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SUSSEX - LEDGERManuscript accounts ledger of John Pilbeam, bearing ownership inscription and date on first page ('This book beginning September 25 Day 1718 being of my Timber... at Londdon... and to Houme and [what?] it Douth com to and What Mony I Dou Receive and When by me/ John Pilbeam'), entries beginning May 1722, written in ink in several hands, each entry named ('John Elsen His Bill', 'Will Burtle', 'John Harden', 'Edmund Muddell'), early entries concerning crops ('2 gallons of Oates', 2 peckes of wheat'), moving on to other goods such as coal, straw, apples and domestic items, with mentions of taxes ('...for one years Window Tax £01-00-00...', '...taxes to the King...'), services ('...for keeping of 2 horses...', '...paid Charles Ward for to Dayes work a Loadeing of Stone...', '... to Wimen for Dressing & Dinner and Cleaning up the Linnen and trenchers and the pewter and all things...', '...for putting up a servants bed...'), and other items ('...Disbursmentes of being Churchwarden' including '...2 Church lockes...' and '...wine for the communion...'), noting debts paid and owed ('December ye 27 day 1723 then Reckoned with Will Seckelmare and he is in my debt...'), many later entries concerned with carpentry and building materials ('...a side for a cucumber frame...'), particularly for work done at Mitcham, many pages crossed through, last entry inverted, c.170 leaves, dust-staining and marks, small tears, edges frayed, one leaf excised, contemporary calf, marked and worn, edges bumped, spine lacking, front board nearly detached, folio (312 x 200mm.), 1720's to 1760'sFootnotes:There are records for the Pilbeam (or Pilbeame) family in a number of Sussex villages, notably Wadhurst, where they had farming and mercantile interests, and Ardingly. Indeed, several of the names mentioned here – Pilbeam, Muddle, Harden, Tully and Lintott for example can be found in the Ardingly parish records online and a John Pilbeam, possibly an ancestor, is noted as being a churchwarden in the village in the early 1600's. Several mentions of local placenames ('...The a Count of What Malt I have had of Walter Chatfield att Hawardes Heath...') and entries in the book concerning local farming activities ('...for a hoppicker that you have carred away/ for an oaster that you have carred away...') would also confirm the location of the family.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ADVEU DE ODET DE BRETAGNEILLUMINATED MANUSCRIPT OF HENRY II and DIANE DE POITIERS, on vellum, in French, signed 'Seigneur d'Ingrande', 27 long lines per page written in black ink, in 'letter courante' script for the text, manuscript inscription with date (1556) on first fly-leaf, headings in elaborate display, richly illuminated, silver sometimes tarnished, some show-through of pigments, coat of arms on title-page largely illegible, modern parchment over pasteboards preserving original vellum end-leaves, title in gilt on upper cover, modern velvet chemise, folio (365 x 260mm.), France, 1556Footnotes:AN FINE EXAMPLE OF FRENCH RENAISSANCE ILLUMINATION - FOR HENRY II AND DIANE DE POITIERS.In this document addressed to King Henry II of France, Odet de Bretagne, Count of Vertu, First Baron of Brittany, Lord of Avaugour, Clisson, Ingrande, and Champtocé, makes declaration of the state of his holdings in Ingrande in the duchy of Anjou and Champtocé in the castellany of Angers, both of which he holds in fief from Henry II. There follow meticulous enumerations and descriptions of the properties contained in each of these territories, together with detailed listings of the taxes, rents, duties, and services owed to him in each, after which he reaffirms his allegiance to the king. The text is followed by three notarial attestations, the first dated 25 February 1556.The Duchy of Brittany was joined to France under the king only in 1532. Henry became king in 1547, and it is likely that this document was compiled in consequence of that circumstance. Diane de Poitiers, a well-educated French noblewoman was Henry's mistress from the mid-1530s until his death. She was a notable bibliophile, and the books and manuscripts from her collection are marked with the emblems found in this codex.ILLUMINATION: over 250 illuminated initials on square or rectangular grounds, the smaller ones c.15-20mm. in height, the larger ones c.35-65mm., and one (f. 1r) measuring 88 x 84mm., decorated in French renaissance style, burnished gold initials on coloured grounds, coloured initials on burnished gold or burnished silver grounds. F.1r with full illuminated border: at the top, the royal arms of France in a laurel wreath, supported by two angels; in the margins the emblems of Henry II of France, a crowned H, and that of Diane de Poitiers, a double D and H linked, and three interlaced crescents; an achievement of arms in the lower border.Provenance: King Henry II of France (1519-1559), reigned 1547-1559, and his mistress Diane de Poitiers (1500-1566), as shown by their emblems on f.1r; Charles Serund-Deschamps, 1906, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ARMENIAN - BIBLEGospels of Our Lord Jesus Christ, PRINTED IN ARMENIAN TYPE, title within wide woodcut architectural border, text in double column, all within typographical border (many with additional decorative embellishments in the margins), capital bird letters in the text, large wood-engraved illustrations by Grigor Marzvanetisi derived from the design of Christoffel van Sichem, cropped with some loss to marginal decorations and side-notes, pp.121-222 repaired with some loss to text and borders, 6 leaves (pp.49-50, 117-120) with smaller repairs, lower margin of pp.365-368 softened, rust spot on p.138, without lower free endpaper, early twentieth century red velvet over boards, silver gilt crucifixion mounted on upper cover, yellow edges [not in Nersessian], small 4to (190 x 145mm.) , Constantinople, Printing Press of Astuadsastour Karapet, 1729[-1731]Footnotes:An eighteenth century Armenian Gospels, printed in imitation of earlier manuscript versions with floral decorations in the borders and illustrations of the Evangelists at the head of each Gospel. The illustrations were made by Constantinople based Armenian engraver Grigor Marzvanetsi, adapted from those used by Oskan Erevantsi for the first Armenian Bible (Amsterdam, 1666-1668), who himself had used as a proto-type illustrations by the Dutch artist Christoffel van Sichem.