fournier, Spain 76. This design was also known as 'Four Continents'.
* Spanish playing cards. Spanish National pattern, Real Fabrica de Madrid, circa 1815 (printed from older blocks), 47 (of 48, without jack of cups) stencil-coloured woodcut playing cards, with pintas, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, cavelier of cups with Ahiva, 4 of coins with ‘Real fabrica de Madrid’, ace of coins with blank ribbons (where earlier examples give maker’s name of Felix Solesio), 2 of coins with initial ‘R’, possibly standing for (Clemente) Roxas, ace of cups dated 1798 (the 8 being a replacement number on the block), most cards with some light spotting or toning, few brown marks (mainly to edges), 7 of swords & 2 of clubs with small surface abrasion, versos blue dots and circles of dashes, each card 93 x 57 mm, together with: Garcia pattern, Vincente Gombau y Labad, Madrid, 1862, 46 (of 48, without 2 of cups & 8 of clubs) stencil-coloured lithographed playing cards, with pintas and indices, comprising 4 suits of 12 (Spanish suits), each with pip cards ace-9, and 3 full-length court cards, 4 of swords with maker’s name and date, ace of coins with ‘Fabrica de Madrid’, generally soiled and rubbed, except for (the probably unused) 8s and 9s which are clean, slight wear to a few cards, few short closed edge tears, versos blue meandering lines, each card 93 x 63 mm, plus: Cadiz pattern, Segundo de Olea, Cadiz, 1881, a complete Ombre deck of 40 stencil-coloured lithographed playing cards, with pintas, comprising 4 suits of 10 cards (Spanish suits), each with pip cards ace-7, and 3 full-length court cards, 4s of coins & cups with maker’s details, 5 of clubs with date, 2 of coins with Paris Exposition 1878 details, 7 of coins states ‘Del No. 5’, 2 of cups with ‘De una hoja’ indicating that the pack is printed on a single sheet of card, not several thin layers adhered together, cavelier of cups with ‘Ahi va’, 6 of cups with small pale brown mark, 9 of swords with minor stain to extreme outer corner, versos blue straight and wavy lines, each card 90 x 61 mm, with 3 other Spanish decks: Standard pattern (circa 1900) by Camoin & Cie of Marseille, 40 complete; Exposicion Ibero Americana (1929) by H. Fournier, 48 complete with original box, title card and booklet; non-standard deck by Braulio Fournier of Burgos (circa 1975?), 48 complete, 20-22 cards from each deck listed corner mounted onto six display boards, most encapsulated in clear plastic (not examined out of boards), the remainder contained in six clear plastic bags, the boards 54.5 x 41 cm and similar QTY: (6)NOTE:First item: IPCS pattern sheet 20. See British Museum collection 1938,0813.7.1-50 for a very similar deck, also WCMPC Collection Acquisition Nos. 44 & 49 for earlier examples.This deck appears to have been printed from older blocks. The 8 in the date on the ace of cups seems to have replaced an earlier number, and the banner that once held the name of Felix Solesio (the factory manager) is now blank. However, the 2 of coins now has an initial ‘R’ which likely stands for the new factory manager (Clemente Roxas?), indicating that this deck was printed after the death of Solesio in 1806.Second item: Denning (Spanish Playing-Cards), p.54; Denning (The Playing-Cards of Spain), pp.60-63; IPCS pattern sheet 25; WCMPC Collection Acquisition No. 427. See also Fournier, Spain 280-283.Third item: Fournier, Spain 494.
* Transformation playing cards. Metastasis, London: S. and J. Fuller, 1811, 51 (of 52) hand-coloured etched playing cards, comprising 4 suits of 13 (French suits), each with pip cards 1-10, and 3 single-figure court cards, after designs by John Nixon, 6 of hearts missing, only 2 of clubs & 3 of hearts (taken from another deck) laid on card, the remainder being unlined paper as issued, few light creases and minor marks, king of clubs lightly rubbed with pale stain to lower part, 3 of hearts rubbed and dusty, 2 of clubs soiled with some wear, 6 of clubs toned, creased & rubbed with some dust-soiling, plain versos, except 2 of clubs & 3 of hearts: blue & red chequered pattern (worn, only remnant remaining on 3 of hearts), each card 94 x 64mm, contained together in 3 ringbinder album leaves with clear pockets, each album leaf 33 x 32cm, together with: Transformation of Playing Cards, Metastasis, by John Nixon for S. and J. Fuller, 2009, facsimile copy of the complete deck of 52 playing cards, made for the 25th anniversary of the English Playing Card Society (EPCS), versos with EPCS logo, each card 95 x 64mm, contained together in 3 ringbinder album leaves with clear pockets, with title card and folding information booklet, each album leaf 33 x 32cm, plus a facsimile copy of a wrapper for a Metastasis packQTY: (1)NOTE:First item: Field 5; Mann, Collecting Playing Cards, pp.165-167; Schreiber, English 72; Tilley, p.147.John Nixon was an artist and caricaturist, as well as being a successful London businessman and an amateur actor. His first pack of transformation cards were published in 1803, with S. and J. Fuller publishing a redesigned pack in 1811.
* Upper Austrian Animal Tarock. Animal Tarock cards, Wels, Upper Austria: Peter Schachner, 1816, the complete deck of 54 stencil coloured woodcut cards, comprising 4 suits of 8 (French suits), each with pip cards ace-4 (red suits) or 7-10 (black suits), and 4 double-ended court cards, dated tax stamp and printed maker's details with date to ace of hearts, plus 22 trump cards, comprising 21 double-ended animal trumps (bearing double-ended Roman numerals I-XXI) and Fool card, generally finger-soiled, toned and rubbed, occasional spotting or marks, few cards with tiny spots of adhesion, versos with multi-coloured marbling, each card 105 x 52 mm, 41 cards corner mounted onto 2 display boards, encapsulated in clear plastic (not examined out of display boards), the remainder loosely contained in a clear plastic bag, each display board 42 x 59 cmQTY: (1)NOTE:Hargrave, p.134; Kohlmann, Radau and Schlede (1982), 32 (1815 deck); Mann, All Cards on the Table, 222 (1813 deck mentioned); Wien Technisches Museum inventory no's 89809 (1810 deck) & 89812 (1820 deck).
Rycaut (Paul). The Present State of the Greek and Armenian Churches, 1st edition, London: printed for John Starkey, 1679, imprimatur leaf at front, 3 pp. advertisements at end, occasional light spotting, hinges reinforced, contemporary calf, rebacked and repaired, a little rubbed, 8vo, together with The History of the Present State of the Ottoman Empire, 4th edition, London: printed for John Starkey and Henry Brome, 1675, 12 engraved plates, engraved illustrations in text, additional engraved title trimmed and laid down, archival repair and hole to final leaf, p. 271/272 with some worming at head affecting a few letters, some light toning, later panelled calf, rebacked and repaired, 8vo, with three others: Landscape Illustrations of the Bible... engraved by W. and E. Finden, by Thomas Hartwell Horne, 2 volumes, 1836, A Visit to the Seven Churches of Asia; with an excursion into Pisidia..., by V.J. Arundell, 1828, and Syria, the Holdy Land, Asia Minor Illustrated. In a series of views drawn from nature by W.H. Bartlett, William Purser &c., 2 volumes, 1836-38 QTY: (7)
* American Playing Cards. The Great Southwest Souvenir Playing Cards, Kansas City, Missouri: Fred Harvey, 1910, 54 colour-printed cards, comprising 4 suits of 13 (French suits), each with pips 1-10 and 3 court cards, all with oval photographs of native American Indians, buildings, and views, indices to opposing corners, plus map card and joker (latter with small finger crease), illustration of mounted Indians on versos, rounded corners, gilt edges, 88 x 63 mm, contained in original turquoise cloth box, outer sleeve gilt lettered on one side (rubbed) and with mounted playing card on the other, somewhat soiled and worn, remains of tax stamp (for 1919), together with:New York City and Hudson River Souvenir Playing Cards, New York and San Francisco: Edward H. Mitchell, 1901, 54 colour-printed cards, comprising 4 suits of 13 (French suits), each with pip cards 1-10 and 3 court cards, all with oval scenic view, plus map card and joker, versos with full-length image of Father Knickerbocker in tricorn hat, rounded corners, gilt edges (rubbed), a few corners creased, king of spades with 6 mm closed tear in lower edge, 88 x 62 mm, contained in original cardboard box, outer sleeve gilt lettered on one side and with mounted playing card on the other (rubbed and with one side missing), plus 7 other US playing card items, comprising: The Stage, 1903, lacking joker, box broken with loss; Souvenir of Boston, 1900, box with some loss; California Souvenir, 1900, without box; Southern Pacific Lines, 1945, with booklet and box; Lyndy, the New Flying Game, 1927, with rules, box marked and worn; Poker Patience travelling folding set in slipcase with 1 deck Little Duke No. 24 cards and rule booklet (covers edge-frayed and detached); and 2 further packs of Little Duke cards, each boxed, housed together in cloth box lettered 'Patience' in gilt to hinged lidQTY: (9)NOTE:Hochman, The Encyclopedia of American Playing Cards, S27 & S38.
