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'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.

'THE BARON LIONEL DE ROTHSCHILD CANDELABRA' A PAIR OF FRENCH LOUIS XVI ORMOLU AND PATINATED BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY PHILLIPPE CAFFIERI, LATE 18TH CENTURY each modelled with a cherub seated on a rock, one holding his hands aloft, the other blowing a shell, issuing three acanthus wrapped branches with fluted vase shaped nozzles decorated with stiff leaves, the stepped base with fluted, guilloche and leaf decoration, later drilled and fitted for electricity, with faux candles and shades (8) 45.8cm high (excluding fittings) Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed as 'A pair of fine small Louis XVI bronze three light candelabra' and recorded as going to Alfred. Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XVI, candelabra, with bronze figures of boys playing conch shells and supporting ormolu branches, for three lights each. ' Charles Davis,' A Description of the Works of Art forming the collection of Alfred de Rothschild', 1884, p. 228, no. 244, listed as 'A pair of three-light candelabra, of the period of Louis XVI, each is formed by a bronze figure of a kneeling boy blowing a trumpet and supporting the branches, which are chased metal, and designed as foliated scrolls. The stands are square, and each has a hollow border enriched with a bead moulding'. Catalogue Note Although the design of candelabra has traditionally been attributed to Philippe Caffieri (1714-1774) with the rights to their production held by Simon-Phillippe Poirier and his business partner Dominique Daguerre, the putti themselves have a longer history with an attribution to Alessandro Algardi (1595-1654) and his circle, a pair of which are now held in the Wallace Collection having been acquired by the 4th Marquess of Hertford. This attribution by the Wallace Collection is further enhanced by Jennifer Montague in her publications on Algardi (1985) and Bronzes in the Wallace Collection (2002). Poirier delivered a pair of candelabra incorporating porcelain figures among three gilt bronze branches, to Madame du Barry in 1770. It was soon after this date that the design appears to have gained popularity amongst the English Gentry with examples appearing in inventories of country house collections from the early 19th century. In recent years, closely related examples have appeared at auction, see Christie's Lord St Helens and Sir William Fitzherbert, 22nd January 2009, lot 541 and Christie's, The Gothick Pavilion, Byron to Beaton, 9th December 2010, lot 111.

λ AN IMPORTANT NEAR PAIR OF FRENCH ROSEWOOD AND ORMOLU MOUNTED TABLES DE MILIEU IN LOUIS XVI STYLE, ATTRIBUTED TO LOUIS-AUGUSTE-ALFRED BEURDELEY, C.1850-60 each with a rectangular Sarrancolin opera marble top with a moulded edge, above a breakfront frieze, one mounted with two 17th century Florentine pietra dura tablets inlaid with figures after engravings by Callot, the other mounted with a pair of micromosaic plaques, decorated with scrolling foliage and flower mounts, on tapering column legs with Ionic capitals, laurel leaf bands, on acanthus toupie feet, damages to marble tops (2) 87.5cm high, 138.2cm wide, 76cm deep and 88.2cm high, 143.5cm wide, 76cm deep Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of side tables, of Louis XVI design, mounted with ormolu friezes richly chased with foliage and with mosaic plaques in the centre, the tops formed of fleur-de-peche marble'. Catalogue Note These impressive tables were potentially bespoke made for the hardstone and mosaic plaques found on their friezes. They were displayed pride of place in the Central Hall / Salon at Halton Hose, see the photographs of them in-sitU C.1888. The quality of their ormolu mounts and their 'improved look' point to an attribution to the Paris firm of cabinet makers, Beurdeley. The business was established in 1804 by Jean Beurdeley who was noted as a 'marchand de curiosites'. Louis-Auguste-Alfred Beurdeley (French 1808 - 1882) took over the firm in 1840 and relocated the business to rue Louis-Legrand where he elevated the quality of their manufacture. Not only did they produce grand furniture but they became prominent dealers in French furniture and objets d'art. According to Christopher Payne in his book 'Paris Furniture: the luxury market of the 19th century', the Beurdeley dynasty was 'one of the best makers, their work is always of a very high quality, technically superb'. The Pietra Dura The two Italian pietra dura panels mounted on one of the tables depict dwarf caricatures taken from designs by Baccio del Bianco (1604-1657) based on engravings by Jacques Callot (1592-1635) from his book, titled 'Varie Figure Gobbi' (1612-1622). Del Bianco worked extensively for the Medici, designing objects in various media and organising spectacles. Callot's book, which was published in 1616, depicts a 16th century travelling troupe of performing dwarfs who were at the court of Cosimo II. Similar plaques can be found on a table formerly in the collection of Alfred de Rothschild and now in the Gilbert Collection in the Victorian & Albert Museum. It stood (with its pair) in the glass domed Salon opposite our present tables at Halton House, Buckinghamshire. Four plaques can be found on the Hume / Beckford cabinet at Charlecote Park, Warwickshire and further examples can be seen on a tabletop at Versailles. Alvar Gonzalez-Palacios in his book 'The Art of Mosaic: Selections from the Gilbert Collection', originally dated these pietra dura plaques to the 18th century of Opificio manufactory but more recently in his work 'Il gusto dei Principi' he has attributed them to the first half of the 17th century. Annamaria Giusti noted in her book 'Pietre Dure: L'arte europea del mosaico negli arredi e nelle decorazioni dal 1500 al 1800', most of the 17th century plaques with this subject matter are mounted in 18th and 19th century furniture. The Micromosaic The other table is mounted with a pair of early micromosaic plaques, worked with scrolling foliage on a black ground. The colouring of the mosaic matches the colouring employed on the magnificent micromosaic table top by Don Giacomo Pellicea of poultry that stood opposite it at Halton House.