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ILLUMINATED MANUSCRIPT ON VELLUMLiber evangeliorum ac epistolarum pro festis solemnibus, text entirely stencilled in imitation of roman type, pp.1-17 with 8 lines of text, each under a line of music consisting of square neumes on four-line red staves, pp.18-122 with 17 long lines, pp.124-126 with 21 long lines, ruled in lead with single bounding lines, running titles and lesser section titles with red roman capitals, major section titles with multi-coloured decorative initials, 4- or 3-line square initial spaces, initials with floral or historiated backgrounds and space reserved for large roman capitals, floral headpieces preceding each feast, some including historiated vignettes, floral or decorative cartouches following the epistle in many sections, incomplete decoration in places, small natural flaw to blank margin of the leaf paginated 53-54, otherwise in clean fresh condition with some very light soiling, re-cased in original binding of red velvet over pasteboards, housed in a morocco case, 333 x 225mm., France, Ambronay, 1740Footnotes:ELEGANTLY AND SKILFULLY DECORATED STENCILLED MANUSCRIPT.Manuscript demonstrating in a remarkable way the techniques by which miniatures were designed and executed as late as the mid-eighteenth century. Stencilled books are a curiosity in the history of book production. They are manuscripts in that they were created by hand, but with the mechanical aid of stencils. They can be recognized by the gaps between parts of letters. Such books were especially popular in the seventeenth and eighteenth centuries, when stencils were often used to produce large-format books of music for communal singing and texts such as the present lectionary intended for public reading. The manuscript was made for the Benedictine Abbey of Ambronay, as stated on the title-page: 'Liber Evangeliorum ac Epistolarum, pro Festis Solemnioribus. Ad usum Ecclesiae et Abbatiae Regiae Beatae Mariae Virgiis de Ambroniaco. Ordinis S. Benedicti e Congraegatione Sancti Mauri. Pars altera.' It combines moveable feasts from the Proper of the Times with a selection of fixed feasts from the Proper of the Saints presented in a single quasi-chronological sequence beginning with the Easter Vigil and ending with All Saints. Several important Benedictine saints or feasts are included: the translation of St. Benedict (from Monte Cassino in Italy to Fleury in France); Saints Placidus and Maurus (the first disciples of St. Benedict, they share a feast day); St. Hugo, Abbot of Cluny (the most important Benedictine monastery in France); and a feast dedicated to the saints of the Benedictine order. A short addendum at the end of the main text provides for commemorations of the dead. The Congregation of St. Maur was formed in France in the early seventeenth century and existed until the French Revolution. It was known for its strict monastic observance, for its emphasis on performance of the choral Office, and for the notable scholarship produced by some of its members.Provenance: Benedictine Abbey of Ambronay (northeast of Lyon), 1740, inscription on title-page; nineteenth century cipher centered on a large letter V, flanked probably by E and B and surmounted by a coronet, gilt-stamped on upper cover, and bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BINDING - ENTOMOLOGICAL WATERCOLOURSAlbum of 20 fine watercolour illustrations of butterflies and moths (18), a cricket, and a lizard, some heightened with gum arabic, on laid paper, fine English morocco gilt attributable to Robert Steel, the covers elaborately tooled to a cottage-roof design with a border of 3-line fillet and roll of fleurons enclosing central panel made up of grape clusters, flower sprays, drawer handles, billowing lines, etc. enclosing gilt lettered caption 'Lenton New Year 1763 [but '1703, see footnote], spine tooled in 5 compartments within raised bands, oblong 8vo (105 x 195mm.), [eighteenth century]Footnotes:Attractive watercolours in a fine early eighteenth English century binding attributable to Robert Steel, presumably made for the English composer John Lenton (1657-1719), musician with the Royal household under Charles II, William and Mary, and Queen Anne. An almost identical binding, with some of the same tools and lettering (but dated '1703') is found on a musical manuscript of Lenton's compositions gifted to Queen Anne (see Sotheby's, Collection of Robert S. Pirie, 2 December 2015, lot 914). For another binding attributable to Robert Steel (fl. 1668-1711), with the same border design, see M.M. Foot, The Henry Davis Gift II, no. 148.The date on this binding reads '1763' and has seemingly been altered from '1703', possibly at the time the fine watercolours of moths and butterflies were executed.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PHILIP III OF SPAIN - CARTA EXECUTORIAIlluminated manuscript on vellum, 34 long lines, in brown ink between 35 horizontal and 2 pairs of vertical bounding lines ruled in blue ink, 37 large ornamental initials in liquid gold on coloured grounds modelled in white, numerous sections of the text introduced by several lines of ornamental display script, lesser divisions distinguished by large cadel initials, calligraphic flourishes on upper and lower margins, presumably lacking the illuminated frontispiece with the arms of the recipient, damp-staining to edges at times touching the text, several initials with smudging or offsetting of pigment, natural flaws in the vellum in the blank margins of three leaves, contemporary gold- and blind-tooled brown leather, the red silk guard for the frontispiece retained, four pairs of red and blue silk ties, braided silk cord visible in quire vi and at tail of volume (lacking seal), in a morocco and cloth case, 295 x 210 mm., Granada, 1592Footnotes:A patent of nobility granted to Pedro de Angulo, with several notarial attestations at the end.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

