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ISBN-13: 9780906430163 ISBN: 090643016X Miniature antique maps: an illustrated guide for the collector by King, Geoffrey L. Map Collector Publications, Tring, Hertfordshire (1996) Fine in fine dust jacket. 200 p. : ill., maps; 28 cm. Includes: Illustrations, Maps. Includes index. MINIATURE ANTIQUE MAPs BY GEOFFREY KING 200 pages, 272 black and white illustrations The attraction for miniature maps and atlases must be prompted by the same human impulse as the attraction for collecting dolls house furniture or small globes. There is something endearing about small maps as well as a practical consideration they can be stored in albums or on bookshelves and take up far less space than their full size brothers. Stamp collectors often graduate to miniature maps as small is [already] beautiful to them. Little has been written about the subject of miniature maps until now. They may have merited a paragraph in a reference book or no mention at all. However, today people realise that a cartographic collection which ignores the smaller items could be seen as incomplete. The miniature series, particularly those illustrating the world geography of Bertius, contain among the earliest printed depictions of some parts of the world and have been underrated in the past. This book will be an invaluable aid to collectors, librarians and dealers. It fills a huge gap in the literature on early maps. Graham Franks, a London dealer who specialises in miniature maps, has contributed the Foreword. He has been in 'the business' for more than 25 years during which time he has handled most of the maps and atlases known. Foreword Miniature Antique Maps is a most welcome addition to any cartographic reference library and a long awaited one too. Of particular assistance will be the large number of illustrations, many of them deriving from little known publications. These will make identification much easier and more positive. It has amazed me how many different se Geoffrey King has been able to find and track down to source. Many mysteries that have dogged me for some while have been solved by this book. gradually found a map collecting clientele.

RETRO INTERIOR DESIGNS SWEDISH 1950s After World War II, the public as a whole looked to warmer and softer furniture, organic forms, warmer products like timber and upholstered chairs. They wanted to be cared for by their furniture, feel comfortable and most of all have some luxury that had long be missing. Designers like the Eameses, Gio Ponti, Harry Bertoia, Arne Jaconsen and Eero Saarinen led the way in the modernist organic style embrassing the new technology that had been advanced during the war to try and make enough quality furniture for the high demand required by the public. FOUR SIDEBOARDS AND ENTRANCE HANGINGS. Sheet size 11x15½ inches. Fine condition. Full original colour. Originally bound in a collection of Swedish interior designs, these illustrations are reminiscent of the work of the architect Alvar Aalto and have a fine retro feel to them. Ideal for the interior designer looking for something unusual. Evoctive furniture designs

MINIATURE ATLAS. AND GAZETTEER OF THE WORLD BY J G BARTHOLOMEW FRGS FRSE LONDON JOHN WALKER & CO LTD. FARRINGDON HOUSE, WARWICK LANE, E.C. 5¼X3 ½ INCHES. FINE CONDITION. CORNERS AND SPINE SLIGHTLY BUMPED. ALL EDGES GILT. 153 PAGES. HARD COVER - MAROON CLOTH. GILT DECORATION AND LETTERING. John Bartholomew and Son John Bartholomew and Son Limited was a long-established map publishing company originally based in Edinburgh, Scotland. Around 1888, the firm also became known as The Edinburgh Geographical Institute History George Bartholomew (8 January 1784 - 23 October 1871, active from 1797) worked as an engraver for Daniel Lizars in Edinburgh. His son, John Bartholomew Senior (1805 - 9 April 1861), began working independently in about 1826, founding the firm that bears his name. Notable work included Black’s General Atlas of 1846. John Bartholomew Junior (1831–1893) and his son John George Bartholomew (1860–1920) brought the firm to prominence. In particular, J.G. Bartholomew made the firm a publisher of its own works, rather than a producer of maps for other firms. John (Ian) Bartholomew (1890–1962) oversaw the Times Survey Atlas of the World (1922) and later the Mid-Century Edition of the Times Atlas of the World (1955-60). The cartographic tradition continued into a fifth family generation. John Christopher Bartholomew (1923–2008) shared his ancestors' fascination