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Click here to subscribeA mixed box of collectible ceramics: including Victorian Art Deco Myott Son & Co jug, Japanese pheasant vase, Chinese blue & white ginger jar with lid, Italian Capodimonte‑style display plate with relief floral decoration and Arthur Wood green horse‑head pitcher etc. Size: Myott Art Deco jug (H18cm), Japanese Pheasant Vase (H35cm), Chinese ginger jar (H30cm), Italian Capodimonte?style plate (D30cm), Arthur Wood horse?head pitcher (H35cm).
A miscellaneous selection of items including an Arthur Wood Staffordshire Spaniel, a Roundhead Leadless Pewter tazza having Celtic style decoration, a selection of assorted plated ware including cake stands and gravy boats etc, four wooden elephants and a vintage Wedgwood Windsor Bar set etc
Golden Cockerel Press. Flowers and Faces, by H. E. Bates, Golden Cockerel Press, 1935, wood-engravings by John Nash, top edge gilt, original morocco-backed marbled boards by Sangorski & Sutcliffe, 4to, limited edition 175/325, signed by the author, together with Glue and Lacquer. Four Cautionary Tales Translated from the Chinese by Harold Acton & Lee Yi-Hsieh, Preface by Arthur Waley, Golden Cockerel Press, 1941, collotype illustrations by Eric Gill, a few minor spots, bookplate of Michael Bernard Thorold, top edge gilt, original blue morocco-backed boards by Sangorski & Sutcliffe, spine faded to green, a little rubbed, corners a little bumped, 4to, limited edition 265/350, plus the three limited edition Golden Cockerel Press bibliographies: Chanticleer, 1936 (limited signed edition 65/300), publisher's copy (bookplate), Pertelote. A Sequel to Chanticleer, 1943 (limited signed edition 40/200), and Cockalorum. a Sequel to Chanticleer and Pertelote, 1948 (limited signed edition 126/250) QTY: (5)
A 1960s Irish Crannac Teak Lounge Chair, shaped arms, on four tapering legs, re-upholstered tweed cushions, labelled Crannac ARTISTRY in Wood Made in the Republic of Ireland By John Hogg & Co LTD Navan Designed by Arthur Edwards Des RCA MSIA,74cm wide, 72cm deep, 84cm high Seat height 44.5cmIn 1945 a small furniture company called John Hogg Ltd was established in Navan Co Meath. In 1961, they hired designer Arthur Edwards to help design a new style called Crannac, meaning little copse or wood in Irish.The teak was imported from Ghana.
Wilson (Arthur) The History of Great Britain, being the Life and Reign of King James the First, engraved portrait frontispiece, wood engraved initials and headpieces, occasional faint staining, bookplate of Thomas Weld-Blundell, modern antique-style half-calf, folio, for Richard Lownds, 1653.
TWO BOXES AND LOOSE METALWARE, to include a selection of Pewter Takers, copper bed pan and kettle, large selection of vintage cutlery to include a Arthur Price dessert folk set (6), set of fish cutlery in a wood box knives marked G.W. EP, S&L, vintage teapot, sugar bowl and milk creamer marked WJM & Co. on the base, a pewter tea pot marked esp Sheffield etc. (2 boxes + loose), (sd/af)
An Early 20th Century Mahogany Cased Battery-Operated Synchronome Wall Clock by Albert A Wicks of Canterbury, the 9ins square silvered dial with Roman numerals to the exposed movement contained in plain case with shaped cornice and glazed trunk door 55.5ins high Note: Albert A Wicks, born in 1896, was apprenticed aged 14 to the jeweller Mr Arthur Wood at Sun Street, Canterbury as a clock repairer. Noted in the Kentish Gazette article of March 12th 1976 "Mr Wicks has made one clock with which he is especially pleased. It is a battery-operated synchronome, based on the same principle as the clock used for the Greenwich time signal. The hands came from part of a First World War plane and they jump every half minute. The clock was started on February 25th 1924 and finished on May 1st when Mr Wicks was 28." Permission given from the Synchronome Company Ltd, who invented the style, to build it.