* Australian Playing Cards. Kangaroo Playing Cards, circa 1900, standard deck of 53 cards, comprising 4 suits of 13 (French suits), each with pip cards 1-10 and 3 double-ended court cards, plus a joker, generally toned and creased, backs with blue volute pattern, rounded corners, 88 x 65 mm, contained in heavily worn original cardboard box, together with:Tasmanian Souvenir Playing Cards, Launceston, Tasmania: W.R. Ralph & Sons, circa 1920, 54 pictorial cards, comprising 4 suits of 13 (French suits), each with a scenic view, plus Tasmanian Devil joker and blank card, armorial backs, rounded corners, gilt edges, 88 x 57 mm, box broken with loss, plus 6 other Australian decks, comprising: Comic Families, 1940, boxed but without rules; Old Witch Fortune Telling Cards, 1950, boxed with instruction cards; Picturesque Australia Souvenir Playing Cards, circa 1920, card 54 printed with the legend 'this card does not belong to the pack', boxed; Souvenir Playing Cards, 56 Australian Views, 1950s, koala backs, boxed; Pickering's Political Pack, 1976, with cartoon illustrations satirising the sacking of the Prime Minister Gough Whitlam by the Governor General Sir John Kerr, boxed; Full Hand Playing Cards, circa 1918, ace of spades with emu and kangaroo on wrong sides of armorial, box rubbed and a little worn, and a further 15 decks of Australian playing cards, most Aborigine interest, and including a boxed deck of Corner, a stockbroking card gameQTY: (23)NOTE:An interesting collection of Australian playing card decks, most of them extremely hard to find.
* Bairnsfather (Captain Charles Bruce, illustrator). Bystander "Fragments", London: Chas. Goodall & Son Ltd, 1916, a standard deck of 55 playing cards, comprising 4 suits of 13, each with pip cards 1-10 (including illustrated ace of spades), 3 double-ended court cards, joker, publisher's advertisement card, and blank card, versos with green-printed illustration captioned '"Well if you knows of a better 'ole, go to it"', rounded corners, 89 x 64 mm, contained in original cardboard box, pull-off outer sleeve with printed label on one side and a playing card showing the cartoon back mounted on the other QTY: (1)NOTE:Charles Bruce Bairnsfather (1887-1959) was best-known for his cartoon character 'Old Bill'. Bill and his pals Bert and Alf featured in Bairnsfather's 'Fragments of France' cartoons published weekly in The Bystander magazine during the First World War. Goodall first published Bairnsfather cartoons on the backs of his decks in 1916, issuing four packs, each with a different cartoon. In August 1917 the magazine announced that the first four packs had completely sold out and were only available through booksellers and newsagents who still had stock, adding that these sets would not be reprinted. By 1918, a further nine different decks had been issued. The same cartoon on the ace of spades, captioned '"Gott strafe this barbed wire"' was used in every pack. The deck offered features probably the most famous of all Bairnsfather's cartoons, and is very difficult to find, particularly complete and in such good condition.
* Bezique. Six-pack Chinese Bezique, Charles Goodall & Son, 1930, 6 decks of 32 gilt-edged standard playing cards (plus jokers), unused, with 5 decks still in original printed tax wrappers (frayed), each approximately 90 x 60 mm, together with 2 original polished wood score markers and gold satin-covered gilt-edged rule booklet, housed together in original green morocco case with carrying handle (faded and mottled), Fortnum & Mason gilt stamp to inside flap, and silver clasp hallmarked Edward Langridge & Co., London, 1930, case 10 x 14.5 x 7 cm QTY: (1)NOTE:Six-pack Bezique sets of this quality and condition are increasingly hard to find.
* Bézique. The Royal Game of Bézique, London: C. Goodall & Son, 1863, a pair of standard decks, each with 32 cards, comprising 4 suits of 8, each with 'Elf' ace, pip cards 7-10, and 3 double-ended court cards, one deck with purple-patterned blue backs, the other with puce-patterned pink backs, 92 x 64 mm, with 2 leather score-cards, one red and the other green, contained in original morocco-grain green cloth box, gilt lettered lid (splitting slightly at hinge) with publisher's printed label inside, together with 5 other Bézique sets, all with original score cards and boxes, including a late 19th century set by James English in a red morocco box, plus a Bridge set, 1935, with Art Deco backs, complete with satin-covered rule book, pencils, and score pads, and housed in original green leather box, and 6 pocket rule booklets, for Whist (2 published by De La Rue, 1883 and 1898, 1 published by Goodall, 1902), Bézique (De La Rue, 1905), Cribbage (Goodall, covers detached), and Selected Patience Games (De La Rue & Goodall) QTY: (13)NOTE:The first item is an early Bézique set in very good condition, with attractive backs, and featuring the first of Goodall's 'Elf' aces; the erect feather ace was only used from 1863 to 1865 and is thought to appear in honour of Albert Edward, Prince of Wales, the future King Edward VII, who married Alexandra of Denmark on 10th March 1863.
* Boxer Rebellion. The Forbidden City, Pekin & Chinese Views, Los Angeles, California: Grimes-Stassforth Stationery Co., 1901, a deck of 54 playing cards, comprising four suits of thirteen cards, each with a different photographic illustration, Li Hung Chang Joker, and Index card titled 'Prominent Views', dragon pennant and peacock feather patterned backs, rounded corners, gilt edges, 88 x 62 mm, together with 16pp. ruled booklet (edge-frayed), contained in original cardboard box, pull-off outer sleeve (rubbed) with title on one side and additional ace of hearts mounted on the otherQTY: (1)NOTE:Hochman, The Encyclopedia of American Playing Cards, W37.A rare set of cards commemorating the Boxer Rebellion, depicting scenes of execution, including macabre images of severed heads, views of the Imperial Palace and other notable buildings, tea packing, women prisoners in neck stocks, courts of justice, an opium joint, etc.