with the natural sciences, their meticulous standards and spirit of enterprise, and oversaw the publication of some of the most detailed and popular maps of the last century, including The Times Comprehensive Atlas of the World (1967). His brother Robert, who was trained in printing, soon became the production director, and another brother, Peter, who was trained in accountancy, was first appointed as managing director and later became executive chairman. The youngest brother Alick also went into publishing, specialising in books on holistic science and medicine, and became an authority on Viktor Schauberger. In 1989, the firm merged with the Glasgow publisher Collins, as part of the multinational HarperCollins Publishers under Rupert Murdoch's News International corporation. A wide range of maps and atlases are still being published today under the imprint of HarperCollins, but the name of Bartholomew survives as the trade name of HarperCollins Reference department's cartographic databases (Collins Bartholomew), based chiefly in Glasgow, but with the British Isles mapping being based in Cheltenham (formerly Geographia Ltd.). Publications Bartholomew was the only survivor of a number of important map publishers in Scotland, and was notable for a prolific output and variety of maps and atlases for academic, commercial and travel purposes, including the popular 62-sheet Half-Inch to One Mile map series of Great Britain, which transmuted into the 1:100,000 National map series in the 1970s. It was eventually discontinued owing largely to stiff competition from the state-financed Ordnance Survey. John Bartholomew Junior was credited with having pioneered the use of hypsometric tints or layer colouring on maps in which low ground is shown in shades of green and higher ground in shades of brown, then eventually purple and finally white. It is his son John George who is attributed with being the first to bring the name 'Antarctica' into popular use as the name for the Southern Continent, and for the adoption of pink as the colour for the British Empire. The firm's first major work as a publisher was the The Royal Scottish Geographical Society's Atlas of Scotland (1895), later called the Survey Atlas of Scotland, which was followed by the Survey Atlas of England and Wales (1903). In 1922 the company was responsible for the production of a major new atlas for The Times newspaper: The Times Survey Atlas of the World. This would later become The Times Comprehensive Atlas, which received a notable boost when a new Millennium edition was published using digital map production technology for the first time. The atlas continues to be a 'must-have' for libraries and better-off homes, on account of its almost unrivalled size combined with a policy of detailed updating. Another great Bartholomew reference atlas was the well-known Citizen's Atlas of the World, which ran through ten editions (1898–1952). Other notable publications include two volumes of the ambitious Physical Atlas: Meteorology (1899) and Zoogeography (1911), based on the landmark Berghaus Physikalischer Atlas. John Bartholomew & Son Ltd officially ceased to exist when it was de-registered at Companies House in 1995. A new John Bartholomew & Son Ltd was registered in Scotland in 1998 and it is based at Hardengreen Business Park just outside Edinburgh. Relocation The company was relocated from its offices in Duncan Street, Edinburgh, in 1995 to HarperCollins’ Glasgow offices in Westerhill Road, Bishopbriggs. Many long-serving staff left at that time. The Duncan Street office in Edinburgh had been built in 1911 using the imposing Palladian façade of a former Bartholomew family home, Falcon Hall, and this now forms the frontage for a series of up-market flats created from the former offices. The works behind the offices were demolished and replaced by new blocks of flats, which were named by the builder after famous Scottish writers who had no connection with Bartholomews' or cartography. An unveiling ceremony was attended by the Princess Royal - an indication of the high national and international prestige long held by the company. The departure of the company from Edinburgh after some 170 years in the city was a notable moment in the history of map-making in Scotland, but little was made of the move in the public media, and it was left largely to the initiative of the Royal Scottish Geographical Society and George Russell (not an employee) to arrange for the erection of a commemorative plaque with the cooperation of