* EDITH SIMON (GERMAN / BRITISH 1917-2003), HOMAGE TO JOHN BELLANY painted composition sculpture, signed to base61cm high Provenance: lot 2336, The Scottish Contemporary Art Auction 20th December 2015 where acquired by the current vendor.Note: Edith was born on 18th. May 1917 in Berlin, Germany where her family had lived for generations. Her father Walter Simon was a much decorated cavalry officer in the First World War, and a prosperous business owner in peacetime. Her school was The Furstin-Bismark Gymnasium where she received a good liberal education, and excelled at art and history. In 1927 at the age of 10 her drawings were first published in a newspaper. As the political climate in Germany became increasingly threatening Walter Simon wisely decided the family would be safer if they left Germany and move to London, much to Edith’s dismay. In 1932 Edith and her sister Inge arrived in London to join the family. Edith taught herself English and then attended the Slade and Central School of Art, became involved with a group of left wing artists and was in 1933 a founder member of Artists International Association (AIA). In 1934 she exhibited a portrait of the first committee of the AIA at an exhibition at 64 Charlotte Street London. Her first book for children ‘Somersaults and Strange Company’ was published in 1934 and she began work on a novel ‘The Chosen’ while translating Arthur Koestler’s ‘The Gladiators’ into English. Her translation was later translated back into German when the original manuscript was lost. In 1940 ‘The Chosen’ was published (to great critical acclaim on both sides of the Atlantic) although all but a few copies were destroyed in the blitz. Nothing daunted her and the second novel ‘Biting the Blue Finger’ was published in 1942 the year in which she met a scientist Eric Reeve. They were married shortly afterwards. Eric and Edith moved to Edinburgh in 1947 where Eric took up a post with the new genetics department at Edinburgh University while Edith continued her career as author. She had 17 books published, contemporary novels, historical novels, and histories.1969 began an increasing focus on art, with an exhibition at the Demarco Gallery in Edinburgh in 1970 followed in 1971 by an exhibition of mobile sculptures and papercut bas-relief pictures at Galerie Balans in Amsterdam and at the Stads Schourburg Galerie Tilbourg. In 1972 Edith’s last book ‘The Anglo Saxon Manner’ was published. From the first mobile sculptures and papercuts Edith went on to explore making drawings in one continuous line without lifting pen from paper, see-through pictures in translucent layers, sculpture in stained wood, ciment-fondue, vacuum formed perspex, cast polyester resin, cold-cast bronze, copper, aluminium, metal sheet, carved plaster, painted glass, painted chairs, baths, and murals in paint and wood veneer. She had so many new ideas and techniques that it was hard to keep up. The continuous line pictures developed into three dimensions with resin supported rope being the continuous line, eventually Edith stopped doing the continuous line drawings when they were no longer enough of a challenge. The paper cuts increased in difficulty with more and more layers of different coloured paper. The layers had to be in the correct order to create the correct highlight and shadow tones, and so cutting down to the colour needed did not cause the whole set of outer layers to fall off. Edith therefore had to be able to “see” what the picture would look like, what colour went where and see the three dimensional set of colour layers in her mind’s eye, before she started on any picture. She exhibited at the Edinburgh Festival every year until 2001 as well as exhibitions in London and Glasgow. The last 8 years of her life were a battle against failing health – she worked attached to a long oxygen line, but was still producing a good number of papercuts.
A STUNNING 1950S/ 60S SCRAPBOOK/ FOOTBALL AUTOGRAPH BOOK, CONTAINS WELL OVER 300 CLIPPINGS WITH SIGNATURES, PLAYERS/ TEAMS INC STANLEY MATTHEWS X40 PLUS SIGNATURES, NAT LOFTHOUSE X30 PLUS, BILLY LIDDELL X12 PLUS, GIL MERRICK/ PETER MURPHY OF BIRMINGHAM CITY X20 PLUS, DON REVIE/ EDDIE MCMORRAN X15 PLUS, BERT TRAUTMANN X10 PLUS, BILLY WRIGHT/ BERT WILLIAMS X25 PLUS, JOE SHAW/ ALF RINGSTEAD X20 PLUS, MANCHESTER UNITED PLAYERS INCLUDE RAY WOOD X10 PLUS/ DENNIS VIOLLET X2/ TOMMY TAYLOR X4/ ARTHUR ROWLEY X8, SHEFFIELD WEDNESDAY SINCLAIR/ CRAIG/ POTTS/ SPRINGETT/ JOICEY/ MACINTOSH/ QUIXALL/ SEWELL/ QUIGLEY 100 PLUS, 80 PLUS MINIMUM MISCELLANEOUS AUTOGRAPHED CLIPPINGS. WOLVERHAMPTON WANDERERS/ LEEDS UNITED/ BIRMINGHAM/ MANCHESTER CITY/ LIVERPOOL/ SHEFFIELD UNITED/ ENGLAND.