A FRENCH LOUIS XVI WHITE MARBLE AND ORMOLU MANTEL CLOCK BY BARANCOURT, C.1785 the brass drum twin train movement with an outside countwheel striking on a bell, inscribed 'Barancourt a Paris', the three and three-quarter inch enamelled dial with pierced, scrolling hands, with Roman hour numerals and Arabic minute numerals, inscribed 'Barancourt a Paris', in a case flanked by Venus receiving a dove from Cupid, on a rectangular base with a band of fruiting stiff leaves, above a central torch and quiver of arrows and a swag, on hairy lion's paw feet and a rectangular plinth with a gilt beaded rim, with key and pendulum 35.2cm high, 26.5cm wide, 13.5cm deep Provenance Alfred de Rothschild (1842-1918) Bedroom no.2, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A Louis XVI clock by Barancourt a Paris, in white marble case with ormolu figures of Venus and Cupid, £30.0.0.' Catalogue Note This clock is after the celebrated design by the fondeur François Vion, now in the Bibliothèque Doucet, Paris (VI E 15, Rés.fol.20/1). No.13 in the Livre de Desseins, the subject depicts 'La Douleur', although the flaming torch was replaced with a laurel sprig in execution. Referred to as 'Pleureusé' in contemporary auction catalogues, Vion charged 450 livres for the finished model. The design and a related clock are illustrated in H. Ottomeyer / P. Pröschel, Vergoldete Bronzen, Band I, p.247, figs.4.6.9 and 4.6.10, whilst a further clock of this model, originally in the collection of the Earls of Shaftesbury, St. Giles's House, Dorset, was sold anonymously at Christie's London, 9 December 1993, lot 166. Pierre Michel Barancourt became a Master Clockmaker in Paris in 1779.

A RARE GOLD AND ENAMEL MOUNTED AGATE SPOON EASTERN EUROPE, PROBABLY HUNGARIAN, LATE 17TH CENTURY with a pear shaped bowl, the underside with a rats tail, the rim with a rope-twist filigree mount, the part faceted and turned stem with three conforming mounts decorated with white, green and black enamel, with a turned finial 20cm long Provenance Alfred de Rothschild (1842-1918), the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two spoons of agate and onyx, with gold filigree mounts, £20.0.0.' Catalogue Note In the 17th century sets of matching cutlery were still a novelty and highly prized. It was the sign of a gentleman that he possessed cutlery made of unusual and valuable materials. A similar spoon and fork can be found at Burghley House, ref. EWA08517, which appeared in the 1690 Devonshire schedule recording an immense bequest from Elizabeth, Countess of Devonshire to her daughter Anne, Countess of Exeter.