* Compendium. The Marlborough playing card compendium, Charles Goodall, circa 1910, comprising 4 32-card bezique decks (backs with green, pink, and gilt chrysanthemum and shell illustration), 2 52-card standard decks (backs with Art Nouveau floral and foliate design in red), approximately 90 x 63 mm, 2 wooden Camden bezique markers, 2 wooden Foster whist markers, 2 leather-covered bridge score pads with pencils (each with 1 small nick in leather), 2 whist leather-covered score pads (without pencils), and 6 gilt-edged rule books: Bezique; Bridge; Solo Whist; Rubicon Bezique; Progressive Whist, Bridge, Hearts & Euchre; and Piquet, ribbons to pull cards out replaced, housed together in a polished mahogany box with working brass lock and key, hinged drop-front lettered inside in gilt on black 'The "Marlborough"' and 'C. G. & S., London', some faint marks to lid, but overall in good condition, 13 x 23.5 x 12 cmQTY: (1)NOTE:Compendiums such as these, containing only playing cards as opposed to a selection of games, are relatively unusual. This beautifully-made compendium , complete with all its original contents, including some rare rule booklets, appears to have been little handled, and rarely used, if at all.
* De La Rue (Thomas & Co.). An Exportation deck, 1836, 52 cards, comprising 4 suits of 13 (French suits), each with pip cards 1-10 and 3 single-ended court cards, a little dusty, gilt and green versos with strapwork design, 92 x 64 mm, contained in a contemporary black lacquered wooden box, sides with gilt foliage sprays, lift-off lid with gilt panel of scrolling leaf decoration, with oval in centre lettered 'Clement', slightly rubbed in places and some surface cracking, lid with split at upper cornersQTY: (1)NOTE:Scarce Exportation pack, with an unusually intricate back design for its date; it was very unusual for cards around this time to have any back colouring or design at all, much less patterns of this intricacy. Exportation ace decks are much harder to find than standard ace decks, and this pack survives in very good condition, housed in an attractive playing card box.
* De La Rue (Thomas & Co.). Complete set of 12 Pictorial Card Games, 1890-1914, 12 complete decks of colour-lithographed playing cards, comprising: Alice in Wonderland (48 cards); Animal Grab (52); Cheery Families (52); The Gipsy Fortune Telling Cards (33, including blank); Golliwogg - A Round Game (48); "Noah's Ark" Card Game (52); Snap (52); Spin & Old Maid (49); Bread and Honey (53); The Cavalry Game (41); Jungle Jinks (48); and Peter Pan (52), Alice with a few minor creases, Cheery Families lightly dust-soiled and with a few creases, Snap with some faint creases, Spin & Old Maid a little edge-rubbed, Bread and Honey with some creasing and edge-rubbing, Captain Hook card in Peter Pan with 25 mm closed tear in top edge, each approximately 90 x 60 mm, all with original printed rules except Cheery Families and Snap, some with advertisement slips, each housed in original box (with varying degrees of wear), together with a contemporary large bifolium advertisement, printed in black on orange paper, the final page advertising De La Rue's Pictorial Card Games '"The card games that never grow old"', creased and edge-frayed, leaf size 29.5 x 22.5 cm, housed together in a perspex-faced black metal display unit, designed to be wall-mounted or free-standing (57 x 33.5 cm) QTY: (12)NOTE:Rare complete set of the 12 Pictorial Card Games produced by Thomas De La Rue at the end of the 19th century and beginning of the 20th century. Beautifully illustrated by some of the most talented artists of the day these decks were a huge success.
* Games. Nursery Rhymes Misfitz, London: C.W. Faulkner & Co., circa 1900, 72 chromolithographed cards illustrated by George Lambert, comprising 24 sets of 3, each set illustrating a nursery rhyme or story (e.g. Polly Put the Kettle On, Curly Locks, Cinderella, Dick Whittington, Babes in the Wood, Little Red Riding Hood), somewhat toned and dusty, with some markings and creases, 3 cards with loss to edges and 1 with surface loss, backs with British flag and heraldic devices printed in terracotta with motto 'Honi Soit Qui Mal Y Pense', 92 x 67 mm, with original 4pp. Rules (with central horizontal crease slightly split, and chipped to fore-edges), contained in a modern cardboard box custom-made by Rex Pitts, together with:National Families, Germany: Oppenheimer Schulzbacher Globe Games, late 19th century, 52 pictorial cards, comprising 13 sets of 4, each depicting a caricature captioned above and below, e.g. 'Mr. Dryfigs the Turk', 'Mrs. Ting Tong the Chinaman's Wife', 'Mr. Parlevous the Frenchman', 'Master Gotakoff the Russian's Son', 'Miss Fatherland the German's Daughter', toned and dust-soiled, with some creasing and occasional small marks, green patterened versos, rounded corners, 90 x 63 mm, contained in a modern cardboard box custom-made by Rex Pitts, plus 4 other playing card games, comprising: Golliwogg - A Round Game, Thomas De La Rue, 1902, with rules and original cardboard box (latter dusty and a trifle worn at edges); Our Kings & Queens, Mazawattee Tea Co. Ltd., 1902, with rules card, some cards creased, with remains of original cardboard box; Animal Grab, circa 1905, with rule sheet (creased and partially toned) and original cardboard box; and Spin & Old Maid, 1900, slightly dusty, 1 card with adhesive stamp repair to short closed tear in upper edge, with rule sheet and box both repaired with adhesive tapeQTY: (6)NOTE:The first item is hard to find in any state of completeness and condition, but particularly so with the rules present as well as all the cards. C.W. Faulkner made several different versions of this game at the turn of the century, including 'Animal Misfitz', 'Busy Folk Misfitz', 'Fairy Folk Misfitz', 'Shakespearian Misfitz', and 'Little Folk Misfitz', all of which are rare.
* Hunt & Son. A deck of standard playing cards, 1810, 52 wood engraved cards with stencilled colours, comprising four suits of 13, each with pip cards 1-10 and 3 full-length court cards, 'one shilling and sixpence duty', 'G.III Rex.' and 'No. 39' on ace of spades (a little toned), 'superfine' ink stamp on ace of clubs, some faint foxing (mainly to edges), plain versos, 93 x 64 mm, contained in remains of torn 'Great Mogul' engraved paper wrapper, with imprint of 58 Mortimer Street, LondonQTY: (1)NOTE:John Berry, Taxation on Playing-Cards in England from 1711 to 1960, IPCS Papers, No.3, January 2001, p.46 (Type A5).