1930s autograph album with sportsmen and non-sporting subjects, compilation started in 1932, county cricket team groups for Surrey, Leicestershire, Sussex, Warwickshire, Derbyshire, Lancashire, Kent, Essex; an official MMC Tour to India & Ceylon 1933-34 autograph sheet; an England cricket team group; signed postcards including Sandham, Hobbs, Tate, Langridge, Cornford, Hendren, double-signed Langridge and Bowley in front of 490-1 scoreboard, also a signed card of the cyclist Reg Harris; signed letters from P F Warner & Stanley Jackson; other cricketers signatures including Tommy Cook, Arthur Richardson, Wally Hammond and many others; Football team-groups for Everton, Newcastle United, Arsenal, Chelsea; also Sir Malcolm Campbell, the Olympic runner Douglas Lowe, the Australian aviator Jimmy Melrose and a page with extensive autographs of professional golfers at a Tournament at Brighton in 1936, including Cotton, Rees, Faulkner, Whitcombe etc.; non-sporting subjects including Henry Wood (conductor), Henry Hall and Bert Ambrose (Band Leaders), Turner Layton (pianist & singer), Ernest Sharpe (Arch Deacon of London), Maharaja of Bharaphur, Music Hall stars the Western Brothers, Carlyle Cousins, Arthur Prince, Morman Long, Nosmo King, Harry Hemsley, the British Prime Minister Neville Chamberlain, Robert Donat (actor), Janet Burnell (actress) and others.
FIVE BOXES AND LOOSE MISCELLANEOUS CERAMICS, to include, two Capodimonte figures, a quantity of cat sculptures, names include Beswick, Rushton Pottery, Coalport, etc. two William Brownfield, blue moulded stoneware pitchers marks to the base, vintage Harrods tea caddy, a selection of kitchenware names include Arthur Wood, James Kent, Clover Leaf, etc. stoneware pots and ramekin dishes, planters etc. promotional ceramic items include Lurpack and J & B Scotch whisky, (5 boxes + loose), (sd/af)
Trees.- Ravenscroft (Edward) Pinetum Britannicum, 3 vol., first edition, titles to vol.1 & 2 and table of contents in vol.1 all in neat manuscript in red and black ink, letterpress titles, contents, list of subscribers etc. all bound at end of vol.3, 47 fine hand-coloured lithographed plates only after W.Richardson, J.Black, R.K.Greville and J.Wallace (of 48, lacking plate 33 'Cupressus Lambertiana/macrocarpa'), comprising 32 botanical and 15 views, tissue guards, with 4 mounted albumen prints and one lithographed plate of maps, errata slip and advertisement leaf at end of vol.3 (advertisement a little soiled and frayed at upper edge), wood-engraved illustrations, not bound according to Contents and list of plates, very occasional light spotting but generally an excellent clean copy, bookplates of Edward Cecil Guinness and Arthur Francis Benjamin Guinness (1st and 3rd Earls of Iveagh) and Christian Heuer, vol.1 & 2 contemporary red morocco, gilt, g.e., a little rubbed and faded, scuffed at edges, rebacked with handsome red morocco gilt spines, vol.3 modern half red morocco with matching gilt spine, g.e., [Great Flower Books p. 127; Nissen BBI 1588], folio, Edinburgh & London, Privately Printed by Peter Lawson & Son, [1863]-1884.*** The third of the three great nineteenth century works on conifers (after Bedford and Lambert), originally published in 52 parts between 1863 and 1884.