A RARE PAIR OF FRENCH ORMOLU TWIN-LIGHT WALL APPLIQUES IN LOUIS XV STYLE, SECOND QUARTER 19TH CENTURY naturalistically cast as branches of oak leaves and acorns suspended from ribbon tied drapes, later drilled and fitted for electricity (2) 61cm high, 35cm wide, 19cm deep Provenance Alfred de Rothschild (1842-1918) the Bronzina Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XV ormolu wall lights, chased as oak branches with nozzles for two lights each, £80.0.0.'

WARD (THOMAS HUMPHREY) ENGLISH ART IN THE PUBLIC GALLERIES OF LONDON with more than one hundred photogravures by Goupil & Co, published under the direction of TH Ward in London and Paris by Boussard, Valadon and Co., 1888, bound in red leather with tooled and gilt floral decoration and green leather title panel to the spine Provenance Alfred de Rothschild (1842-1918) the Entrance Hall, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'English Art in the London Galleries, £12.0.0'

A FRENCH LOUIS XV ORMOLU AND PATINATED BRONZE ELEPHANT MANTEL CLOCK AFTER A DESIGN BY JACQUES AND PHILIPPE CAFFIERI, MID-18TH CENTURY AND LATER the brass drum movement with an outside countwheel striking on a bell, the five and a quarter inch enamelled dial with Roman hour numerals inside Arabic minute numerals to the quarters, in a chinoiserie case surmounted with a Chinaman holding a spear, with foliate swags to either side and convex glazing to the front and back, mounted on the back of an elephant standing four square with its trunk raised, on a naturalistic base with scrolling feet, with key and pendulum 46.5cm high, 38cm wide, 17cm deep Provenance Alfred de Rothschild (1842-1918) Bedroom no.7, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A clock in ormolu case, supported by a figure of an elephant, £15.0.0.' Catalogue note The 18th century was a period of great exploration and the discoveries made were often reflected in the decorative arts of the period. This was especially true in France during the reign of Louis XV where the skills of the master clockmakers, ebenistes, bronziers and ceramicists were often combined to create fantastical objects such as the clock being offered here. The animals used in the creations varied widely and eventually included elephants, rhinoceroses and ostriches, as well as the more recognisable bulls and wild boars. The earliest examples of these exotic clocks date to the mid-1740s but their popularity reached its zenith in the 1750s and lasted to the early 1760s. The modelling of the elephant used in this clock is likely to have its origins in the Japanese Kakiemon porcelain models of the late 17th century such as those that can be seen at Burghley House in Lincolnshire (Porcelain from Palaces, Exhibition Catalogue, British Museum, 6 July - 4 November 1990, p.178, no.160), and others were found across the European Courts. A prominent maker of clock cases was Joseph de Saint-Germain (maitre in 1750). He was one of the most celebrated bronziers of his age and championed the Rococo style. See H. Ottomeyer / P. Proschel, Vergoldete Bronzen, p.123. pl.2.8.3., for an elephant clock by Saint-Germain very similar to our clock. A related clock formerly in the Jones Collection can be found in the Victoria & Albert Museum, accession number: 1008:1-1882.