SERGENT-MARCEAU (ANTOINE FRANCOIS)Portraits des grandes hommes, femmes illustres, et sujets mémorables de France. Gravés et imprimés en couleurs, FIRST EDITION, engraved title and dedication, 192 portraits and engravings printed in colour, most after Sergent-Marceau and engraved by him, Moret, Roger, Ride, et al (one plate bound out of order), extra-illustrated with approximately 35 additional prints, many with manuscript captions, occasional spotting, olive-green morocco gilt by Riviere for Bumpus, g.e., sunned spine, in a custom slipcase, 4to (326 x 250mm.), Paris, Blin, [1786-1792]Footnotes:A REMARKABLE WORK OF COLOUR PRINTING, comprising 96 oval portraits of important French personages each with a corresponding scene illustrating the subject's life. Interestingly, the scene attached to Louis XVI commemorates the independence of the United States, depicting a Native American flanked by portraits of the Franklin, Washington and the French king. With quasi-royal French provenance, Prince Philippe, Count of Paris, being the grandson of Louis Philippe I and the Orléanist claimant to the throne following the 1848 revolution.Provenance: Philippe d'Orléans (1838-1894), Comte de Paris, ink stamp on title; Sir David Lionel Goldsmid-Stern-Salomons, Bart. (1851-1925), bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BOOK TRADE & BANKINGWarrant signed by George II ('George R'), granting permission to John Baskett ('Our Printer') and Robert Gosling ('...of our City of London, Bookseller...') to search the records and make transcriptions from the archives of the Tower of London, the Houses of Parliament, the libraries of St James's and Westminster and the Paper Office and Parliamentary archives for their '...compleat Collection of all the Acts of Parliament from Magna Charta to this present time, together with the preambles to all the Statutes... six large Volumes in Folio...', two pages on a bifolium, papered seal, dust-staining and small tears, folio (304 x 190mm.), 'Our Court at Kensington', 4 November 1726; with an album of printed and manuscript ephemera relating to the Gosling family including tradesmen's receipts ('Jno. Hinckes Tinn Man At ye Lamp & Crown in Fleet Street', 'William Nelson oylman', 'Samuel Price Shoe Maker', 'James Ward Cheesemonger'), tax and rent receipts, annuity certificates and other receipts pertaining to Sir Francis Gosling, 1760's, insurance certificate for John Pyle from the Sun Fire-Office, his will, printed cheques from Mssrs Goslings & Sharpe, 1760's, etc., c.53 leaves, several leaves excised, dust-staining and marks, original calf, worn, remains of old labels, upper and lower boards detached, lacking spine, folio (266 x 220mm.), eighteenth-century; with indenture appointing Sir Francis Gosling and John Pyle executors of the will of John Walsh of the parish of St Mary le Strand, one sheet of vellum, papered seal and duty stamps, folio (370 x 435mm.), London, 10 March 1766Footnotes:The recipient of the Royal warrant, John Baskett (1664/5-1742) was the King's Printer and became infamous as the publisher of the 'Vinegar Bible'. The present warrant relates to his printing of 'The Statutes at Large, from Magna Charta to the seventh year of King George the Second inclusive', printed in conjunction with stationer and bookseller Robert Gosling (1684-1741), of Middle Temple Gate. Gosling's son Francis, later Sir Francis Gosling (1719-1768), was apprenticed to his father and worked for him until around 1757. In 1742 he became a partner in a bank founded by Henry Pinckney which became known as Goslings Bank, trading at the sign of the Three Squirrels. In the second half of the eighteenth century the bank became Goslings and Sharpe and was one of the banks merged into Barclays Bank in 1896.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BRUNEL – THAMES TUNNELManuscript guidebook to Marc Isambard Brunel's Thames Tunnel, entitled 'Sketches and Memoranda/ of the/ Works/ for the/ Tunnel under the Thames/ from/ Rotherhithe to Wapping/ Published and sold at the Tunnel Works Rotherhithe and by/ Messrs Harvey and Darton, 55, Gracechurch St:/ Printed by the Philanthropic Society St.G's F:/ 1828', entitled 'Sketches and Memoranda/ of the/ Works/ for the/ Tunnel under the Thames/ from/ Rotherhithe to Wapping/ Published and sold at the Tunnel Works Rotherhithe and by/ Messrs Harvey and Darton, 55, Gracechurch St:/ Printed by the Philanthropic Society St.G's F:/ 1828', written in a neat attractive hand and illustrated with thirteen finely-drawn vignettes and plans in pen, ink and wash, comprising nine one-page illustrations (including '...View of Wapping... and a transverse section of the Tunnel...', The Shaft, 'Dimensions of the Brickwork', Workmen in the Shield [with cut-out overlay showing the entrance to the Tunnel]), three double-page plans ('A Transverse Section of the Thames', 'Plan of the Premises at Rotherhithe and Wapping', and a cross-section showing the strata of the river) and one pull-down map ('Plan of the Roads and main Objects on the Eastern Part of London... projected by M.I. Brunel... 1827'), text comprising an Introduction, dated January 1828 ('...The present undertaking was projected by M.I. Brunel Esq: F.R.S. whose works for Government have been equally creditable to his scientific abilities and to his personal character...'), and detailed commentary accompanying the illustrations on versos, 30 leaves, 'F & Z' watermark, some light dust-staining and small tears, original half calf with marbled boards, label with manuscript title 'SKETCHES relating to the TUNNEL.' on upper cover, oblong 8vo (102 x 175mm.), 1828Footnotes:MANUSCRIPT GUIDEBOOK FOR BRUNEL'S PIONEERING THAMES TUNNEL, 'THE EIGHTH WONDER OF THE WORLD', SEEMINGLY DERIVING FROM HIS WORKSHOP. A handsome manuscript version of Marc Brunel's popular publication.Despite the proliferation of printed editions of Brunel's guide to the Thames Tunnel project, we have hitherto traced no other manuscript version of the guidebook. Printed guidebooks were produced from early 1827, in order to keep the project in the public eye over the long construction period and also to raise money from visitors to the works, and ran to some seventeen editions over the next thirty-five years, the last appearing in 1863 (for a detailed bibliography see Chrimes, Elton, May & Millet, The Triumphant Bore: A Celebration of Marc Brunel's Thames Tunnel, James Howden, [n.d.]). Marc Brunel himself was responsible for the composing the text, and the engraved plates were taken from drawings supplied by his workshop. Julia Elton in her essay 'The Tunnel in Print' notes that the first edition of March 1827 consisted of plates only, the text and introduction appearing the following August with the title as per our manuscript, Sketches and Memoranda of the works for the tunnel under the Thames. Regular updated editions followed, including translations in the major European languages, with the text constantly rewritten and updated. A month after our version, in February 1828, the printed book had a new title Sketches of the Works for the Tunnel under the Thames which it retained until 1830. Our fine manuscript version would seem to sit between the printed editions of December 1827 (cat. no. 58) and that of January 1828 (cat. no. 59), incorporating several amendments to the text made after 1827 - for example the reference to 'Mr Brunel' in the 1827 Introduction becomes the more formal 'M.I. Brunel Esq. F.R.S.' in both our version and the printed 1828 edition, as well as incorporating extra descriptive text, which might at first suggest that ours is a copy of the later edition. However, the possibility that ours came after the 1828 edition is ruled out by comparison of the meticulously executed illustrations. On comparison, it is noticeable that our drawings are largely unpopulated apart from the figures of workers in the shield. A recognisable top-hatted figure appears in two of the engravings but not in our drawings, that of the brick shaft and again in the longitudinal section of the tunnel, where the same figure observes the work from a niche in the tunnel wall. Similarly, the figure with the pickaxe is absent from our drawing of the shield, as are the figures and carriages from the plan showing the long transverse section of the tunnel. Our exquisite drawings would seem to bear more relation to the originals produced in the workshop (sold in these rooms, 15 November 2017, lot 78) where there is also favourable comparison of the handwriting here to that on a plan ascribed to Brunel's chief engineer, Joseph Pinchbeck. The paper bears the watermark 'F & Z', which is also seen on German paper of the same period.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BIBLE, IN ENGLISH, AUTHORISED VERSIONThe Holy Bible, containing the Old Testament and the New, additional engraved pictorial title-page (dated 1678), woodcut royal arms on letterpress title [ESTC R37318; Herbert 798], John Bill, Henry Hills, and Thomas Newcomb, [1685]; The Book of Common Prayer, [ESTC R176234], John Bill, Thomas Newcomb, & Henry Hills, 1682; The Whole Book of Psalms, Collected into English Metre royal coat of arms on title-page [ESTC R170622], printed for the Company of Stationers, 1682, 3 works bound in 1 vol., contemporary black morocco gilt, covers with 2-line rule border enclosing panel with ornate floral motifs (tulips, acorns, etc.) and corner pieces, initials 'D.H.E' in centre, gilt dentelles, g.e., worn with a few scuff marks, short tear to head of spine and small loss at foot, 4to (205 x 109mm.)Footnotes:Provenance: 'George Deane, the gift of his mother', ownership ink inscription on upper margin of title-page, with manuscript notes, in several hands, concerning the genealogy of the Deane family from 1737 to the 1890s on the front free endpapers; Rev. Henry Deane, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FOUR INDIAN MANUSCRIPT FOLIOS, INDIA, CIRCA 18TH CENTURY, ink and gouache on paper, comprising three folios from a treatise on animals (?), written in nastaliq script, separately inserted illustrations, and a Hindu folio written in devanagari script, the illustration depicting Krishna with the gopis, 28 x 16cm approximately each (Islamic folios); 15 x 28.5cm (Hindu folio)