St. Dominic's Press.- Welfare Handbook No. 6. Commerce, signed presentation inscription from Eric Gill to Evan Gill to endpaper, original printed wrappers, 1919 § Gill (E., P. and J.) and D., S. and M. Pepler. A Christmas Book, some splitting to upper joint but firm, original wrappers, [Gill 368], 1919 § The Way of the Cross, second edition, initialled presentation inscription from Douglas Pepler to Rev. Arthur Gill to front free endpaper, original printed wrappers, [Gill 268], 1920 § Beedham (R. John) Wood Engraving, second edition, signed presentation inscription from Eric Gill to Evan Gill to endpaper, light browning to endpapers, original buckram-backed boards, spotting to spine, corners bumped, [Gill 77], 1925, [Taylor & Sewell A53, A68 (citing this copy a variant), A23a, A76a], Ditchling, St. Dominic's Press; and 4 others from the press, 8vo & 12mo (8) Provenance: From the collection of Evan Gill, purchased directly from the estate.
A COLLECTION OF ASSORTED DECORATIVE ITEMS to include a lidded hand hammered copper and brass fish dish, length 55cm, five replica 'James Atkinson's Bears Grease' ceramic lids, an Arthur Wood dog shaped moneybox (some scratches), a stone carving of a group of hippos, a Beswick Alsatian, a pair of carved water buffalo sculptures with two children positioned on a wooden base (one with a crack near the horn) riding on the back, length 29cm, a Staffordshire flatback and a metal rabbit, height 12.5cm (qty) (condition Report: itemised conditions above)
A GROUP OF DECORATIVE CERAMICS, comprising jugs by Arthur Wood, Sylvac apple blossom vase 2870, a Coalport 'Mayfield' covered pot, a quantity of Japanese hand painted plates, cups, and pots etc. two Burtondale hand bells in an Imari style design, two Rupert Schneider 2ltr porcelain stein wine jugs 'Das arbeitsreiche Weinjahr' and 'Weinlese', etc. (qty), (Condition Report: overall ok condition some wear to some items, would all benefit a clean)
An Aynsley 'Just Orchids' cake plate, a Portmeirion 'Botanic Garden' plate, a Royal Doulton limited edition display plate Compassion' after an original work by Gustavo Novoa, an Altenkunstadt Bavaria hunting scene corked porcelain bottle and an Arthur Wood & Co tea setr decorated with red tulip flowers and gilded sections etc
Ivory coloured silk Programme from London Coliseum Theatre, 11 October 1913, in the presence of King George and Queen Mary. Signed by many of the photographed cast and members of staff.Silk programme in book form covered in watered cream silk with gold typography and crest. The pages are held in place by a twisted white silk cord, ending in tassels. Elaborate gold foliate borders on each of the 46 pages featuring photographs of Lord and Countess Lonsdale, King George V and Queen Mary, Sarah Bernhardt, Ellen Terry, Owen Seaman, Oswald Stoll (chairman and managing director), Arthur Croxton (manager), Walter Battle, Doctor Broad, Mr.H.J. Thomas, Fred Wyndham (directors of the Coliseum syndicate), Mr. S.G. Michie (secretary of the Coliseum syndicate), Mrs E. Miriam Croxton (designer of the decorations of the interior of the Coliseum), Mr. A.C. Fotheringham Lyson, Frank Matcham (architect to the Coliseum syndicate), Madame Kirkby Lunn, Sir Edward Elgar, Sir Alexander Mackenzie, Sir Henry J. Wood, Mr. Landon Ronald, Yvette Guilbert, Fred Emney, Will Evans, George Formby, George Graves, Neil Kenyon, Alfred Lester (SIGNED), George Robey, Arthur Roberts (SIGNED). Mark Sheridan, Renée Mayer, Lydia Kyasht, Harry Fragson, W.C. Fields, Harry Tate, Herbert Haines(SIGNED), Mr. R. Joubé, Gerald Kirby, Robert Hale, Madame B. Rasimi and members of her company, Mr. G.P. Huntley (SIGNED), Harry Grattan, Max Pemberton (SIGNED) , James Watts, Yvonne Arnaud (SIGNED) , Constance Drever,(SIGNED) Florence Smithson, Gina Féraud, Madge Melbourne (SIGNED), George Grossmith (SIGNED), C.H. Workman, Ivor Foster (SIGNED)Messrs. Green & Wood (SIGNED) , Billy Merson,(SIGNED) Gus Sohlke, Henry Crocker (stage manager) (SIGNED) , Alfred Dove (musical advisor and director), Henry T. Mawbey (advertising manager), Miss A.Grossman (box office manager), Harry Pryme (acting manager), William Ward (press manager), and the interior of the theatre. Tassel holding pages in place in cream twisted silk rope. Produced for The Good Samaritan, a variety programme with Ellen Terry and W.C. Fields, promoted by Madame Sarah Bernhardt in aid of the French Hospital in London and Lord Lonsdale's Appeal for Funds for the Charing Cross Hospital, London Coliseum, 11th October 1913.Height 26.8cm Width 22.2cm. Identical copy currently held at the Victoria & Albert museum.Condition Report: Complete but fragile with age-related marks.