'THE ROTHSCHILD LAPIS LAZULI TAZZE' A PAIR OF FRENCH ORMOLU AND LAPIS LAZULI FIGURALTAZZE THE LAPIS BOWLS EARLY 17TH CENTURY, THE FIGURES IN THE MANNER OF CLODION LATE 18TH / 19TH CENTURY in the form of a satyr and a Bacchante, both with grapevines in their hair, he with a horn and she with a tambourine and an ewer, each supporting a carved lapis lazuli stylized scallop shell shaped bowl, the Bacchante stamped with an inventory number '5236' (2) 36.3cm high, 15.2cm wide (max) Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of bronze gilt figures, of a satyr and bacchante, supporting on their heads shell shaped dishes of lapis lazuli, £35.0.0.' Catalogue Note These impressive lapis lazuli bowls, mounted with ormolu figural stands, follow in the grand tradition of objects made of hardstones for the courts of Europe. Lapis lazuli, is a metamorphic rock of deep-ultramarine colour, mainly composed of lazulite with golden pyrite. Lapis is the Latin word for stone and lazuli from the Medieval Latin, lazulum, which was taken from Arabic and Persian meaning 'sky' or 'heaven', so 'stone of the sky'. It has been prized since antiquity for its intense colour. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang and other mines in Afghanistan. By the end of the Middle Ages lapis lazuli began to be exported to Europe where it was ground into powder and made into ultramarine blue pigment used by some of th most important painters of the Renaissance including: Masaccio, Titian and Vermeer. Pliny the Elder wrote that lapis lazuli is 'opaque and sprinkled with specks of gold'. Because the stone combines the blue of the heavens and golden glitter of the sun it was emblematic of of success in old Jewish tradition. It was used by Renaissance and Mannerist craftsmen for ornamental vases, for example the 'Lorenzo Vase' in the Museo degli Argenti made by Bernardo Buontalenti and Giovanni Biliverta. For comparable shell shaped bowls or coupes, see the Kunsthistoriches Museum, Vienna, inv. no. Kunstkammer, 1617, the Musee de Louvre, Paris, inv. no. MR270 and the Museo degli Argent, Palazzo Pitti, Florence.

A RARE SET OF FOUR FRENCH ORMOLU 'AUX CORS DE CHASSE' WALL LIGHTS IN LOUIS XVI STYLE AFTER A MODEL BY EDME-JEAN GALLIEN AND PIERRE BUREAUX, EARLY 19TH CENTURY each with a tasselled ribbon, oak leaf and acorn backplate, issuing three hunting horn shaped candle-arms, with urn sconces, later drilled and fitted for electricity (4) 98cm high, 44cm wide, 23cm deep Provenance Alfred de Rothschild (1842-1918) the South Drawing Room / Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as two pairs, described as 'A pair of Louis XVI wall lights, chased with oak branches and the branches designed as hunting horns, £150.0.0.' Catalogue Note This set of four wall appliques are based on the model by the bronziers Edme-Jean Gallien (1720-1797) and Pierre Bureaux (b. 1728). The design was very popular during the Empire period and a similar set of four wall lights was supplied by Claude Galle for the Salon de Compagnie du Petit Trianon on the 23rd December 1809 (see D. Ledoux-Lebard, Le Petit Trianon, p.98). Other sets of wall lights can be found at various chateaux and palaces, including: Bagatelle, Pavlosk, Saint-Hubert and Le Raincy. For recent sale comparisons, see Sotheby's Paris, 20th April 2012, lot 173 for a very closely related set of four which sold for EUR 264,750, also Christie's Paris, 23rd November 2021, lot 117 for a pair which fetched EUR 87,500.

A CHINESE CLOISONNE ENAMEL 'LANDSCAPE' VASE, CONG 18TH CENTURY of square-section, the four sides are finely decorated with figures and mythical animals in landscape scenes of pavilions by a river, the flared neck and foot decorated with archaistic cicada lappets and ruyi-head borders 39.8cm high, 17.5cm wide, Weighs 5.5kgProvenance Alfred de Rothschild (1842-1918) the Billard Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of Chinese cloisonne enamel vases of square shape decorated with river scenes on turquoise ground, Kein Lung, £40.0.0.' Catalogue Note A related vase decorated with pavilions in mountainous landscapes is illustrated in: The Complete Collection of Treasures of the Palace Museum, 43, Metal bodied Enamel Ware, p.153, no.145. See also Christie's Paris, 22nd June 2016, lot 285 which fetched EUR 157,500.