THREE JAIN PAINTINGS, WESTERN INDIA, 19TH CENTURY, gouache, ink and gold on paper, the larger showing various vignettes with three nude jinas at the top, another showing representations of the 24 tirthankaras, the third with the head of a jina on a manuscript folio, 26 x 11.5cm and smaller

A HOLY MAN WITH YOUNG DEVOTEE, MUGHAL, INDIA, 18TH CENTURY, watercolour on paper, laid on a gold-painted 17th century album page, the figures depicted in a European rocky landscape with a church, the reverse with an unrelated manuscript folio inscribed with three columns of nastaliq script, 37.5 x 26.5cm (album page), 25.5 x 15cm

TWO INDIAN PAINTINGS, 19TH CENTURY, comprising a Pahari scene with two noblemen playing cards(?), devanagari inscription on the reverse, and a manuscript folio, Gujarat, with illustration depicting Durga slaying the Buffalo Demon, text on both sides in devangari script, 22 x 29cm; 11.5 x 20cm

A collection of cookery manuscripts,18th/19th century, containing cures & remedies, food and wine recipes, pickling, and a clamshell box containing loose recipes, etc., together with E Kolsund: 4 September 1885 Menu; etc., a manuscript 'Reduction continued', late 18th/early 19th century, 71pp, and 60pp of recipes for puddings, clearing ale, imping pheasants, partridges, etc. (qty)

A Burmese palm leaf manuscript, 19th century, palm leaf pages edged in gilt, bound with strings and held between gilded red lacquer wooden boards, 6 x 60cm.緬甸十九世紀 紅漆描金棕櫚葉手稿品項報告 Condition report Loss of gilt and lacquer to the wooden boards. Some scratches to the surface. Pigment stains present to the palm leaf.

A BURMESE GILT KAMMAVACA MANUSCRIPT Framed 32cm high x 84cm wide (framed) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Mughal School (18th/19th century): Hunting Scene with Noblemen on Elephants Shooting Lion, illuminated leaf from a manuscript, pen ink and bodycolour heightened in gold with Arabic script 18cm x 10cm

Two antique art related plates and manuscript. Kunst Des Feren Ostens & Giorgio De Chirico

ROCKETMAN (2019) - Elton John's (Taron Egerton) Hero "I'm Still Standing" Lyrics and EnvelopeElton John's hero "I'm Still Standing" lyrics and envelope from Paramount Pictures' biographical musical Rocketman. Elton was given lyrics at the rehab centre by his friend and writer Bernie Taupin and began composing the music on a piano. This scene transitions into the final sequence of Elton performing a recreation of the "I'm Still Standing" music video.The lot consists of a brown envelope and two pages featuring printed manuscript writing in black, with a couple of words crossed out. Horizontal fold lines from storage are present on the lyrics and envelope. Dimensions (lyrics): 23 cm x 18 cm (9" x 7"); (envelope): 23 cm x 16 cm (9" x 6 1/4") Estimate: £800 - 1,200 †ΔThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.

DOCUMENTS & EPHEMERA - DUNDRENNAN - KIRKCUDBRIGHT.  1853-1866. Large ledger being Mr S. C. Maitland's Trust, Stewart Cairns Maitland of Dundrennan. 265 pages of manuscript entries, index at front & being settlements, dispositions, Feu Charters, memorandums regarding the American property, memorials, inventory of heritable & moveable estates, accounts of charge & discharge & rental details of tenants, properties on the Estate of Compstone & Dundrennan. A very interesting Kirkcudbright local & family history item.

LILFORD LORD.  Coloured Figures of the Birds of the British Isles. Vols. 1 to 6 only. Port. frontis. 365 chromolitho plates mainly after Thorburn & Keulmans. Large 8vo. Half green morocco (uniform browning to backs) by R. H. Porter with a loose inserted manuscript letter from Porter, the binder. 1885-1897.

Northumberland, Morpeth - Military Preparations.  Minutes of a Meeting of the "Nobility, Gentry, Clergy, Freeholders & Yeomanry of the County of Northumberland Held in the Town Hall in Morpeth on Monday the 19th day of May, 1794 to Consider of Measures for the Internal Defence of the Kingdom". In a small quarto manuscript vol. with Minutes of subsequent meetings following (50 plus pp filled). Qtr. leather. 1794-1795.

"Macleod Papers".  Folio folder of material ref. the history of the Clan Macleod & its associations, incl. old & more modern manuscript transcriptions, typescript transcriptions & notes, sketches of pedigrees, etc. An interesting genealogical & family history miscellany. Condition report:Inscription "Alick Morrison, Glengonnar Foot Abington" No introduction page. Generally copies of older manuscripts,plus copies of letter's to  "Miss Grant" and a letter from "William Matheson"

[RELIGION & THEOLOGY] Baxter, Richard. The Saints Everlasting Rest: or, A Treatise of the Blessed State of the Saints in their enjoyment of God in Glory, wherein is shewed its Excellency and Certainty; the Misery of those that lose it; the way to Attain it, and assurance of it; and how to live in the continual delightful Foretasts of it, by the help of Meditation... seventh (revised) edition, for Underhill and Tyton, London, 1658, full leather, engraved half-title page, quarto. Condition Report : Upper cover detached; spine strip worn, with losses at ends; binding lacking original twin clasp fastenings; half-title page with some manuscript additions and with snagged and creased fore and lower edges, with small, mainly marginal losses. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

[SCIENCE]. VETERINARY MEDICINE Beamont, T. The Complete New Cow Doctor; being a Treatise on the Disorders incident to Horned Cattle, with a Description of their Symptoms, and the most effectual methods of cure: also, Instructions for the Extracting of Calves... To which is added A Concise Treatise on Farriery,... Second (enlarged) edition, for Priest by Nicholson, Manchester, 1812, original leather-backed boards, octavo. Rubbed; spine ends worn, with losses; pp.i-iv detached; manuscript recipes added to endpapers; foxed.