A rare Chinese gilt-bronze figure of a Lohan, Tang dynasty (8th century), standing in folded robes and his right hand holding a stupa, 9cm high, 172 gramsProvenance: By repute from the collection of the late Peter Maitland, a former Director of Mallett & Son Compare with a similar example in Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Grenville L. Winthrop, 1943, Object Number 1943.53.90唐 銅鎏金持塔羅漢拍品來源：英國畫廊Mallett & Son前董事Peter Maitland私人收藏 Condition Report: some wear to gilding and knocks commensurate with age on later wood base and hole in base for wooden peg mount to the base Condition Report Disclaimer
* Early Aviation Autographs. An autograph album compiled by Ellis Louise Pyke (Née Wood) c.1913/14, containing the autographs of early aviators at Hendon Aerodrome, some with accompanying sketches and many dated 1913/14, signatures include Sydney Pickles, A. Loftus Bryan, Denys Ware, George Lee Temple (with upside down signature, plane doodle and dated 24 November 1913), L[ouis] Arbon Strange, Frank Goodden & J. W. H. Scotland, Reginald H. Carr with pencil drawing of a monoplane signed by C. Norris on the same page, R[obert] Blackburn [founder of the Blackburn Aviation Company] & M[alcolm] G[raham] Christie & Hubert Scott, J[ohn] D. North (signed pen and ink sketch of gas lights), Ed[ouard] Baumann, H[arold] Blackburn (1879-1959, the first pilot to carry newspapers for commercial sale by air[1] and on 22 July 1914 piloted the first scheduled passenger-carrying flights in Great Britain), C. P. de Neuville (pen and ink cartoon), Arthur L. Russell (pen and ink sketch of a biplane), Louis Noël, Marcus D[yce] Manton (motoring cartoon), Robert B. Slack & J[ules] Teulade-Cabanes & George W. Beatty, Edwin Prosser (pen and ink cartoon), M. W. Noel, Pierre Gaudillon, Pierre Verrier, (?)A. C. E. Marsh, E. Ronald Whitehouse (drawing of a monoplane), Norman C. Spratt ( pen and ink cartoon), Walter L. Brock, Denis G. Murray (pen and ink thumbnail sketch of a ship), G. G. Carpenter, plus several others unidentified or later, hinges partly broken, contemporary padded morocco, rubbed and small tear with loss at head of spine, oblong 8voQTY: (1)
A collection of mid 20th century nursery rhyme ceramic items. The lot comprising a novelty Humpty Dumpty teapot in the manner of Arthur Wood, a Humpty Dumpty cream jug and matched sugar pot, a Johnson Brothers Alice in Wonderland Walrus children's dish and matched egg cup.Tallest measures approx. 19cm tall.
WILLIAM SADLER II (1782-1839) Figures at Powerscourt Waterfall, Wicklow Oil on wood, 22 x 33.5cmKnown particularly for his competent, atmospheric and topographically interesting views of the countryside around Dublin, Sadler remains an enigma in the history of 19th century Irish art. This is partially because his father, William (fl.1768–1788), and his own son, also William (b.1808), painted somewhat similar scenes in a vaguely similar style and can be confused. William Sadler II, however, stands out as being a better painter than either his father or his son. He is also credited as having taught painting and counted James Arthur O’Connor as one of his pupils.He is recorded as exhibiting, between 1808 and 1821, many paintings on his trademark mahogany panels. The Royal Hibernian Academy records four paintings by Sadler exhibited at the 1828, 1833 and 1836 annual exhibitions, giving his address as Buckingham Street and later at Merrion Avenue. In his 1913 Dictionary of Irish Artists, Walter Strickland notes, however, that he finally settled in Manders Building in Ranelagh where he died in December 1839.Sadler was greatly influenced by and painted many copies of the Old Masters, particularly Dutch painters, and this influence is seen in his landscape compositions with small figural groups. He also incorporated their technique of painting bright highlights to accentuate the almost three-dimensional effect of his figures.