A RARE PAIR OF CHINESE CLOISONNE ENAMEL AND GILTWOOD TABLES THE CLOISONNE 17TH / 18TH CENTURY, THE TABLES FRENCH, 19TH CENTURY each with a rectangular top with a floral design edge, inset with a Chinese rectangular panel, one depicting a luohan seated on a carpet supported by mythical creatures floating across the sea, the other with another luohan waving to a deity riding on a crane, above a base with scroll legs (2) 64cm high, 32.2cm wide, 36cm deep Provenance Alfred de Rothschild (1842-1918) the Ante-Room to the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Seven plaques of Chinese cloisonne enamel, variously decorated and mounted as the tops of gilt tables, £35.0.0.' Charles Davis, A Description of the Works of Art Forming the Collection of Alfred de Rothschild, 1884, p.236, no.266, listed as 'A pair of small tables of carved and gilt wood, each with three legs, the tops are inlaid with a square turquoise plaque of Chinese cloisonne enamel.' Catalogue Note In Buddhism, the 'arhats', or 'luohan' in Chinese Buddhism, are seen as the original followers of Gautama Buddha, or arhat. They have reached the state of Nirvana, they are now free of all worldly cravings and their role is to protect Buddhism until the arrival of Maitreya, an enlightened Buddha predicted to appear on Earth many centuries in the future. In the earliest Indian depictions only four disciples were shown but over time this number rose to sixteen and by the Tang or Five Dynasty periods in China there were eighteen, a tradition that continues into modern Chinese Buddhism. The symbolism of the two plaques included in this lot show a luohan welcoming the Mother of the West and the other shows four demons carrying a luohan over the Bitter Sea.

BODE (WILHELM VON) AND HOSFSTEDE RE GROOT (CORNELIS) THE COMPLETE WORK OF REMBRANDT History, Description and Heliographic Reproduction of all the Master's Pictures, eight volumes, limited edition number 174 of 575, published Paris by Charles Sedelmeyer, 1897-1906, bound by Leightons, Brewer Street in red Morocco with gilt tooled decoration and gilt top edges (8) Provenance Alfred de Rothschild (1842-1918) the Lady Bamflyde Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Bode's Rembrandt, 8 vols, £90.0.0.'.'

AN EMBOSSED STEEL AND GILDED PARADE SHIELD IN RENAISSANCE STYLE, 19TH CENTURY of convex circular form, the centre with a depiction of Hercules killing Lichas after the sculpture by Antonio Canova (c.1795), the surrounding field delineated by concentric scaled bands and displaying classical busts in rondels separated by mythical creatures, the outer border with leaf masks and foliate sprays, with a laurel wreath rim, the reverse with handgrip and two fixed rings 60cm diameter Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'An Italian circular shield, chased with Hercules and Lycas on gold and blue ground with medallion heads and caryatid figures round the border, 16th century, £200.0.0.''

A FRENCH ORMOLU FENDER IN LOUIS XVI STYLE, 19TH CENTURY with cherubic faun figures playing music, interspersed with war trophies and doves of peace, with scrolling leaves and lion's masks, stamped '192', together with a pair of 18th century French steel and ormolu mounted fire tongs (2) 25.5cm high, 128.5cm wide, 30.8cm deep (max) Provenance Alfred de Rothschild (1842-1918) the Boudoir, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An ormolu fender, of Louis XVI design and a set of fire implements, £10.0.0..'

'THE BARON LIONEL DE ROTHSCHILD ROCK CRYSTAL CANDLESTICKS' A RARE PAIR OF FRENCH LOUIS XVI ROCK CRYSTAL AND ORMOLU CANDLESTICKS LATE 18TH CENTURY each with an octagonal sconce above a lobed and faceted stem decorated with ormolu mounts of leaves and ram's heads supporting swags of flowers, on a faceted circular foot with an acanthus leaf rim (2) 26cm high, foot 14.7cm diameter Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Morning Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed under 'Rock Crystal' as 'A pair of candlesticks with rams' heads' and recorded as going to Alfred. Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of rock crystal table candlesticks, mounted with ormolu rams' heads and festoons of flowers, on circular plinths. £20.0.0.' Catalogue Note For a similar pair of candlesticks see Sotheby's, Addiction: Benjamin Steinitz, lot 25. In their footnote they state that a pair of silver candlesticks with siimilar virtuoso use of rock crystal by the goldsmith Jean-Louis Mennaust were exhibited at the Musees des Art Decoratifs in 1954. These splendid candlesticks were formerly in the collection of Baron Lionel de Rothschild (1808­-1879). Lionel Nathan de Rothschild was the eldest son of Nathan Mayer Rothschild (1777­1836) and after spells working for the family bank in Paris, London and Frankfurt, he became the head of the London house of NM Rothschild & Sons in 1836 at the age of 28. His London home was 148 Piccadilly which had sumptuous French Louis XVI style interiors which housed Lionel's fabulous art collection which he had developed during his apprenticeship in Europe. The collection which was divided amongst his three sons was dominated by Old Masters many of which were acquired from the Van Loon collection and Renaissance works of art including silver and early rock crystals. The collection is mentioned by Waagen in 'Art Treasures in Great Britain', 1854. They candlesticks were inherited by Alfred and he had them on his desk in the Morning Room at Halton House.