Shackleton (Ernest). The Heat of the Antarctic, 1st edition, 2 volumes, London: William Heinemann, 1909, photogravure frontispieces to each volume, twelve colour plates after paintings by George Marston, four double-page photographic plates, numerous further illustrations, three folding maps and one folding plate to rear pocket of volume 2, bookplates of Clinton E Geiser to front pastedowns, original blue pictorial cloth gilt, top edge gilt, other edges untrimmed, volume 1 rear joint worn and showing, backstrips faded and stained, rubbed to extremities, 8vo, together with:Scott (Robert Falcon). The Voyage of the 'Discovery', 1st edition, 2 volumes, London: Smith, Elder, & Co, 1905, photogravure frontispiece, numerous plates mainly from photographs and including several folding panoramas, 2 folding maps in end-pockets, bookplates of Clinton E Geiser to front pastedowns, lightly spotted, modern dark blue half morocco gilt, 8vo, withShackleton (Ernest). South, 1st US edition, New York: The Macmillan Company, 1920, colour frontispiece, black and white illustrations after photographs throughout, bookplate of Clinton E Geiser to front free endpaper, portrait of Shackleton pasted front blank verso (offset to adjacent page), related newspaper cuttings to front pastedown, a few light spots, original green cloth gilt, rubbed, 8vo, with 7 others related to Antarctic travelQTY: (12)
* Playing cards. A collection of 20th century playing cards, including: Playing Politics, V&A, 1983, double deck with caricatures by Gerald Scarfe and others, each cellophane wrapped, with rules and in original box (base adrift); The Kiss & The Lace Shawl, De La Rue, 1940, tax-wrapped double deck in original box; a boxed Goodall deck of 1920 with reduced size images of playing cards in the centre of each card; a boxed 1st edition of Kan-U-Go with rules, 1934; London Post, Jacques, 1st edition, 1880; London Underground game entitled Lobo, De La Rue, 1930, in original box with slide down band intact, and others, e.g. advertising, Art Nouveau and Art Deco backs, children's games (some by Pepys), Patience cards, tarot, etc., various sizes and condition, together with:Facsimile decks. A collection of facsimile playing card decks, comprising: Visconti-Sforza 15th century tarot, Italy, Bergamo: Accademia Carrara; Metastasis, English Playing Card Society, 2009; 2 Vito Arienti decks, 1977 (Jeu Drapeaux, 756/999 copies, and Jeu Grotesque, 477/999 copies); 6 decks by Harry Margary of Kent, all facsimiles of 16th and 17th century decks, 1970s; Bruce Bairnsfather "Old Bill" deck, English Playing Card Society, 2014; a pack celebrating the marriage of Queen Victoria's second son, Alfred the Duke of Edinburgh, to Grand Duchess Marie Alexandrovina, John Berry, 2003; and a replica deck of 17th century English playing cards in the British Museum, Simon Wintle, 1987, plus a ring-binder album containing clear-faced pocketed leaves displaying 100+ joker playing cards, 20th century, including Australian interest (Aborigines, wildlife, etc.) and advertising (e.g. Jack Daniel's, Wills's Woodbines, Player's Sun Valley Light Tobacco), plus 17 related sales catalogues, and approximately 170 copies of The Playing-card QTY: (2 cartons)
* Prisoner of War. A complete deck of manuscript playing cards made by a French Prisoner of War, circa 1796, 52 hand-painted playing cards, comprising four suits of thirteen (French suits), each with 10 pip cards, and 3 full-length court cards (jack, queen, king), forged ace of spades copying Hall's for 1789-1801, generally lightly dust-soiled and some rubbing in places, plain versos, 90 x 63 mm, together with a visiting card giving details of provenance in old manuscript, contained in original green straight-grained roan box with pull-off lidQTY: (1)NOTE:See: The Playing-card, Journal of the International Playing-Card Society, Volume 34, No.3, January-March 2006, pp.216/17.A unique set of hand-made playing cards. Whilst bone playing cards made by French Prisoners of War appear on the market from time to time, we have not seen another deck painted on card. The manuscript note on the enclosed visiting card states: "Set hand-made Cards & Case made by French Prisoners of War at Porchester Castle in Napoleonic Wars. Given to [Mrs. J.R.G. Chick-Lucas(printed)]' Mother-in-Law (Mrs. George Lucas) by a very old Resident of Porchester whose father had been a Prison Official at the Castle. Date of Gift was well before 1886, & the Ancient Dame died soon after. Given to Walter F. Chevers by his loving sister Alianora Chick-Lucas for July 2 - 1940.' The address printed on the visiting card is 'Belle Vue Cottage, Brading, I of W'. Alianora (1870-1956), wife of James Robb Goodman Chick-Lucas, is buried at St. Mary's Church, Brading. Her brother, Walter Forsyth Chevers (1867-1948) was born in Cheltenham, Gloucestershire. They were the children of Norman Chevers (1818-1886), Deputy Surgeon General of the Bengal Army, and his wife Emily Ann, and the family was known to have been residing at Sandown on the Isle of Wight in 1908. French Prisoners of War were kept at Portchester Castle, Hampshire, between 1793 and 1817, with more than 9,000 being held during this time. The late John Berry called this deck "a real 'find': very nicely done for a hand-made pack". Whilst the male court cards illustrate kings and warriors, the queens represent classical goddesses: the queen of clubs is Cirene, or possibly Diana (with crescent moon head-piece); the queen of diamonds represents Flora (with a garland of flowers); the queen of spades shows Pax, the goddess of peace (with a cornucopia in one hand and an olive branch in the other); and the queen of hearts also carries a cornucopia, but no other symbol to distinguish her from the many deities who are associated with the horn of plenty.
* Royalty Playing Cards. Queen Victoria & Prince Albert commemorative playing cards, Thomas De La Rue & Co., 1840, 52 chromolithographed playing cards, comprising 4 suits of 13 (French suits), each with pip cards 1-10, and 3 full-length court cards, dusty, pale blue versos with royal coat-of-arms in gilt (some minor rubbing of gilt in places), duty ace and armorial backs designed by Owen Jones, gilt edges, 92 x 64 mm, housed in a Victorian ebonised wooden playing card box, lid hand-painted with a playing card, lily-of-the-valley, and violetsQTY: (3)NOTE:Berry, Playing Cards of the World, 1028.An extremely rare pack of playing cards made in 1840 to celebrate the marriage of Victoria and Albert, whose coat of arms adorns the backs; this deck apparently not for public distribution, but one of only a very few made exclusively for Queen Victoria herself. The V&A has a single-ended pack with this back design, as did the Kaplan Collection. However both packs are narrower, so that the coat of arms is oval-shaped rather than circular as here, and the backs are pink as opposed to the striking aqua blue of our deck. The Waddington Collection held two cards only matching our wider deck, which John Berry described as "hitherto unknown", suggesting that they were samples of a larger design offered to the Queen by Mssrs De La Rue for her own private use. Indeed, The House of De La Rue, published on the publisher's 150th anniversary in 1963, states that this design was reserved by Royal Command. There was also a double-ended pack made for the Great Exhibition of 1851 which was withdrawn at the Queen's request and not sold on the open market. Apart from being double-ended it was an exact copy of the single-ended pack. The British Museum has such a set, with double-ended courts, which was bequeathed by Lady Schreiber (Schreiber 5: incomplete, lacking the three of clubs). The imprint on the duty ace refers to 'His Majesty'; it was at the request of Queen Victoria that this was left on as a mark of respect to her Uncle, William IV. (John Thorpe, 'Playing Cards and The Great Exhibition in London, 1851', The Playing-card, Volume 33, No.3, January-March 2005.)