Books and ephemera, including Konow (Carl); A Visit To England, manuscript dated 1914, a Lincolnshire Victorian photograph album, World War II military related books, and sundries. (a quantity)

R. Wright (cartographer) - 'Plan of the Parish of Greatham in the County of Sussex', engraved circa 1838 with manuscript details of commutation of tithes and with tithe stamp, 99cm x 130cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A TRAFALGAR FLAG FRAGMENT FROM LORD NELSON'S FUNERAL, 1805/6in similar-sized sections of red, white and blue bunting, mounted on card within glazed oak frame with manuscript and typed notes to reverse, the fragments -- 5½ x 8½in. (14 x 21.5cm.)John Taylor Auctioneers, Louth: Eastgate Manor House Contents: The John Kendall Bourne Collection, 21st July, 1981 (typed label on reverse)

ROYAL PRESENTATION PORTRAITS OF QUEEN ELIZABETH II AND PRINCE PHILIPthe Queen’s signed Dorothy Wilding (lower left); the Prince’s signed Baron (lower right), both on autographed mounts dated ‘1956’ -- 15 x 12in. (38 x 30.5cm.); together with a bust-length portrait of Captain Louis Battenberg R.N. on autographed mount dated 1894 -- 11½ x 9¼in. (29 x 23.5cm.); and a presentation portrait of Earl Mountbatten, signed in manuscript Mountbatten of Burma A.F. -- 12 x 10in. (30.5 x 25.5cm)(4)Royal Naval Club & Royal Albert Yacht Club, Portsmouth

A SET OF TWELVE CROWN DERBY HAND-PAINTED YACHTING PLATES, CIRCA 1930painted by W.E.J. Dean with individual yachts, makers marks to reverse with manuscript name for yachts comprising: Caroline; Starlight; America; Astra; Mahdee; Pitzi (x2); Flight; Pendragon; Sally II; Mitena and Zaida, each signed W.E.J. Dean -- 10in. (25.5cm.) diameter(12) Fine overall condition

A COLLECTION OF UNION LINE AND UNION CASTLE LINE EPHEMERAcomprising a manuscript volume of "Confidential Reports" on the characteristics of Union Line officers serving approx 1877-1897 with detailed descriptions of each officer's strengths and weaknesses and, if wrecked red ink is used, bound in quarter calf boards with a gilt embossed label to cover inscribed RECORD of OFFICERS -- 13½ x 9in. (34 x 23cm.); together with a Union Castle contract with Harland & Wolff to build the S.S. Kenilworth Castle (1902) bound with stamped specification books; eight official World War II sinking reports viz Dunvegan Castle; Walmer Castle; Dromore Castle; Llangibby Castle; Richmond Castle; Warwick Castle; Windsor Castle; and Dundrum Castle; and Harland & Wolff tenders to build the Pendennis Castle (1955) with copies of plans etc.(A lot)

A HALF BLOCK BUILDER’S MODEL FOR THE S.S. VINCENT, BUILT BY MACKIE & THOMSON FOR BOOTH SS CO. LTD. 1910the 44in. hull carved from ½in. laminated yellow pine with gilt brass propeller and ebonised topsides, lined and lacquered decks, hatches and superstructure with silvered fittings as appropriate, cut-away masts and funnel, mounted on a display board within original glazed case with manuscript builder’s plate and two finials. Overall measurements -- 19½ x 57in. (49.5 x 145cm.)A cargo ship of 986 tons, she was sold to Cia Zamorense de Nav SA de Gutierrez Zamora in 1913 and renamed Libertad. On August 3rd, 1916 in passage from New Orleans to Santiago De Cuba with a cargo of lumber, she foundered off Cape San Antonio. Model in good overall condition, only lifeboats lines have parted; the case is somewhat fragile and the finial threads no longer connect. Back board appears to be original.

A SET OF BURMESE KAMMAVACA MANUSCRIPT PANELS Eighteen rectangular panels mounted as two sets of nine on fabric backing Each 151 x 69cm Condition: Condition Report A loss to one lower right corner of one panel, some general light signs of age and wear This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Everest. Tom Stobart (1914-1980) OBE. An archive of camera equipment, scientific instruments and ephemera amassed during the career of this adventurer and ground-breaking filmmaker, best remembered as the cameraman to the British Mount Everest Expedition, 1953 - the first successful ascent of Mount Everest. Comprising:Autographs: An original used food package from the British Mount Everest Expedition, 1953, signed by John Hunt, Tenzing Norgay and Edmund Hillary. The signatures, though faded, are visibly inscribed 'Everest '53' by Hunt. The foil package, bearing an official expedition label, originally contained 'cocoa', 'orangeade powder' and a 'banana bar', which was consumed during the expedition. 33.5cm by 23.5cm. Framed & glazed.Miscellaneous Items: An ice axe, originally used by Tom Stobart during the Tibetan Hunt for the "Abominable Snowman" in 1954, 65cm; a canvas painting of the bhavacakra [Wheel of Life], donated by a Tibetan Buddhist monastery or temple to Tom Stobart during the British Mount Everest Expedition, 1953, and originally rolled and carried by him during the expedition, 72.5cm by 52cm; two Tibetan tea urns, 34cm height, acquired by Tom Stobart during either the Everest expedition or hunt for the "Abominable Snowman".Ephemera: An official programme for the 'First Performance of "The Conquest of Everest", In the gracious presence of Her Majesty the Queen and His Royal Highness the Duke of Edinburgh', with Thomas Stobart listed in the credits as the filmmaker, plus loosely inserted tickets for said 'First Performance' as well as a 'Special Pre-view of the Film' (Mr. & Mrs. R. F. Stobart); a letter inviting Mr. Stobart to meet the members of the Everest Expedition at London Airport, on British Mount Everest Expedition 1953 letterhead (Royal Geographical Society), dated 30 June 1953, plus a sheet outlining arrangements for said meeting; an English translation of Maulana Abul Kalam Azad's speech, 29 June 1953; The Conquest of Everest with Hunt, Hillary and Tensing, Countryman Films programme, [1953], with loosely-inserted compliments slip from Countryman Films Ltd.; a scrapbook of newspaper clippings recording the Everest expedition, including clippings about Tom Stobart, 'cameraman to the expedition'; three black & white photographs depicting Tom Stobart; a quantity of loose newspaper clippings relating to the Everest expedition and 'Yeti Hunt', to include The Times colour supplement, 'Everest', 1953, and a facsimile of The Times newspaper, 3 June 1953, produced by Royal Mint in presentation box.Camera Equipment: A Paillard Bolex H-16 Reflex 16mm cine camera, possibly used by Tom Stobart during the hunt for the "Abominable Snowman", but certainly used by him for the later cookery programmes in his career; a Paillard Bolex Swiss-made speed-control motor in fitted carrying case; an Adam's "Minex", London, De Luxe Model plate camera, in fitted Adam's velvet-lined, leather carrying case.Scientific Instruments, Lenses & Specimens: Thomas Armstrong & Brother, Manchester & Liverpool, No. 474, microscope with attachments in fitted, lockable mahogany case with brass carrying handle; a brass microscope by C. Baker, London; a mahogany campaign case of lenses & attachments, two engraved 'Smith & Beck, 6 Coleman Street, London', with loose card of manuscript notes/measurements; a Powell & Lealand, London brass microscope attachment, together with glass bottles & accessories in a modern wooden case; a 19th-century mahogany 18-drawer specimen cabinet housing a quantity of glass slides, including leaf scales, pollen grains, fungal spores, and other specimens, most with manuscript labels, the final drawer housing an Abbe's Test Platte in Carl Zeiss morocco case; a 19th-century mahogany 12-drawer specimen cabinet housing a quantity of glass slides, including insect antennae, marine biology, sections of butterfly wings, feathers, and other specimens, most with manuscript labels, some from Australia and Peru, the empty section at base housing an exercise book with 4pp. of manuscript notes recording microscope details. NB: Some of the specimen slides are inscribed 'T.S.' [Tom Stobart], and some are inscribed 'R.F.S.' [Ralph Forrester Stobart].Provenance: By descent. The vendor's late father was Tom Stobart (1914-1980) OBE, a ground-breaking cameraman and filmmaker who in 1953 filmed the first successful ascent of Mount Everest. Stobart captured some of the most famous expeditions and achievements in human history. During his career, he followed a team of scientists exploring Antarctica in 1949, as well as the Tibetan hunt for the "Abominable Snowman" in 1954, but he's best remembered as being the cameraman to the British Mount Everest Expedition, 1953, and for his film The Conquest of Everest. Stobart was left partially disabled after being shot twice in the legs during a filming trip to Ethiopia in c. 1956. He died suddenly in 1980.