Golden Cockerel Press.- Browne (William) Circe and Ulysses, number 82 of 100 specially bound copies with 4 additional engravings, from an edition limited to 300, original pictorial green morocco, gilt, spine a little faded, 1954 § Lucas (F.L, translator) The Homeric Hymn to Aphrodite, number 379 of 750 copies, some spotting, original pictorial morocco backed boards, gilt, preserved in modern cloth drop-back box, 1948 § Xenophon The Ephesian Story, translated by Paul Turner, number 53 of 75 specially bound copies with an additional set of plates (one unused), from an edition limited to 300, illustrations by Eric Fraser, original pictorial green morocco, gilt, spine slightly faded, additional plates loose in cloth envelope, together in cloth slip-case, 1956 § Swinburne (Algernon Charles) Hymn to Proserpine, number 150 of 350 copies, wood-engraved illustrations by John Buckland-Wright, original cloth, spine faded, 1944 § Ovid. Metamorphoses, translated by Arthur Golding, edited by Marianne Forey, limited edition, tipped-in colour plates of Titian paintings, original brown morocco with design by Simon Brett of Daphne in gilt to upper cover, preserved in modern cloth drop-back box, Folio Society, 2008, the first two with wood-engraved plates and illustrations by Mark Severin, t.e.g., most uncut, all but the last Golden Cockerel Press; and 3 others, classical, v.s. (8)
Ovidius Naso (Publius).- Beaumont (Francis) Salmacis and Hermaphroditus, number 373 of 380 copies, colour wood-engraved illustrations by John Buckland Wright, some full-page, this one of 50 copies in original pictorial cream boards, gilt, spine ends very slightly browned, [Cock-a-Hoop 187; Reid A64], Golden Cockerel Press, 1951 § Ovidius Naso (Publius) The Heroycall Epistles, translated by George Turberville, number 3 of 350 copies, from an edition limited to 375, plates by Hester Sainsbury, modern scarlet morocco-backed pictorial boards, Cresset Press, 1928; The Amores, translated by E.Powys Mathers, number 51 of 350 copies, 5 copper-engravings by J.E.Laboureur printed in sepia, original half morocco, t.e.g., others uncut, boards rubbed & spotted, pen & in drawing of cockerel mounted on upper cover, Waltham St. Lawrence, Golden Cockerel Press, 1932; Metamorphoses, translated by Arthur Golding, edited by Marianne Forey, limited edition, tipped-in colour plates of Titian paintings, original brown morocco with design by Simon Brett of Daphne in gilt to upper cover, Folio Society, 2008, all preserved in modern cloth drop-back box or portfolio, v.s. (4)
Alpine Club. Peaks, Passes, and Glaciers. A Series of Excursions by Members of the Alpine Club, 1st and 2nd series, 3 volumes, London: Longman, Brown, Green, Longmans, and Roberts, 1859-62, chromolithograph plates, folding plans and wood-engraved illustrations, original cloth, joints and spines worn, 8vo, with a duplicate of 2nd series volume 2, together with:Nielsen (Kay, illustrator). In Powder & Crinoline. Old Fairy Tales retold by Sir Arthur Quiller-Couch, London: Hodder & Stoughton, [1913], mounted colour plates, inscriptions and bookplate to endpapers, front endpaper with split hinge, original cloth-backed printed boards, gilt-blocked decoration to spine, large 4to,Boaden (James). An Inquiry into the Authenticity of various Pictures and Prints ... as Portraits of Shakspeare..., London: Robert Triphook, 1824, engraved portrait frontispiece and plates, some toning, occasional damp-staining and scattered spotting, contemporary half morocco, rubbed and wear to extremities, 8vo, Grego (Joseph & Eglantine, Edward). Mrs. Q- and "Windsor Castle" with a note on the plates by Joseph Grego and Memoirs of the Life of the Celebrated Mrs. Q- by Edward Eglantine, London: Kegan, Paul, Trench, Trübner & Co. Ltd., 1906, 2 stipple engraved plates printed in colour (one after William Blake), scattered spotting, original half Japanese vellum, slim folio (one of 500 copies printed),Earl (Maud, illustrator). The Power of the Dog, London: Hodder and Stoughton, circa 1910, mounted colour plates, original half vellum, toned and slightly rubbed, large 4to, plus other miscellaneous antiquarian books etc.QTY: (a carton)