* Royalty Playing Cards. Queen Elizabeth II Coronation commemorative playing cards, Alf Cooke, 1953, 2 standard decks, backs with a photograph of Queen Elizabeth and Prince Philip respectively, both packs in original tax wrapper, together with Rules for Canasta booklet, contained in pop-up purple velvet box, hinged lids with the royal cipher in gilt (a little dusty and gilt rubbed), 3.5 x 14.7 x 10.3 cm, together with:Queen Victoria Diamond Jubilee commemorative playing cards, Charles Goodall & Son, 1897, 52 chromolithographed playing cards, comprising 4 suits of 13 (French suits), all with pip cards 1-10 and 3 court cards each with oval medallion portrait of a British sovereign, versos with portrait of Queen Victoria, rounded corners, all edges gilt, 91 x 64 mm, contained in original cardboard box, both inner and outer sleeve with one hinge broken and lacking baseQTY: (2)
* Shipping Playing Cards. A collection of single advertising playing cards, 1890-1950, 100+ cards, each with colour pictorial backs advertising a shipping line or company, including 'Royal Mail Steam Packet Company', 'African Steamship Company', 'American Mail Line', 'Ellermann & Bucknall Steamship Company Ltd.', 'Elder Dempster Lines To and From West Africa', 'New Zealand and Federal Steamship Companies', 'Glen Line Ltd. Direct For Straits, China & Japan via Suez Canal', 'Cook's Nile Services', 'R.M.S. "Queen Mary"', etc., each approximately 90 x 60 mm, contained in clear-faced pocketed leaves in an A4 card folder, together with 5 decks related (3 double-decks) QTY: (6)
![London Almanacks. London Almanack for the Year of Christ 1772, printed for the Company of Stationers, [1771], engraved view o](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/78fe4ede-95ee-4125-9992-af5f011eea96/468x382.jpg)
London Almanacks. London Almanack for the Year of Christ 1772, printed for the Company of Stationers, [1771], engraved view of The New Excise Office on 4 adjacent pages, title with red duty ink stamp, textblock lightly cockled, close-trimmed at rear (clipping few headlines), original pink silk wrappers, with contemporary ink manuscript decoration to covers, front cover with ink manuscript date, rear cover with ink manuscript monogram E.L. (?), somewhat dusty and faded, spine with some splitting and minor loss, 55 x 33 mm, in original Dutch floral covered slipcase, with lift-off lid, rubbed and darkened, small loss to lower edge of lid, together with London Almanack for the Year of Christ 1793, engraved 4 page view of the New House of Correction for the County of Middlesex, duty stamp to title, close-trimmed at foot, clipping few bottom lines of text, all edges gilt, original green morocco, gilt scrolling floral tool on spine, covers with red, cream, and blue onlays, with various decorative gilt borders, and central gilt tools of a bird on foliage, and of an urn with a flower, with various small tools, lightly rubbed, a little wear to foot of spine and one corner, 56 x 33 mm, in original matching slipcase, rubbed and slighlty darkened, plus London Almanack for the Year of Christ 1798, engraved 4 page view of Westminster Abbey, duty stamp to title, all edges gilt, original red morocco, gilt scrolling floral roll on spine, covers with cream and blue onlays, with various gilt borders, and numerous gilt small tools including a bird flying over a small house (apparently tooled upside-down), lightly soiled and rubbed in places, 57 x 34 mm, in original matching slipcase, rubbed and a little darkened, contained in (possibly original?) card box with lift-off lid, somewhat rubbed and dust-soiled, the base lacking its top edge, the lid with decorative floral label in gilt and green (corners split), 63 x 42 mm, and three other London Almanacks, for the years 1815, 1824, and 1834, each with 4 page engraved view, all edges gilt, original red or maroon morocco gilt, two with cream and black onlays, all elaborately gold-tooled, two somewhat rubbed and darkened, each in original matching slipcase, one darkened and lightly rubbed, one a trifle rubbed, one darkened and wornQTY: (6)NOTE:Bondy, pp.39-41 & 164; Welsh 4563, 4586, 4593, 4617, 4626 respectively, and see 4641 for the small square format version of the final item.
Mills (Alfred). Costumes of Different Nations, in Miniature, 1st edition, London: Darton, Harvey, & Darton, and J. Harris, 1811, 47 engraved plates of costumes, toned with some spotting, one plate closed-trimmed at foot (cropping 3rd line of caption), preliminary blank with ink manuscript ownership inscription dated 1897, front free endpaper excised, stitching strained, hinges cracked, original red morocco, rubbed, some wear and minor marks, 64 x 60 mm, together with The Infant's Library, Book 1 [and Book 3, and Book 9], London: John Marshall, [1800-1801], uncoloured wood engraved illustrations, Book 3 close-trimmed at foot, clipping some illustrations and cropping final word of imprint, all sometime resewn and recased, each cover strengthened inside spine, original paper covered boards, rubbed and dust-soiled, each front and rear cover with oval printed title label with decorative border, those to Book 3 with contemporary hand-colouring, Book 1 spine frayed at top, Book 3 lacking spine, Book 9 spine somewhat worn, each book 59 x 48 mm, plus Pickering (William, publisher), Publius Terentius Afer, 1823, one of Pickering's 'Diamond Classics', engraved portrait frontispiece and additional title (both with pale dampstain to fore-edge), front free endpaper with early ink manuscript ownership name, original mottled calf, rubbed with a little wear to extremities, spine with gilt lettering and with simple gilt tool to the remaining panels, 85 x 51 mm, with 61 other miniature and small format books, most 19th century, including: 11 Ladies Companions, Pocket Books and similar, in wallet-style bindings; Pictures of Roman History in Miniature, by Alfred Mills, 1812; Bible Forget-Me-Nots, published Marcus Ward, circa 1890 (2 copies), Victoria the Good Queen and Empress, published Gardner, Darton & Co, 1897; Dialoghi, by Leopardi, Florence: Libreria del teatro, 1943; 2 Doctor's Visiting Lists (for 1864 & 1868); and Small Rain Upon the Tender Herb, 27th edition, Miniature History of England, published Goode Bros (2 copies, both later editions); various conditions, some defectiveQTY: (66)NOTE:First item: Bondy, pp.63-65 (for the 1814 edition); Darton G647(1): Moon, John Harris's Books for Youth, 541(1): Welsh 4985.Second item: Alderson, Miniature Libraries for the Young, 2: Bondy, pp.59-60.
Miniature almanacks. Goldsmith. An Almanack for the Year of our Lord God, M.DCC.XCIII, Calculated by John Goldsmith, London: for the Company of Stationers, [1792], partly printed in red & black, title verso with red duty stamp, marbled endpapers, rear hinge partly cracked, all edges gilt, original 'Venetian mosaic' binding in red morocco, blue and green onlays, with elaborate gold-tooled design incorporating birds, flowers, leaves and human faces, lightly rubbed in places, but in bright condition, 102 x 54 mm, in matching slipcase (rubbed and darkened), together with another Goldsmith. An Alamanck ..., for 1783, [1782], partly printed in red & black, title verso with red duty stamp, marbled endpapers, all edges gilt, original 'Venetian mosaic' binding in green morocco, blue and red onlays, with elaborate gold-tooled design incorporating floral and foliage motifs and a central flower vase, somewhat rubbed in places, front cover with loss to two onlays,102 x 54 mm, in similar red morocco slipcase, with blue, red and green onlays, and elaborate gold-tooled design incorporating birds and flowers, with a central motif of a swan on water, rubbed and somewhat darkened, bottom edge worn, a couple of marks to one side, plus another Goldsmith. An Almanack ..., for 1772, [1771], partly printed in red & black, some early ink manuscript annotations to blank pages, front free endpapers verso and preliminary blank with 19th century ink manuscript family provenance notes, all edges gilt, contemporary red morocco gilt with brass fore-edge clasps, one clasp defective, rubbed and marked, some wear to extremities, 105 x 58 mmQTY: (3)NOTE:Not in Bondy. See Welsh 3090-3094 for Goldsmith almanacks for other years. Most editions are uncommon.
![Miniature almanacks. Le Nouvel Almanach de Poche, pour l'an 1821, Lille: chez Vanackere, [1820], woodcut frontispiece depicti](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/6192aab3-0325-4d5f-90da-af5f011ef054/468x382.jpg)
Miniature almanacks. Le Nouvel Almanach de Poche, pour l'an 1821, Lille: chez Vanackere, [1820], woodcut frontispiece depicting an almanack street seller, 4 half-page woodcut roundels depicting the four seasons, 12 woodcut illustrations portraying a scene for each month, 2 further woodcut illustrations, one depicting an astronomer, generally spotted, very pale dampstain to foot of first few gutters (one opening with small mould stain), short closed tear to one top edge, frontispiece blank reverse with contemporary ink manuscript ownership inscription (some strikethrough to woodcut), red edges, original boards, rubbed and dusty, lightly soiled with a little wear, 102 x 42 mm, together with London Alamanck for the Year of Christ 1817, London: for the Company of Stationers, [1816], double-page engraved view of Westminster Abbey, title with red duty stamp, one gutter mostly cracked, one opening with small area of adhesion near foot of gutter, marbled endpapers, all edges gilt, contemporary red morocco gilt, barely rubbed, 58 x 67 mm, plus London Almanack for the Year of Christ 1796, London: for the Company of Stationers, [1795], red duty stamp to title, some worming to spine folds (mainly affecting two gutters), silk pocket inside front cover, all edges gilt, contemporary red morocco wallet-style binding, sewn with metalised thread, rear cover with monogram 'M.P.', with coronet above and date '1796' below, all sewn with metalised thread, upper edge stained, 32 x 33 mm, with 4 other London Almanacks, for the years 1827 & 1838 (standard format, black or maroon morocco wallet-style); 1863 (finger format, green morocco with slipcase); and 1868 (small square format, beige morocco with slipcase), and 12 other miniature almanacks (plus two small format), including: The Bijou Alamanack 1855 (Rock, Brothers & Co.), 2 Victoria Miniature Almanacks for 1846 (one in decorative black morocco gilt wallet-style souvenier binding from Newstead Abbey), 3 copies of Tilt's Miniature Almanack for 1848, 1859, 1861 in wallet-style bindingsQTY: (21)NOTE:First item: Not in Bondy. Second item: Bondy, pp.39-41: 'the very rare double-sized almanac' (p.41); Welsh 4619 (for the standard format almanack of that year).Third item: Bondy, pp.39-41; Welsh 4590 (for the standard format almanack). These small square format almanacks, as with the finger format, have no frontispiece illustration.