the last John Bartholomew. Archives The Map Library of the National Library of Scotland (which is located near the former Duncan Street offices) contains the extensive archives of the Bartholomew company, a product of a long and fruitful association between the two organisations. A book, still available from the company at its post-1995 address in Bishopbriggs, Glasgow (Bartholomew - 150 Years), details the history and achievements of Bartholomews’ up to the time of its 150th anniversary in 1976, not very long after the last of the copperplate engravers retired and the company started to pioneer the use of geographic information systems (GIS) and computer-generated mapping for its cartographic publishing and for the selling of map data. Robert Gordon Bartholomew, of the sixth generation of cartographers, has extensively researched and documented the genealogy not only of his own branch of the family, but also of several other Bartholomew families. His work upholds the belief held by many Bartholomews that all Bartholomews of Scottish origin are related. John G. Bartholomew built and inhabited "Overton House" in Ealing, London, now home of a lay centre [[1]]

A rare opportunity to own a part of London's fascinating history. This is a complete volume contain 20 bird'e-eye views of the principal streets. Also included is the large folding map of central London which has a tear as usual. Internally tight with generally clean plates ( see scan). 7x5 inches.Cover is scuffed with a detachment of the spine for 2 inched on the lower front. Four raised bands to the spine. Title on spine in stamped gold. A very collectible, and hard to find, volume. It has been suggested that the great author Sir Arthur Conan Doyle used these maps to reference the place names used in the SHERLOCK HOLMES series of adventures. There is a fascinating website run by Stanford University which studies Victorian London sites in relation to the Holmes novels. sherlockholmes@stanford.edu I have collected these maps since I worked in a London gallery so I can relate intimately to the plans and trace where my ancestors lived. A truly magnificent volume with woodcut engravings mainly by T Sulliman who also worked for th Illustrated London news as an illustrator. Buy now or make me a (reasonable) offer.

I am priveged to be able to offer a fine plate from a private collection. This is a very rare, early chromo-lithograph from the Industrie & Gewerbe museum. ST. GALLEN. Switzerland collection. This is one plate from a series of loose sheets originally housed within cloth covered boards with ribbon ties. ART NOUVEAU architecture. Around the turn of the century a new style direction arose in Finnish architecture as in all art trends with the national romance. The architectural style was affected by the kind and Crafts movement and art nouveau and drew its inspiration particularly from Finnish the national Kalevala and the traditional architecture of Finland and Kareliens. The best examples of the nationalromantic houses are in the Helsinkier quarters Katajanokka and Eira. A well-known nationalromantic building of churches is the cathedral of Tampere, sketched by Lars Sonck, (1907). The most well-known architect of the national romance is Eliel Saarinen (1873-1950). Together with his colleagues Herman Gesellius (1874-1916) and Armas Lingren (1874-1929) it sketched the much-considered Finnish pavilion for the world fair beside numerous housings 1900 in Paris as well as the building of the insurance company Pohjola and the Finnish national museum (1901-1920) in Helsinki. For itself the Architektentrio planned the mansion Hvitträsk (1903) in Kirkkonummi with Helsinki, which is considered as example of nationalromantic mansion architecture. Eliel Saarinens most well-known work is the main station Helsinki (1904-1919). there 1923 emigrated Saarinen into the United States, also his son Eero Saarinen became an influential architect. TWO EXTERIOR VIEWS OF A HOUSE DESIGN. SUPERB STYALISED SKIES AND CHIMNEY SMOKE. FROM - "DOCUMENTS ARCHITECTURE MODERNE ENSEMBLES ET DETAILS FORMES MATERIAUX COULEURS PUBLIES SOUS LA DIRECTION DE R BEAUCLAIR M I GRADL 3 ANNEE H LAURENS EDITEUR 6 RUE DE TOURNOM PARIS. 1898 CONDITION - FINE. There is an original blue museum stamp and canceled gallery reference number in the margin. Vibrant original colour. SHEET OVERALL SIZE - 14x13¼ inches (355x350 mms.) VIEW MY OTHER ITEMS FOR SALE