A FRENCH GILTWOOD FIRESCREEN, ECRAN A FEU IN THE MANNER OF JEAN-BAPTISTE TILLIARD (FRENCH 1685-1766), IN LOUIS XV STYLE, MID-19TH CENTURY inset with an 18th century 'Enfant de Boucher' tapestry panel attributed to Jacques Neilson of the Gobelins Manufactory, woven with a bucolic scene of two children, within a ribbon tied floral border, the moulded frame carved with scrolls, leaves and trailing flowers, the underside with an applied metal label, inscribed 'Halton Collection' and with a paper label, inscribed 'Halton' 121.8cm high, 81cm wide, 40cm deep Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two fire-screens formed of panels of Gobelins tapestry woven with Boucher subjects of children in upright panels enclosed by garlands of flowers in rose pompadour border, the frame-work of gilt wood, £3,000.0.0.' Catalogue Note The Gobelins factory was established in 1663 as "Manufacture Royale des Meubles de la Couronne", with the purpose to supply tapestry and furnishings needed for the Royal palaces. In the 1720's under the directorship of Jean-Baptiste Oudry (1686-1755) the applcation of cartoons was introduced. In 1736, Oudry asked Francois Boucher (1703-1770) to create cartoons and Boucher's collaboration with the Gobelins factory lasted until 1765. Francois Boucher was born in Paris and was granted a scholarship to study art in Italy for four years. His work was inspired by his years spent in Rome and by the work of Rubens and Watteau. His prominence rose quickly after the 1730's and he became a protégé of Madame Pompadour, Louis XV's mistress and around 1755 he was appointed as the King's artist. Boucher created a series of charming paintings depicting children mostly in a rural setting, outdoors and engaging in some kind of activity, like feeding chickens or playing a bag pipe. Frequently found decorations of Gobelins upholstery are representations of these pictures, often referred to as 'Enfant de Boucher'. See Country Children, The Metropolitan Museum Journal v.29. 1994 for an illustration of a similar example, titled 'Two children warming themselves at a fire'. The illustrated piece is signed by Jacques Nielson, director of the low-warp Gobelins tapestry factory, Paris, from 1749 to 1788. A similar painting to our example, with two children watching a trap to catch birds instead of warming by a fire, can also be seen painted on a porcelain tray at the Louvre.

The Book Of Kells, Reproductions From The Manuscript In Trinity College Dublin, With A Study Of The Manuscript By Francoise Henry, 126 Colour Plates, 75 Monochrome Illustrations, Thames And Hudson, London, in slipcase. (1)

COUVERTURE DE PRAJNAPARAMITA SUTRA EN BOIS SCULPTÉTIBET, XIVE/XVE SIÈCLEHimalayan Art Resources item no. 4652 24 x 16 cm (9 1/2 x 6 1/4 in.)Footnotes:A WOOD PRAJNAPARAMITA SUTRA COVERTIBET, 14TH/15TH CENTURY西藏 十四/十五世紀 木雕般若波羅蜜多心經護經板Provenance:With Claude de Marteau, Brussels, by 1970sThis elaborately carved manuscript cover depicts Prajnaparamita, the goddess who embodies the qualities of supreme wisdom, a subject commonly found on wooden book covers from Tibet. She sits at center on a dais supported by two couchant lions within an elaborate torana consisting of figures riding mythical animals surmounted by a garuda. Flanked on either side of her are two trefoil niches each housing a Buddha. The space between comingles with swirling vines and vegetal patterns framed within a shallow beaded edge and a broad foliate boarder. Of similar style and subject is a wooden book cover which sold at Sotheby's, New York, 22 March 2018, lot 931.For further information on this lot please visit Bonhams.com

STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4604 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF TSONGKHAPACENTRAL TIBET, 15TH CENTURY藏中 十五世紀 銅鎏金宗喀巴像Provenance:With Claude de Marteau, Brussels, by 1970sJe Tsongkhapa (1357-1419), the revered founder of the Gelug school of Tibetan Buddhism is presented here with great esteem, exemplified through characteristic features associated with other enlightened teachers, bodhisattvas and buddhas. Seated on a wide double lotus throne, he wears traditional garments of an esteemed master including a dhonka and patchwork robe incised with scrolling vines interspersed with floral buds and blossoms. Flanking either side of the lama on lotus flowers are the manuscript and sword, attributes of the Great Bodhisattva of Wisdom, Manjushri, who has conferred wisdom and skillful means on the master. The portrait merges with images of the Buddha, as the elongated earlobes and alms bowl pay tribute to the greatest of all Buddhist teachers. Tsongkhapa's portrayal is in visual union with all the great enlightened beings. The formality of the lama is at clear play with his more candid portrayal. The countenance of the face is charming, expressed in the laugh lines, plump cheeks, rounded nose and pointed chin having an impression of approachability and friendliness. The toes that peek from below the lama's robe relax any sense of stiffness of the body. This is similarly illustrated by another 15th-century bronze from Central Tibet sold in the Claude de Marteau Collection at Bonhams, Paris, 14 June 2022, lot 41. There is an overall enchanting quality and human tenor, which without these elements, may reduce this portrait to a generic type. As founder of the Gelug order, particular reverence through repetition can be seen in the proliferation of Tsongkhapa's portrayal, and yet this example shows a more sensitive modelling of the face and hands, offering a counterpoint between the realistic and idealized features of this lama.The idealized portrayal of Tsongkhapa and the stylistic variations can make it difficult to identify the master with certainty. Other examples of the lama include HAR 12476, which share similarities in the facial features, the modeling of the lotus petals, and the exposed toe, but are set apart with the inclusion of the alms bowl in this caste. As these are idealized images, without an inscription the identity can remain vague, and yet with certainty, it can be understood that lama portraiture, especially in consideration of the notoriety of Tsongkhapa, was an essential aspect of tantric visual tradition. The stylistic elements are consistent with 15th-century castings from Central Tibet. The lotus petals and base's tall foot specifically reference a mode coming from the atelier of Sonam Gyaltsen which flourished in Tsang province during the early-mid 15th century and can be compared to another lama portrait on HAR 11028. Moreover, Tsongkhapa's legacy, both historically and visually, was established during the 15th century in central U-Tsang region, making memorials of his likeness a testament to his amassed following which culminated in the founding of the Gelug order.For further information on this lot please visit Bonhams.com

STATUETTE D'UN LAMA EN LAITON INCRUSTÉ D'ARGENTTIBET, XVIE SIÈCLEHimalayan Art Resources item no. 4613 17 cm (6 3/4 in.) highFootnotes:A SILVER INLAID BRASS ALLOY FIGURE OF A LAMATIBET, 16TH CENTURY西藏 十六世紀 銅錯銀喇嘛像ProvenanceWith Claude de Marteau, Brussels, by 1970sLikely representing either Sachen Kunga Nyingpo or Jetsun Dragpa Gyaltsen from the Sakya Order of Tibetan Buddhism, the style and execution bear similarity to other portraits of this tradition from the 15th/16th century. As often depicted in portraits of Sakya Masters, the lama is flanked by the manuscript and sword, alluding to his attained wisdom and association with the bodhisattva Manjushri. He holds the implements of the vajra and ghanta in the position linked to the purification deity Vajrasattva, signifying his accomplished role as a tantric master. The monastic garment with an engraved hem and cord tied around the ribcage are common features of this portrait type. Rarely featured in other portrayals, however, is a vertical pleating of the robe that is shared with a portrait of Sachen Kunga Nyinpo sold at Bonhams, New York, 14 March, 2017, lot 3259. The tall base with abstracted square lotus leaves appears as a unique stylistic element in several bronzes of this kind as seen in a portrait of Lowo Kenchen Sonam Lhundrup also sold at Bonhams, New York, 14 March 2017, lot 3277.For further information on this lot please visit Bonhams.com

Folio Society: Two volume Illuminated Manuscript Facsimile set, comprising Liber Bestiarum, limited edition 69/1980, full Nigerian goatskin bound, by Brian Settle of Ludlow, blocked with a design by David Eccles; and Liber Bestiarum: Translation and Commentary, by Christopher de Hamel and Richard Barber, original cloth bound, 2008, together housed as issued in original presentation box.