Miniature Bibles. The Bible in Miniature, or a Concise History of the Old & New Testaments, London: printed for E. Newbery, 1780, two engraved titles, 14 engraved plates, marbled endpapers, contemporary ownership name on preliminary blank, later ownership details on versos of free endpapers, all edges gilt, original scarlet morocco, a trifle rubbed in places, spine divided by gilt rope rolls between single fillets, compartments with flower tool in centre and small flower at each corner, covers with hounds tooth roll and single fillet border, floral cornerpieces, and central oval sunburst motif with green morocco onlay lettered in gilt 'IHS' (that to front cover with small chip), 45 x 32mm, together with The Bible in Miniature, or, a Concise History of the Old & New Testaments, London Printed, circa 1875, 7 engraved plates, front free endpaper with ink manuscript ownership inscription dated 1875, contemporary mottled calf, rubbed, small loss to foot of spine, 44 x 35 mmQTY: (2)NOTE:First item: Bondy, p.34.
Miniature books. A group of 13 miniature or small format books, each with one or both covers in hall-marked silver (one with gilt metal covers), late 19th-early 20th century, comprising: The Book of Common Prayer, Oxford: University Press & London: Henry Frowde, with contemporary ink ownership inscription to front free endpaper verso, full silver binding with plain spine, clasp, and hinged joints, front and rear covers with open work silver scrollwork, the front cover with monogram O.E.V.M., the rear with date 1902, 99 x 65 mm; The Book of Common Prayer, London: Eyre & Spottiswoode, red morocco with silver plaque to front cover, depicting Holman Hunt's 'The Light of the World', hallmarked 1905, 116 x 78 mm; Fromme's Wiener Porte-Monnaie Kalender 1881, Vienna: Carl Fromme, [1880], with photographic frontispiece, red cloth with gilt metal front and rear covers (darkened with some stains), front cover with imperial eagle, rear cover with flowers, both within decorative borders, 45 x 32 mm; Poetical Works of Alfred Lord Tennyson (2 copies), Eyre & Spottiswoode, both silver front covers with embossed portrait of Tennyson (one front cover nearly detached); Royal Bijou Birthday Book (2 copies), Eyre & Spottiswoode, one silver front cover showing 5 angels' heads surrounded by clouds, the other with an outdoor tavern scene; The Book of Common Prayer (4 copies), Eyre & Spottiswoode or Oxford: University Press & London: Henry Frowde, one silver front cover with 5 angels' heads design as above, one with lilies, one with a flowers and foliage design around a central plain panel, the last depicting a woman clinging to a stone cross; Hymns Ancient and Modern (2 copies), London: for William Clowes & Sons, both silver front covers with a similar 5 angels' heads design as above, the last 10 items listed all approximately 55 x 45 mm, plus a worn black morocco slip/carry case for an unknown small format book (book not present), with hallmarked silver front panel depicting 5 angel's headsQTY: (14)NOTE:Bondy, pp.167-168.
Miniature books. The Little Robinson Crusoe, London: Tilt & Bogue, c.1841, 47 full-page engraved illustrations, including frontispiece, vignette title-page, without advertisement leaf at rear, all edges gilt, marbled endpapers, contemporary green morocco, a little rubbed, raised bands between gilt double rules, gilt lettered direct in second compartment, covers with gilt double fillet border, upper cover with gilt crest of a fox and monogram 'R.B.M.', gilt decorated edges and turn-ins, 75 x 63 mm together with The Little Forget-Me-Not; a Love=Token, London: Charles Tilt, circa 1840, hand-coloured engraved frontispiece, vignette title, and 10 plates, 4pp. publisher's advertismenets at front, some finger- and dust-soiling, pastedowns with pencilled inscriptions, hinges cracked, original black morocco gilt, rubbed, tiny stitch to spine (possibly sometime recased), 67 x 57 mm, plus The Zoological Gardens, Regent's Park [bound with] The Surrey Zoological Gardens, both by C. Williams, London: Charles Tilt, circa 1843, additional engraved title 'Little Book of Foreign Animals' with D. Bogue imprint, numerous engraved illustrations, original cloth gilt, rubbed and lightly marked with a little wear, 77 x 65 mm, and a defective copy of Famous Men of BritainQTY: (4)NOTE:First item: Bondy, p.67: "much sought after by collectors". Not in Osborne or Gumuchian. This item, and the third and fourth items listed, all come from Tilt's Hand-Books for Children series.
Miniature Chained Bible and Lecturn. The Holy Bible, Edinburgh & London: Nimmo, Hay & Mitchell Ltd, & London: Henry Frowde, 1919, illustrations, front hinge cracked after frontispiece, inside front cover with pocket containing small magnifier, original blind-stamped dark brown morocco, gilt title to spine, extremities lightly rubbed, 49 x 33 mm, fastened with 13 cm chain to a miniature wooden lecturn, with turned wood stand, and storage shelf, the base with publisher's printed label, 160 x 85 x 65 mm, together with Miniature Dictionary, The Smallest English Dictionary in the World, Glasgow: David Bryce and Son, [1893], half-title with frontispiece portrait of Dr. Johnson on verso, orignal limp red morocco, front cover and spine with gilt title, rear cover with gilt 'PEARS', very lightly rubbed and darkened, 28 x 19 mm, contained in original metal case with carrying ring (tarnished & pitted), hinged lid with inset magnifying lens and engraved title, base with engraved globe and books, plus Miniature Bible, The New Testament, Glasgow: David Bryce & Son, & London: Henry Frowde, Oxford University Press, 1895, stitching broken in centre (central few leaves detached), original limp dark blue morocco, gilt lettered title to front cover and spine, 17 x 16 mm, contained in original metal case with carrying ring and engraved lettering and decoration (tarnished & pitted), hinged lid with inset magnifying lens, with another similar: The Holy Bible, Glasgow: David Bryce and Son, 1901, early ink manuscript inscription to inside front cover, original limp maroon morocco gilt, rubbed with a little wear, 44 x 32 mm, in original metal case (tarnished & pitted), lid with inset lettered cloth section, and with magnifying lens (detached), and 4 other miniature (and one small format) religious books, various conditionsQTY: (9)NOTE:First item: see Bondy, pp.109-110 for a similar Bryce and Son edition. The label on the base of the lecturn explains that: the chain is a facsimile of what may be seen in Hereford and other Cathedrals.Bryce miniatures in metal cases: Bondy, pp.106-111.