THE NIGERIAN TEACHER (LATER NIGERIA), volume 1, No 1, 1933 - No 17, 1939, bound in 4 volumes, numerous illustrations from photographs throughout, uniform decorative native leather binding, manuscript pencil note to first volume front free end paper "This set of Nigerian Teacher/Nigeria was probably bound in Sokoto goatskin by Musa Saccoh, a native of Sierra Leone and a third generation leather worker who moved to Lagos, Nigeria in the early 1930's and was employed by the CMS Bookshop, Lagos, the binding was probably carried out by him in 1938/39", together with another bound volume containing the same title, Nos 9-12, 1937, contemporary plain cloth gilt (5)

Mohammad Ehsaie (b. 1939), “Mana”, porcelain, signed with initials ME (recto) and inscribed ME Ehsaie for Stephano Ricci (verso), 21cm. diameter; circa 2010, manufactured by Stephano Ricci edition of 20Mohammad Ehsaie is undoubtedly one of the most gifted calligraphers to emerge from Iran within the past century. Utterly devoted the perfection of his craft, Ehsaie has married the technical finesse of his formal training within a modern visual schema. Traditional Persian calligraphy has historically been rife with ornament and embellishment; with calligraphic texts often accompanied by miniature paintings, encased in cartouches and flanked by a myriad of geometrical and floral motifs. Ehsaie's approach to the craft, however, is markedly divergent, and in choosing the pure architecture of the Persian letterform as his principal subject matter, he relinquishes the visual excess of traditional manuscript art. The depiction of unadorned script against a monochromatic, often black background not only shifts the focus of the viewer onto the mechanics and minutia of the letterform,  but forces the writing to compensate for the now absent decorative elements. Ehsaie's text fills the empty spaces with a newfound freedom, taking lifelike, prehensile shapes as Ehsai demonstrates the suppleness and elasticity of Persian nast’aliq. Ultimately, Ehsai's contorted letter forms are not written to be understood, emphasizing the ineffability of the deity itself.Please refer to department for condition report

The opening folio of a Rasamanjari of Daruja Khan, Deccan, Aurangabad, dated 1650, opaque watercolour and gold on paper, two ladies sit on an orange floral carpet in a small chamber which is decorated with a colourful painted frieze, the girl on the right is offering a lotus flower to her companion, the scene is within a thin gilt border with black and red rules, 2 line inscription to the top, the reverse with 12 lines of text, a second attached folio with 15 lines of text on front and back, some words highlighted in red, folio 17 x 21cm., image 11.6 x 15.5cm.Provenance: Simon Digby CollectionThe colophon to the Rasamanjari series to which this page belongs states that it was completed at Aurangabad for a price of a fief of Mewar. The manuscript was published by S. Doshi, 'An Illustrated manuscript from Aurangabad dated 1650 A.D.', Lalit Kala, no.15, pp. 19-28, who posited that the patron was serving in the Mughal armies campaigning in the Deccan. This would account for the synthesis of Mughal, Rajasthani and Deccani styles. This Rasamanjari series is very closely related to a Ragamala set of which pages are published in M. Chandra, Mewar Painting, Delhi 1957, pl.7; S.C. Welch, M.C. Beach, Gods, Thrones and Peacocks, New York 1965, n. 18, and S. Canby, Princes, Poets and Paladins, British Museum 1998, no. 127. Both manuscripts are distinguished by their deep and vibrantly contrasting colours. Two other paintings from this Rasamanjari were sold at Sotheby's. 7 July 1975, lots 86-87. Please refer to department for condition report

The Birth of a Jina, illustration from a Jain manuscript, North Western India, Gujarat, circa 1800-1825, opaque pigments on paper, divided into scenes, 28.6 by 18.7cm.Provenance: Simon Digby CollectionA page from a Jain manuscript showing the birth of a baby Jina. The golden Jina is seen here immediately following its birth. His mother lies on a couch, having been put into a magical sleep by Indra and Indrani. In the upper right register the baby Jina is dressed in a loin cloth by two midwives, whilst being showered with flower petals from an upper balcony. The Jain religion singles out five central events in the life of a Jina. The first event is the Jina's descent into the mother's womb. The next is the birth itself, depicted here in tis painting. The third is renunciation. Jinas are born as princes and raised in luxury, only to turn their backs on worldly wealth in search of spiritual treasures. After a long and arduous career as an ascetic the Jina at last achieves omniscience, the fourth great moment in his career. He spends his remaining years as a wandering monk, teaching the Jain doctrine everywhere he goes. When he knows that his death is near, he seeks out a mountain where he will practice his final meditation, eliminating forever the last traces of the karma that has kept his alive thus so far.Painting illustrating the auspicious events in the lives of the Jinas, based on the Adipurana or kalpasutra, were often done in sets. Two painting from this present series are known to us: one in the Los Angeles County Museum portrays Indra transporting a baby Jina on his elephant; the other, which is illustrated in P.Pal, The peaceful Liberators: Jain Art from India, Los Angeles 1995, no. 108 (colour plate p.50) depicts the lustration ceremony of the baby Jinas on Mount Meru.Please refer to department for condition report

Kings seated in a row, Bilaspur (Basohli), circa1680, from an unidentified manuscript, opaque pigments on paper, with two lines of black Devanagri text to reverse, pencil inscription, 22.2 x 29cm. For a similar scene see W. Archer, Visions of Courtly India, London and New York: Sotheby Parke Bernet Publications, 1976, plate 33, p. 58.Some repainting to background

Two illustrated leaves from a Jain Kalpasutra manuscript. Western India, probably Gujarat, 18th century, opaque pigments heightened with gold on paper, each folio depicting a seated Jain deity to one half of the folio and text to the other, the reverse with plain text, each approx. 28.5 x 12cm. (2)Provenance: Private European CollectionThe Kalakacaryakatha tells the story of the Jain monk, Kalaka, who invited an army of Saka warriors (also known as Scythian) in order to rescue his sister, who had been captured by King Gardhabilla. Texts were normally appended to the end of manuscripts of the Kalpasutra: however, the numeral 5 which appears on one of the leaves indicates that these leaves derive from an independent Kalakacaryakatha manuscript. The illustrations depict Indra in two forms, as himself and as an ascetic, paying homage to Kalaka. Another depicts an army besieging the city of Ujjain in Malwa, which had been captured by King Gardhabilla, and in the process rescuing Kalaka's sister.Please refer to department for condition report