THIS IS A VERY DECORATIVE HAND MADE MADE (BLOWN) GLASS PERFUME BOTTLE. IT IS FROM MY PERSONAL COLLECTION. IT STANDS 6 INCHES HIGH, IS PERFECT. NO CRACKS, CHIPS OR OTHER FLAWS. COMPLETE WITH THE ORIGINAL GLASS TWIST STOPPER WITH INTEGRAL GLASS ROD TO APPLY THE PERFUME BEHIND THE EAR OR ON THE WRIST. CONDITION - FINE. COLOR - CRANBERRY (RED). APPLIED DECORATION - LEAF AND FLOWER DESIGN WHICH IS ENGRAVED INTO THE SURFACE REVEALING THE TRANSLUCENT GLASS BENEATH. FOUR HAND APPLIED GOLD LINES. FROM MY PERSONAL COLLECTION WHICH I AM SELLING BECAUSE OF THE RECENT ADDITION TO THE FAMILY OF THREE KITTENS (ONE WEEK LD). AS THIS IS A ONE OFF ITEM. IT IS UNIQUE AND THEREFORE HIGHLY COLLECT ABLE. IDEAL GIFT. LOW BID PRICE. NO RESERVE. A RARE CHANCE TO BUILD A FINE COLLECTION OF DECORATIVE GLASS WARE. IDEAL DISPLAY IS IN A CABINET WHICH IS LIT FROM BEHIND. SUPERB. View My Other Items For Sale View My Feedback Visit My eBay Store Add me to your Favorite Sellers

A FINE OLD EGG CUP FROM MY PERSONAL COLLECTION. APPROX.2 INCHES HIGH. NO CHIPS NO CRACKS. NO CRAZING. AS NEW. ON THE SHOE "© CARLTON WARE ENGLAND LUSTRE POTTERY 1973" Carlton Ware From Wikipedia, the free encyclopedia Jump to: navigation, search Carlton Ware "Foxglove" cup & saucer, c 1960 Carlton Ware "Foxglove" cup & saucer, c 1960 Carlton Ware was a famous Stoke-on-Trent based pottery manufacturer. The company is best remembered for its often rather garish tableware, often in the form of highly decorated leaves or fruit, and the ceramic toucans it made as promotional items for Guinness. It reached its artistic high-point with superb hand-painted domestic pottery in high art deco styles during the 1920s and 1930. History The company was established in 1890 by James Frederick Wiltshaw, William H. Robinson and James A. Robinson trading under the name of Wiltshaw and Robinson. The trademark "Carlton Ware" was introduced in 1894, and the company's factory was renamed the Carlton Works. In 1911 the business partnership between Wiltshaw and the Robinsons was dissolved, leaving Wiltshaw to form a new limited company called Wiltshaw and Robinson Limited. Following the death of James Wiltshaw in 1918, due to an accident at Stoke-on-Trent railway station, control of the company passed to his son Frederick Cuthbert Wiltshaw. The company continued to expand, acquiring Birks, Rawlins and Co. in 1930. The company was renamed Carlton Ware Limited in 1958, and following the death of Frederick Cuthbert Wiltshaw in 1966, the company was sold to Arthur Wood and Sons. The company continued to trade well until developing serious financial difficulties in the late 1980s, which forced it into receivership in 1989. An unsuccessful attempt was then made to rescue the company by Grosvenor Ceramic Hardware, with production finally ending in 1992. In 1997 the Carlton Ware brand was resurrected by Francis Joseph of the Carlton Ware Design Centre, Roslyn Works, Stoke-on-Trent. It continues to manufacture novelty items aimed at the collectors' market. Products Carlton Ware "New Mikado" Vase, c 1950. The gold part of the pattern is an applied decal, with bold enamel details added by hand-painting. Carlton Ware "New Mikado" Vase, c 1950. The gold part of the pattern is an applied decal, with bold enamel details added by hand-painting. Carlton Ware concentrated on the decorative giftware end of the domestic pottery market throughout most of its career. Its earliest works included typical decal and hand-painted table-ware in a range of mostly floral patterns as well as items inspired by Wedgewood and other respected potters. During the early 1900s they became a supplier of "crested ware" for the tourist market. During the 1920s the company introduced new methods of production where the decal and hand-painting work was applied to high-glaze substrates. Amongst the first of these were a series of designs inspired by the artwork discovered in Tutankhamen's tomb, which can be fairly said to represent the beginning of the art deco pottery movement. Other popular designs included stylised dragons, birds, and a series of Oriental-inspired patterns of which New Mikado and Chinoiserie were the most popular. Mottled, mostly pale blue lustre-ware was also sold under the separate "Armand" brand. The famous script "Carlton Ware" trademark was introduced in 1928. At the more mundane end of the market, Carlton Ware introduced the first "Oven to Table" ware in 1929. During the late 1930s Carlton Ware introduced a new series of table-ware, with boldly embossed floral and foliage patterns such as fox-glove and anemone. This series continued in unbroken production into the 