![My Own Library. Tilt's Hand-Books for Children, London: Charles Tilt [or] Tilt & Bogue, circa 1835-1841, comprising 7 tit](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/c02ff261-cd12-4493-96b5-af5f011ef654/468x382.jpg)
My Own Library. Tilt's Hand-Books for Children, London: Charles Tilt [or] Tilt & Bogue, circa 1835-1841, comprising 7 titles from the series: The Little Book of British Birds, by W. May; The Little Picture Bible, & The Little Picture Testament, both by Isabella Child; The Surrey Zoological Gardens, & The Zoological Gardens, Regent's Park, both by C. Williams; The Little Esop; The Little History of England; Famous Men of Britain, each with numerous engraved illustrations, British Birds with minor mark to title, Picture Testament with few minor marks, Surrey Gardens one opening a little soiled, Famous Men with ink ownership inscription dated 1841 to front free endpaper, most books with stitching strained, 2 hinges loose, Little Esop rear hinge detached, all edges gilt, original cloth gilt, most spines faded with some wear to ends, six joints cracked, each book 77 x 65 mm, contained together in original small wooden bookcase, covered in maroon marocco (faded and soiled with some loss), gilt-lettered My Own Library at top, 112 x 125 x 70 mm, together with another similar set of Tilt's Hand-Books for Children, comprising 7 titles from the series: The Little Book of British Quadrupeds, by W. May; The Surrey Zoological Gardens, by C. Williams; The Little Picture Testament, by Isabella Child; The Little History of England; The Little Esop; London Sights for Little Folks; Country Walks for Little Folks, each with numerous engraved illustrations, some minor marks and finger-soiling, preliminary blank to 5 books with ink ownership inscription dated 1842, occasional finger-soiling and minor marks, Testament lacking 19pp., most with oversewing to front portion, 3 hinges cracked, Gardens & England textblock nearly detached, all edges gilt, late 19th century dark green morocco gilt, spines faded with some wear, covers to England & Walks sometime reattached upside down, Walks front cover detached, each book 72 x 61 mm, contained together in original small wooden bookcase, covered in dark brown marocco, somewhat darkened, sides rubbed, some chips and small losses, gilt-lettered My Own Library at top, 112 x 125 x 70 mmQTY: (2)NOTE:Bondy, pp.66-67.
![Thumb Bible. Verbum Sempiternum [and] Salvator Mundi, [by John Taylor], London: F. Collins for T. Ilive, 1693, imprimatur lea](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/867cc15e-5d56-425a-b2e9-af5f011ef6fa/468x382.jpg)
Thumb Bible. Verbum Sempiternum [and] Salvator Mundi, [by John Taylor], London: F. Collins for T. Ilive, 1693, imprimatur leaf 'A' and The Bible & New Testament half-titles all with typographical borders at head and foot, blank leaf [K8] and final blank present, generally dust- and finger-soiled, some wear to outer corners (mainly towards front), affecting border on imprimatur leaf and few catchwords, leaf [B8] with loss to lower outer corner, affecting final line of text, contemporary calf gilt (gilt mostly rubbed off), wear to corners, rear joint nearly split, head of spine with small split at front joint, textblock protruding from binding, 48 x 43 mm, together with Miniature book, Westminster Abbey, volume I (of 3), by the Author of the Gigantick Histories [Thomas Boreman], London: for Tho. Boreman, 1742, woodcut frontispiece and 15 full-page woodcuts on letterpress, 4pp. publisher's advertisments at rear, close-trimmed at head and fore-edge, occasionally clipping text, front free endpaper with early ink ownership name, textblock slightly split at centre, original Dutch floral boards, worn and without spine, 62 x 44 mmQTY: (2)NOTE:First item: Bondy, p.15; ESTC R184924; Wing T525.Second item: Bondy, pp.21-22; ESTC N25905.
Speke (John). Journal of the Discovery of the Source of the Nile, 1st edition, London: William Blackwood & Sons, 1863, frontispiece, 25 plates, 46 illustrations in the text, 2 maps (one folding and loose), advertisements to rear, endpapers renewed, lightly spotted & dust-soiled, modern brown cloth gilt, 8vo, together with:Parke (Thomas Heazle). My Personal Experiences in Equatorial Africa as medical officer of the Emin Pasha Relief Expedition, 2nd edition, London: Sampson Low, Marston & Company, [1891], portrait frontispiece, 17 wood-engraved plates, folding map to rear pocket, lightly spotted & toned, hinges cracked, Holt Literary Society sticker to front pastedown, original pictorial cloth gilt, Holt Literary Society sticker to front cover, worn, 8vo, withThomson (Joseph). Through Masai Land: A Journey of Exploration Among the Snowclad Volcanic Mountains and Strange Tribes of Eastern Equatorial Africa, new and revised edition, London: Sampson Low, Marston & Company, circa 1890, wood-engraved frontispiece and illustrations, lightly spotted & toned, original red cloth gilt, lightly marked & rubbed, 8vo, with 2 others on AfricaQTY: (5)
![[Austen, Jane]. Emma: A Novel in Three Volumes. By the Author of "Pride and Prejudice," &c. &c., 3 volumes, 1st editi](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/1328dd8f-1ade-41d2-b757-af5f011efad3/468x382.jpg)
[Austen, Jane]. Emma: A Novel in Three Volumes. By the Author of "Pride and Prejudice," &c. &c., 3 volumes, 1st edition, John Murray, 1816, lacks half-titles to all volumes (P6, A1, A1), some spotting and browning throughout, heavier browning to gatherings O & P in volume 1, small ex libris book labels to front pastedowns, 'Sum Caroli Whibley', and later pencil gift inscription to front free endpaper of volume 1, 'Dorothy & Evan Charteris from E. Marsh, a wedding present 1930', later 19th-century calf, gilt-decorated spines with five raised bands, gilt-titled labels and author's name stamped in gilt at foot of each, joints and extremities slightly rubbed, upper joint of volume 2 partly cracked, 12mo (166 x 100 mm)QTY: (3)NOTE:Gilson A8; Keynes 8.Provenance: Charles Whibley (1859-1930), bibliophile, best known for recommending T. S. Eliot to the attention of Geoffrey Faber; Sir Evan Charteris (1864-1940) was an English biographer, barrister and arts administrator. He published notable biographies of John Singer Sargent and of Edmund Gosse. In 1930 he married Lady Dorothy Margaret Browne (1888-1961), the widow of Lord Edward Grosvenor. E. Marsh may be Edward Marsh (1872-1953), British polymath, translator, arts patron and civil servant.Emma was Austen's fourth novel, published in an edition of 2,000 copies. of which 1,250 were sold in the first year. The work bears a dedication to the Prince Regent, who was an admirer of Austen's works and who invited Austen to dedicate the book to him after her visit to Carlton House in November of 1815. The book was begun on 21 January 1814 and completed on 29 March 1815. Henry Austen arranged for John Murray to publish the work.