A double-sided folio from a Bhagavata Purana series, Mewar, India, circa 1630-40, gouache on paper, each side has a verse in red Braj identifying the scenes, folio 40.6 x 23.7cm., image 34 x 17.5cm. Provenance: Simon Digby Collection, 1998For other leaves from this manuscript see: Ehnbom, Indian Miniatures, New York, 1985, no. 49; Poster, Realms of Heroism, New York, 1994, nos 154-5; the Metropolitan Museum of Art (1980.530.1a, b); Sotheby's, New York, 22 March 2002, lot 13 and 26 March 2003, lot 120; and Christie's, New York, 22 March 2000, lot 163.This manuscript is the earliest illustrated Bhagavata that can be assigned to Mewar with any certainty. As these paintings are less complex than those done for the Mewar court during the mid 17th century, it has been suggested that this manuscript was possibly painted in a workshop outlying the center of Mewar. In style, the painting is similar to a Dhola-Maru mansucript in the National Museum of India, New Delhi, which was painted in Aghatpur, near Udaipur.Please refer to department for condition report

A pair of painted wood manuscript covers depicting lovers in erotic embraces, Orissa, Eastern India, circa 1800, each of rectangular form, the exteriors carved with large flowers heads within a beaded border, the interiors with figures on a red ground, each approx. 24.6 x 3.7cm. (2)Provenance: Acquired Bruun Rasmussen, DenmarkPlease refer to department for condition report

A leaf from a Jain illustrated manuscript, a book of hymns in praise of the great teachers, Western India, late 17th Century, 13 lines of text, illustrations depicting a seated jina, the Great Teacher Bahusvami recto and verso, 10.6 x 25cm. Please refer to department for condition report

A very rare early illustration to a mid-13th century obscene poem, Bukhara, Iran, late 16th century, ink and opaque pigments heightened with gold, depicting lovers including a figure in a distinctive black hat, in various coupling positions in a brightly coloured and patterned tile interior, with 2 lines of Persian nasta'liq above and below within cloudbands on a gold ground, and diagonal line of the same above and below, outer border decorated in gold with animals on a floral ground, signature top left, mounted, glazed and framed, painting 26.5 x 17cm. Provenance: Estate of costume designer Anthony Powell (1935-2021)Ostensibly, this single folio was part of a manuscript of the collected works (Kulliyāt) of the renowned Persian poet and mystic, Saʿdī of Shiraz (d. 1292 CE). The painting is partially framed by five couplets that belong to a short narrative poem (masnavī) that is found in the little-studied and unpublished collection of Saʿdī’s obscene works (khabīsāt), which are featured prominently in the earliest manuscripts of the Kulliyāt (see D. Ingenito, Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry). The poem, which comprises seventy couplets, recounts the story of a handsome young man who marries an uncomely and ill-mannered woman. Upon experiencing an erotic fiasco during their first night together, the young man begs his father-in-law to allow him to divorce his wife. The father rejects this request by telling the young man that he would have to spend time in jail in order to pay back his daughter’s dowry. After thinking at length about his miserable condition, the young husband resorts to the uncanny expedient of seducing and sexually subjugating his wife’s entire family and entourage, without discriminating between women and men of any age. Being the only family member who has not been assaulted by the young man, the father consents to the divorce of the couple with no further hesitation. The five couplets quoted in this folio pertain to the central part of the poem, which offers a detailed description of the orgiastic spree undertaken by the young man. As is often the case with Saʿdī’s obscene works, in these lines, explicit descriptions of sexual acts are juxtaposed with delicate similes and metaphors that are drawn from the poet’s inimitable lyric styleThe combination of high and low poetic registers in Saʿdī’s ludic narration in verse is reflected in the stylistic elegance with which the painting portrays scenes of sexual disinhibition. In fact, in this folio (if one takes into account the contents of the entire poem), the visual and literary texts simultaneously stage the lewd and the alluring dimensions of eroticism: intimate body parts are covered and uncovered by fine garments, while mechanical forms of sexual penetration reveal seductive tensions between bodies enraptured by desire. The decorative aspect of pieces of clothing, rugs, curtains, along with the delicate rotation of different limbs, seems to mimic the rhetorical embellishments with which Saʿdī’s lines describe multiple forms of vaginal and anal intercourse. Whereas the poem, line by line, offers a list of the young man’s sexual encounters with the members of his wife’s family in chronological order, the painting portrays all of them simultaneously. The orgiastic aesthetics of the visual representation does not allow onlookers to recognize specific details found in the poem (apart from a candle held by a young man on the bottom right). The young husband, as a serial penetrator, occupies a different timeframe in each section of the painting. While his physical features appear to be always the same, different erotic settings are distinguished by different garments. At the center of the painting, as a bizarre variation of the erotic scenes, the young husband appears to have a darker skin color. Moreover, instead of having sex with a beardless male or female youth, the darker boy seems to be penetrating a bearded man. A man with similar facial features and hair appears on the top right of the painting. One could assume that this adult male is the visual depiction of the young man’s father-in-law who, in the versified plot, fears the sexual intentions of his daughter’s husband after having been made aware of the erotic tumult he has brought to his family.Stylistic features of this painting suggest that it was produced in Shiraz between the 1560s and the 1570s CE (see, for instance, a Gulistān copied in Shiraz in 1575). Visual representations of Saʿdī’s bawdy verses (and, in general, of obscene poetry) are extremely rare before the 17th century. Nonetheless, a manuscript of Saʿdī’s Kulliyāt copied in Shiraz in 1566 (British Library, Add. 24944) presents a painting that is strikingly similar to this one [reproduced by Boone, see attachment] and illustrates exactly the same erotic masnavī. Even though both Lâle Uluç and Joseph Allen Boone misread Saʿdī’s poem as a text on “lovemaking techniques” and its visual representation found in Add. 24944 (f. 333) as a “brothel scene,” these documents attest to the existence of a Saʿdī-centric tradition of erotic iconography that developed in Shiraz during the second half of the 16th centuryWith special thanks for this cataloguing to Domenico Ingenito, Associate Professor of Persian Literature, University of California, Los AngelesFolio stuck down

Two early double-sided Kufic Qur'an folios, Near East or North Africa, probably Umayyad Period, 8th or early 9th century, Arabic manuscript on parchment, 18ll. of black Kufic per page, verse markers in the form of red roundels, verse header in blue, yellow and red letters, 24.3 x 18.8cm. (2)Provenance: Spink & Sons, LondonPlease refer to department for condition report