1960s, although later designs were progressively simplified to reduce the high cost of hand-painting. The availably of new techniques using automated high temperature kilns allowed improved high-lustre table ware in the "Royale" brand to be introduced in 1949, and this continued to be produced into the early 1970s. By the 1970s, the need to pass on increasing fuel and labour costs seriously affected Carlton Ware's ability to continue producing elaborate hand-painted items and changing tastes dictated the introduction of more modern shapes and patterns. The company then concentrated on novelty items such as "Walking Ware" and advertising ware, especially aimed at the liquor trade, until its demise. The resurrected Carlton Ware factory produces low-run items aimed at the collectors' market, including fully hand-painted items by leading ceramicists such as Marie Graves. External links * Resurrected company's web site * [1] * Carlton Ware history * Company history * Carlton Ware Designs AN EYE CATCHING UNUSUAL ITEM. VIEW MY OTHER ITEMS FOR SALE. View My About Me page View My Feedback Visit My eBay Store Please examine the images provided carefully, and if you have any questions please ask and we will be happy to help. CONDITION - FINE. PLEASE CHECK MY SCANS FOR ANY FOXING OR OTHER SIGNS OF AGE. Chelsea porcelain factory From Wikipedia, the free encyclopedia Dogs, about 1749, Chelsea Porcelain factory (V&A Museum no. C.246A-1976 Dogs, about 1749, Chelsea Porcelain factory (V&A Museum no. C.246A-1976 The Chelsea porcelain manufactory (established around 1743-45) is the first important porcelain manufactory in England;[1] its earliest soft-paste porcelain, aimed at the aristocratic market—cream jugs in the form of two seated goats—are dated 1745. The entrepreneurial director was Nicholas Sprimont, a silversmith by trade, but few documents survive to aid a picture of the manufactory's history. Early tablewares, being produced in profusion by 1750, depend on Meissen porcelain models and on silver prototypes, such as salt cellars in the form of realistic shells. Chelsea was known for its figures. From about 1760 its inspiration was drawn more from Sèvres porcelain than Meissen. In 1769 the manufactory was purchased by William Duesbury, owner of the Derby porcelain factory, and the wares are indistinguishable during the "Chelsea-Derby period" that lasted until 1784, when the Chelsea factory was demolished and its moulds, patterns and many of its workmen and artists transferred to Derby. The factory history can be divided into four main periods, named for the identifying marks under the wares: Triangle period (around 1743-1749) These early products bore an incised triangle mark. Most of the wares were white and were strongly influenced by silver design. The most notable products of this era were white saltcellars in the shape of crayfish. Perhaps the most famous pieces are the Goat and Bee jugs in 1747 that were also based on a silver model. Copies of these were made at Coalport in the 19th century. Raised anchor period (1749-1752) In this period, the paste and glaze were modified to produce a clear, white, slightly opaque surface on which to paint. The influence of Meissen, Germany is evident in the classical figures among Italianate ruins and harbour scenes and adaptations from Francis Barlow's edition of Aesop's Fables. In 1751, copies were made of two Meissen services. Chelsea also made figures, birds and animals inspired by Meissen originals. Flowers and landscapes were copied from Vincennes. Red anchor period (1752-1756) Kakiemon (Japanese pottery), subjects were popular from the late 1740s until around 1758, inspired by the original Japanese and then by Meissen and Chantilly. Some English-inspired tableware decorated with botanically accurate plants, copied from the eighth edition of Philip Miller's The Gardener's Dictionary (1752) were also produced in this period. Gold anchor period (1756-1769) The influence of Sèvres was very strong and French taste was in the ascendancy. The gold anchor period saw rich coloured grounds, lavish gilding and the nervous energy of the Rococo style. In the 1750s and 1760s, Chelsea was also famous for its toys, which included bonbonnières, scent bottles, étuis, thimbles and small seals, many with inscriptions in French. In 1769 the failing factory was purchased by William Duesbury of Derby who ran it until 1784; during this time the Chelsea wares are indistinguishable from Duesbury's Derby wares and the period is usually termed "Chelsea-Derby".