![[Austen, Jane]. Northanger Abbey: and Persuasion. By the Author of "Pride and Prejudice", "Mansfield-Park," &c. With a Bi](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/5b9351ad-851a-49d2-b247-af5f011efbaf/468x382.jpg)
[Austen, Jane]. Northanger Abbey: and Persuasion. By the Author of "Pride and Prejudice", "Mansfield-Park," &c. With a Biographical Notice of the Author, 4 volumes, 1st edition, John Murray, 1818, half-titles (A2) to volumes 2-4, lacks half-title (a12) to volume 1, final 2 blank leaves (P7-8) at end of volume 4 present, some spotting and browning, contemporary ink ownership inscription at head of titles, 'Elizabeth Jane Gates, Novr. 12 1822', marbled edges, contemporary polished calf with blind-stamped border decoration within triple fillet gilt borders, gilt-decorated spines with leather spine labels (several small chips without loss of lettering), rebacked with original spines relaid, rubbed, some corner wear, 12mo (180 x 104 mm)QTY: (3)NOTE:Gilson A9; Keynes 9.Published the year after the author’s death in a run of 1,750 copies, this first edition combines Northanger Abbey, the first of Austen’s novels to be completed for publication, with Persuasion, the very last of her completed works. According to the author's sister, Cassandra, Northanger Abbey was written in the years 1798-1799, although it has been suggested 'a first version may have been written as early as 1794' (Gilson, p. 82). In 1803, Austen sold the manuscript, then entitled Susan, to the London publisher Richard Crosby and Son, for £10. When it failed to appear after six years, she asked Mr Crosby for information, only to be told that he was under no obligation to publish it, and that she could have it back and forfeit the advance. Austen waited until 1816 to accept the offer, but despite preparing the manuscript for publication once more, and changing the title from Susan to Catherine, it was still held back. As a result, it only appeared posthumously with Persuasion in December 1817, the eventual title apparently supplied by her brother Henry Austen, who prefaced the text with a 'Biographical Notice' of his sister. Persuasion was begun on 8 August 1815 and completed the following year.
![[Austen, Jane]. Northanger Abbey: and Persuasion. By the Author of "Pride and Prejudice", "Mansfield-Park," &c. With a Bi](https://cdn.globalauctionplatform.com/f2d55b0d-bea0-4ba1-96c5-af5f00b8a264/f10f490c-dfa2-4876-99b8-af5f011efc5a/468x382.jpg)
[Austen, Jane]. Northanger Abbey: and Persuasion. By the Author of "Pride and Prejudice", "Mansfield-Park," &c. With a Biographical Notice of the Author, 4 volumes, 1st edition, London: John Murray, 1818, half-titles present, small neat ownership inscription (? F.W Belli?) dated 'Dec 56' to front free endpapers, final 2 blanks (P7-8) to volume 4 lacking, later mid 19th-century endpapers, text block trimmed closely to lower margins (sometimes affecting catchwords & signatures, a few leaves lacking final line of text), spotting throughout, occasional damp-staining (affecting text), front hinge to volume 1 tender, late 19th-century half calf, volume 1 backstrip chipped with loss, worn, 12mo, housed in custom slipcase and chemises, lettered in gilt to spinesQTY: (4)NOTE:Gilson A9.
* Austen Family. A collection of approximately 55 Autograph and Typed Letters Signed with associations to Jane Austen's family, 19th & 20th century, Autograph Letters Signed include Emma Austen-Leigh (1868-1940), Alwyn Francis Herbert Austen (1921-2003), Richard Arthur Austen-Leigh (1872-1961), William Austen-Leigh (1843-1921), George Bentley (1828-1895), Edward Knatchbull-Hugessen, first Baron Brabourne (1829-1893), Charles Edmund Brock (1870-1938): 2 letters and a pen & ink vignette sketch of the head of an elderly Regency gentleman, Samuel Egerton Brydges (1762-1837), Robert William Chapman (1881-1960), James Stanier Clarke (1766-1834), George Colman, the younger (1762-1836), Robert William Elliston (1774-1831), Rosina Filippi (1866-1930), Félicité Genlis (1746-1830), William Gifford (1766-1826), Christiana Marie Demain Hammond (1861-1900), Ellen Gertrude Hill (1841-1928), Thea Holme (1907-?), Lord Jeffrey Francis (1773-1850), Geoffrey Keynes (1887-1982), Edward Knatchbull (1781-1849), Mary Madge Lascelles (1900-1995), Marghanita Laski (1915-1988), E.V. Lucas (1868-1938), James Mackintosh (1765-1832), Sydney Smith (1771-1845), John Sparrow (1906-1992), Sylvia Townsend Warner (1893-1978), etc., arranged with printed descriptions in a modern plastic display album, 4to, together with a folder of mostly modern and some reproduction Jane Austen illustrations and ephemeraQTY: (2 folders)NOTE:Provenance: David Gilson & Chris Viveash Collection.
* Austen (Henry Thomas, 1771-1850). Militia officer, clergyman, banker and brother of Jane Austen. Manuscript promissory note for £200, 24 October 1806, the text reads: 'Three months after date I promise to pay to Mr Henry Maunde or his order Two Hundred Pounds for Value recd. payable at Messrs Austen Maunde & Austen Bankers Albany', signed 'Ct [Count?] Stuarton', manuscript addendum to verso, 'H. Maunde. Pay the Contents to Hugh Moises MD Value in Account. Cha: James', embossed 4 shilling duty stamp, a few minor marks, 85 x 220 mm, together with a printed reward notice for 5 guineas relating to this specific manuscript promissory note, printed by C. Roworth, Bell-yard, Temple-bar, no date, c. 1807/08, giving note that the drawer of the promissory note has absconded and offering a reward, printing the content of the promissory note and then a description of the fraudster in dramatic fashion, 'He is between 30 and 40 years old; about 5 feet 10 inches high; ill-looking; marked with the small pox; large red nose; light hair; of late dressed in black, in consequence of the death of Cardinal York, having passed himself for a descendent of the Royal House of Stuart; sometimes wears a bottle-green coat and half-boots; has a large seal to his chain, with a spiral coronet, and the letter S engraved under; speaks very full and quick; with a Dutch or German accent... ', some spotting, 280 x 110 mmQTY: (2)NOTE:Provenance: David Gilson & Chris Viveash Collection. Acquired from Questor Rare Books, London, 1998, catalogue 3, item 120.David Gilson published an article about the note and the accompanying reward notice in Jane Austen Society, Annual Report (2006), pp. 43-45. Gilson notes that it was not only debtors owing large sums but many owing smaller sums which led to the fall of Henry Austen's banking empire. Gilson's article concludes by highlighting the connection between the printer Charles Roworth and the Austen family and notes that within a few years of this jobbing printing notice Roworth was to publish most of the first edition volumes of Jane Austen's novels.Exceedingly rare items of Jane Austen ephemera.
Austen (Jane). Northanger Abbey & Persuasion, 1st illustrated edition, 2 volumes in one, London: Richard Bentley, 1833, half-title, engraved frontispiece and vignette title, additional printed titles to both volumes, 12 advertisement leaves to front, neat near-contemporary ownership inscription to front free endpaper upper margin, preliminary and rear leaves lightly spotted, small faint water stain to outer margin of frontispiece & vignette title (not affecting text or image), occasional light dust-soiling, original plum cloth, spine labels lightly chipped with small portion of loss, lightly rubbed and marked, 8voQTY: (1)NOTE:Gilson D4.
Austen (Jane). Emma, London: Richard Bentley, 1836, half-title, frontispiece, vignette title, additional printed title, portrait of A.H. Niemeyer to front pastedown, library stamps to half-title verso, front hinge cracked, light spotting & dust-soiling (heavier to preliminary leaves), frontispiece outer margin frayed with small amount of loss, contemporary half calf gilt, remnants of sticker to spine base, worn, 8voQTY: (1)NOTE:Gilson D7.Reprints of Bentley's standard novels are scarce. Gilson comments: 'So few of these reprints survive in libraries, and even fewer in original condition, that the following details must be incomplete...' (Gilson p. 225).
Austen (Jane). Sense and Sensibility, 2 volumes, London: H.G. Clarke & Co, 1844, lacking half-titles, small library ticket to front pastedown upper margin of volume 1, leaves lightly toned, contemporary dark blue half calf gilt over red marbled boards, some wear, 12moQTY: (2)NOTE:Gilson E2.The first separate edition to appear after the copyright expired in 1839. Available either in 'illuminated wrappers, cloth or full morocco gilt'. The present copy does not have the illuminated wrappers so was presumably originally issued in cloth or morocco.
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