An Eastern Kufic Qur'an folio, Abbasid Persia or Iraq, 11th century, Arabic manuscript on thick buff paper, 23 lines of Eastern Kufic in black ink, vocalization in red and green, diacriticals in black, gold curl verse marker, marginal medallions and vase shape to both sides in gold with leafy motif, folio 26.7 x 20.3cm. Provenance: Spink & Sons, LondonAnother folio from this Qur'an was sold at Christie's 11 April 2014, Lot 245Please refer to department for condition report

Four Maghrebi Qur'an folios, North Africa or Al-Andalus, 9th-10th century, Arabic manuscript on vellum, each written in sepia Maghrebi script, with gold and polychrome marginal decoration, one with a verse header in gold, comprising the surah al-Takathur (102), vv.5-8; sura al-‘Asr (103), vv.1-3; the surah Hud (11), vv.5-9; the surah al-Nahl (16) vv.24-28; surah Qaf (50), vv.13-15, folio 21 x 16.5cm, 19.7 x 19.4cm., 21 x 17.5cm., 18.7 x 19.6cm. (4)Provenance: Spink & Son, LondonPlease refer to department for condition report

A North African portable prayerbook, probably Morocco, circa 1800, 300ff. approx. Arabic manuscript on paper, with 7ll. of neat maghrebi script in black, gold and polychrome, within red and blue outer rule, some marginal notes, 6pp. to beginning and 12pp. at end in a different hand, opening folio with illuminated title page, headers in polychrome decorated cartouches, some with red guard sheets, red morocco gilt binding panelled in gilt flower tools, central lozenge black, preserved in a contemporary blue velvet travelling case with red and gilt cord binding, embroidered with flowers in relief, folio 11 x 11.5cm. Please refer to department for condition report

Juz 10 of a a large Qu’ran, Persia, circa 1300, in its original binding, Arabic manuscript on paper, 31ff., with 5 ll. of black muhaqqaq script, titles in silver, with gold and polychrome verse markers, marginal medallions in gold on a red ground every 5th verse, marginal medallions in gold with silver surround and decorated with leaves every 10th verse, containing varying number of medallions and lozenges, in original extensively blind-tooled brown morocco binding, each with eight-lobed central medallion, flap with central field of interlocking strapwork, sewn on 3 cords, folio 44 x 31 cmProvenance: Private Collection Norway since the 1990’s with paper label "The Shoyen Collection".The Schøyen Collection was started around 1920 by Engineer M.O. Schøyen (1896-1962), father of Martin Schøyen, who collected some 1000 volumes of early and later editions of Norwegian and international literature, history, travel, science, as well as antiquities.Please refer to department for condition report

An Ottoman religious commentary, Turkey, dated 966AH/ 1558-9AD, Ottoman Turkish manuscript on coloured paper, incomplete, 440ff., with approx. 25 lines of text arranged variously, in two columns, with diagonal text to margins within gold outer rule, headers in red, edges of pages gilded, numerous gold and polychrome decorated headers, in later green morocco binding with gilt lattice decroation, folio 24.8 x 13.4cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

A Qur'an, Kashmir, North India, early 19th century, Arabic manuscript on paper, 439ff., with 12 lines of elegant black naskh per page within gold and outer blue rule, gold roundel verse markers, headers in red naskh, with three double pages of polychrome and gold illuminated floral decoration, brown morocco binding with flap, folio 23.7 x 14.2cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

An Ottoman collection of prayers, including surah al-An’am (6), surah Fatir (35) and Al-Jazuli’s Dala'il Al-Khayrat, Turkey, copied by Hafez Mehmet, known as Cakizadeh (?), dated 1156AH/1743-4AD, Arabic manuscript on polished cream paper, 130ff., with 11 lines of elegant black naskh per page within gold rule, copious marginal notes, gold and polychrome roundel verse markers, some words in gold or red, two full page miniatures of the holy cities of Mecca and Medina in gold and polychrome,in brown morocco binding with flap, tooled central medallion and corner spandrels enclosing arabesques, folio 16 x 10.6cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Numerous folios loose, binding with damage to corners

An album of calligraphic excercises (Wasli), Ottoman Turkey, 18th century, Arabic manuscript on buff paper, 10 calligraphies, each with 2 lines of bold black naskh and gold roundels within gold rule, mounted as an album on coloured folios, green morocco binding with gilt decoration, each panel 9 x 16.4cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

An Ottoman manuscript containing the surah al-An’am (6) and prayers, Turkey, second half 19th century, Arabic manuscript on paper, 90ff., with 7 lines of black naskh per page, gold verse roundels, three gold and polychrome decorated headers, some pages stuck together, in brown morocco binding with flap, folio 10.5 x 7.5cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Folios with damp, smudging to ink, opening folio stuck to binding, numerous pages stuck together

An Ottoman Qur'an, Turkey, copied by Husein al-Rajai, student of (...) Ibrahim al-Sari and (...) Husein al-Wasfi, dated 1286AH/1869-70, Arabic manuscript on paper, 291ff., with 15ll. of neat black naskh script to the page within outer red rule, gold and polychrome verse roundels, headers in gold larger naskh, golf and polychrome floral marginal decoration, red morocco binding with flap and gold tooled central medallion and spandrels willed with cloudbands and scrolling vegetation, folio 15.6 x 10cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

A text on astronomy, probably a risala, Ottoman Turkey, dated Rajab 1246AH/ December 1830-1AD, Arabic and Ottoman Turkish manuscript on paper, 63ff., with 19ll. of black naskh per page, some words and headings in red, numerous diagrams and polychrome illustrations of the planets, northern and southern hemispheres, green morocco binding with gilt border, folio 18.7 x 12cmProvenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

An Ottoman collection of prayers, Egypt, first half 18th century, Arabic manuscript on paper, 115ff., with 9 lines of neat black naskh per page within gold outlined in black, including extracts from various surahs (surah al-An’am (6); surah al-Fath (48); surah al-Rahman (55) and surah al-Ankabut (29)), polychrome and gold verse markers, headers in gold and polychrome with floral decoration, opening folio and an addition folio with illuminated header, numerous gold and ink drawings, diagrams and tables, in green morocco binding with gilt border, folio 16.6 x 11.5cm.Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report

Fifteen leaves from the Shahnameh, Timurid Persia, 15th century, Persian manuscript on polished paper, with 21ll. of black nasta'liq arranged in four columns, headers in gold naskh on a cream ground, some on a red hatched ground, outer margins with a delicate dense array of flowers and scrolling vines, folio 36 x 25cm. Provenance: The Private Collection of Michel Abemayor (1912-1975)Please refer to department for condition report

An Ottoman Qur'an, Turkey, copied by Hassan al-Nafi’I, dated AH 1275AH/1858AD, Arabic manuscript on paper, 279ff., with 15 lines of black naskh within gold rule, gold roundel verse markers, headers in white naskh on a gold ground, blue ink and gold and polychrome marginal decoration, opening bifolio heavily illuminated with gold and polychrome flowers, text within an ovigal medallion, original brown morocco binding with flap, with tooled, gilded central medallion and spandrels, folio 18.9 x 11.9cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Please refer to department for condition report