Book Description: London, J. Green for R. Ackermann, 1824., 1824. 2 VOLUMES FINE BINDING RAISED SPINE. SUPERB. 26 full page aquatints plates all coloured by hand and dated 1824. (2), VII, (3), 291; (2), 289 pp. Original edition of the two volumes on the Asiatic Islands, and including Polynesia and Australia of the series The World in miniature. This is a series of small volumes by Ackermann, setting forth the character, manners, habits, and costumes of various countries and nations, were all illustrated with coloured aquatint plates based on large English or Continental works. Asiatic islands. covers the Philippines, Marianas, Indonesia, New Guinea, Australia, and Tasmania' (Hill p. 557). These two volumes are on the East Indies and Australia. The beautifull plates depict costumes of Java, Amboina, Timor, New South Wales, Van Diemenland and New Holland. Two views of a house on Sumatra and of a Padang (Sumatra); one plate of Javanese musical instruments. PHILLIPINE PEOPLE Abbey, Travel I, p. 7

A beautiful example of the scarce Art Nouveau Paris first edition plates. Librarie Centrale des Beaux-Arts, Paris, [c1896] Son application aux industries d art. Pochoir; Paper peint; Ettofes; Ceramique; Marquetrei; Tapis; Farronnerie; Reliiure; Dentelles; Broderies; Vitrail; Mosaque; Bijoutrie; Bronze; Orfevrerie; First Edition. First Impression. A sumptouos art nouveau publication. Folio. Mairuce Pillard Verneuil [1869-1942] Condition fine. Original Colour [Pochoir or stencil] Any purple tint to the margis is due to the scanner. The margins are WHITE. Sheet size; 13¾x10¼ Inches (345x279 mms) View My Feedback View My Other Items For Sale LOW STARTING PRICE - MORE FUN! SHEET OVERALL SIZE - 14x13¼ inches (355x350 mms.) Post and packing charges are easy to calculate- we charge only £4.50 to send an item ANYWHERE IN THE WORLD. Also we offer FREE shipping on other, similar, items shipped at the same time. Gaurantee of authenticity: All of the prints we sell are ORIGINALS. We guarantee all of our prints to be authentic. We do our best to describe the condition of our prints as accurately as possible. Due to the age and type of paper, some imperfections are to be expected. Please examine the images provided carefully, and if you have any questions please ask and we will be happy to answer them. Be sure to add me to your favorites list

PORILLON NARCISSE 1896 ART NOUVEAU FLOWER by M P Verneuil A beautiful example of the scarce Art Nouveau Paris first edition plates. Librarie Centrale des Beaux-Arts, Paris, [c1896] Son application aux industries d art. Pochoir; Paper peint; Ettofes; Ceramique; Marquetrei; Tapis; Farronnerie; Reliiure; Dentelles; Broderies; Vitrail; Mosaque; Bijoutrie; Bronze; Orfevrerie; First Edition. First Impression. A sumptouos art nouveau publication. Folio. Mairuce Pillard Verneuil [1869-1942] Condition fine. Original Colour [Pochoir or stencil] Any purple tint to the margis is due to the scanner. The margins are WHITE. Sheet size; 13¾x10¼ Inches (345x279 mms) View My Feedback View My Other Items For Sale LOW STARTING PRICE - MORE FUN! SHEET OVERALL SIZE - 14x13¼ inches (355x350 mms.) Gaurantee of authenticity: All of the prints we sell are ORIGINALS. We guarantee all of our prints to be authentic. We do our best to describe the condition of our prints as accurately as possible. Due to the age and type of paper, some imperfections are to be expected. Please examine the images provided carefully, and if you have any questions please ask and we will be happy to answer them. Be sure to add me to your favorites list