FISHING. CHOLMONDELEY-PENNELL, Henry. Modern Improvements in Fishing Tackle and Fish Hooks, London: Sampson Low, Marston, Searle & Rivington, nd [c.1887], portrait frontis., 250 wood-engraved illustrations, orig. green cloth gilt rubbed, some spotting/browning, small 8vo; CALDERWOOD, William Leadbetter. Salmon and Sea Trout, 1st edition, London: Edward Arnold & Co. 1930, blue pictorial cloth gilt scuffed, some spotting 8vo; HARTMAN, Robert. About Fishing, 1st edition, London: Arthur Baker Ltd. 1935, num. illustrations, green pictorial cloth tanned, some spotting, 8vo; and three other works on fishing. (6)
REV J. G. WOOD; Common Objects of the Microscope, un-dated, George Routlege & Sons, together with JOHN E.T. CLARK & HAROLD C. KING; Ventriloquism & Juggling, 1921, C. Arthur Pearson, WILL GOLDSTON, Stage Illustrations, PROFESSOR R. KUNARD, The Book of Modern Conjuring, and ROBERT PRATT; Perspective including The Projection of Shadows and Reflections, 1901 (5)
Airboy Comics - a group of 12 Golden-age action issues featuring Fred Kida cover artwork and early Jack Kirby work (Hillman Publications, 1946 onwards).Golden-age tales of airborne war and action adventure. Featuring early work by Jack Kirby. From the Ian Rakoff Comic collection.This lot features:Airboy Comics Vol, 3 Nos. 1.Airboy Comics Vol, 4 Nos. 5, 6, 7.Airboy Comics Vol, 5 Nos. 1, 7.Airboy Comics Vol, 6 No. 1, 3, 6, 8, 9 10.Creators: Cover by Fred Kida. Stories and art by Fred Kida, Tony DiPreta, Ed Young, Ezra Jackson, Maurice Whitman, Arthur Peddy, Carmine Infantino, Dick Wood, Joe Simon, Jack Kirby, Bernard Sachs, Frank Bolle and Leonard Starr. Other creators also contribute.All copies 1st print, US Cents editions.Issues unchecked for completeness with conditiongenerally appearingto be Poor condition (0.5) through to VG (Very good) condition (4.0).Most issues come bagged, some with boards, with some boards featuring Ian's original cataloguing notes to rear referencing his lectures covering these issues at the V & A museum.~(12)Condition Report: Issues unchecked for completeness with conditiongenerally appearingto be Poor condition (0.5) through to VG (Very good) condition (4.0).
TWO SILVER-MOUNTED CIGAR AND CIGARETTE BOXES MADE FROM WOOD RECOVERED FROM THE S.S. FUKUI MARU (EX-ABERGELDIE, 1882), AFTER SHE WAS SUNK AS A BLOCKSHIP AT PORT ARTHUR DURING THE RUSSO-JAPANESE WAR OF 1904the lids with inset dual-language inscriptions in English and Japanese reading Made of wood belonging to the S.S. / "Fukui Maru", sunk to block the entrance / of Port Arthur on the 27th March 1904 by / the hero Hirose who was killed after / having achieved his gallant deed, silver edging with decorative shaped corners and push-button catch, the largest -- 4½ x 8½ x 5¾in. (11.5 x 21.5 x 14.5cm.); together with another, similar, made of wood from H.M.S. Victor Emmanuel of Hong Kong 1874-1898(3)Lt. Cmdr. Hirose Takeo (1868-1904) was a Japanese naval officer who is best known for his heroic death during the opening stages of the Russo-Japanese War in 1904. On 27th March that year a Japanese naval force surprised the Russian Fleet at anchor in Port Arthur. Takeo, serving aboard the battleship Asahi volunteered to command the aging merchantman Fukui Maru and sink it as a blockship in the harbour entrance. In the event he was sunk by shore batteries before he could attain his objective. The Fukui Maru blew up and, although seriously wounded, Takeo refused to abandon his post and continued to direct his men to safety, dying before he could escape. He soon became a national hero being posthumously promoted to commander and deified as a ‘military god’.
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