(3) 15th-18th C. Antiphonal Illuminated Manuscripts. In Latin on vellum. 1) Graduale Diurum Usum Romanum Illuminated Manuscript Antiphonal Leaf, Spanish 15th century in Latin, on vellum dated January 26, 1475. It has five bars and large, illuminated initials Q with rubrication and colored scrollwork. 2) Illuminated Manuscript Antiphonal Leaf, Spanish 15th century in Latin, on vellum, with six bars and large, illuminated initials B and S with rubrication and colored scrollwork. 3) Illuminated Manuscript Antiphonal Leaf, Spanish 15th century in Latin, on vellum, with five bars and large illuminated initial O with rubrication and scrollwork. Image Sizes (L-R): 12 x 9 / 21.5 x 14 / 21 x 13.5 in. Overall Framed Sizes (L-R): 22 x 19 / 25.25 x 17.25 / 24.5 x 17.25 in. All Framed behind glass.

A Scottish 18th century manuscript Book of Navigation, compiled by William Henderson and dated April the 2nd, 1741, various sections including "The use of the Square Root", "Plain Oblique Trigonometry", "Traverse Sailing" etc, paper in marbled boards with calf spine. 25cm by 19.5cm

An illuminated choral manuscript, on vellum.

DOWNING (Joseph) A Treatise on the Disorders Incident to Horned Cattle . . . to which are added Receipts, for curing the Gripes, Staggers, and Worms in Horses, 8vo, lacking the half-title and part-title, later half calf, Printed and Sold at Stourbridge, 1st Edn., variant issue, 1797This copy has 12 pages of manuscript veterinary receipts bound at the end.

A CHINESE PAINTED POTTERY TILE WITH HAND PRINT, SONG / JIN DYNASTY 13TH CENTURY. Featuring a figure of Buddha, to the reverse an impressed hand print of the potter, forming a personal mark equivalent to a manuscript signature. 30cm x 30cm x 6cmOverall good general condition.

AN ANTIQUE LEATHER CASED QURAN MANUSCRIPT, PROBABLY 19TH CENTURY. Paper with handwritten script in a leather pouch. Approx. 14cm x 13cmWear to leather pouch and Quran cover. Some loose pages with sellotape on binding.

AN ANTIQUE PRINTED MAP BY J. B. DU HALDE / E. BOWEN, London 1738. PROVINCE V. CHE-KYANG; DRAWN ON THE SPOT ... IN THE YEAR 1714. Copperplate Uncoloured. Very detailed map of this Chinese province, from the manuscript map compiled by Regis, de Mailla and Henderer, three missionaries, in 1714. There is a table of the latitude and longitude for the principal cities of the province. 255 by 230mm (10 by 9 inches).

AN 'IBEX' BRONZE FINIAL, SOUTHERN SIBERIA, 6TH – 5TH CENTURY BCFinely cast in the form of an ibex with long, ribbed, and powerfully curved horns, as well as pricked funnel-shaped ears, and a short tail, standing atop a rectangular base. The elaborate finial probably once part of a throne or chariot, the hollow body has large diamond-shaped openings.Provenance: From the collection of Oliver Reginald Hoare (1945-2018). Inventory label to interior of base, '1461 C'. A prominent English art figure, described as arguably the most influential dealer in the Islamic world, Hoare joined Christie's London in 1967 where he was initially overseeing Russian art. After spotting some carpets left lying in a corridor and recognizing them as Persian, Hoare used them as the basis of a successful auction, which led to the launch of the Islamic Art Department, the first of its kind in a major auction house. He left Christie's in 1975 and opened Ahuan, a gallery in Pimlico, in partnership with David Sulzberger. In 1994, he negotiated the return of a Persian 16th-century manuscript to Iran, the Houghton Shahnameh (the most important illustrated manuscript ever created in Persia), in exchange for Willem de Kooning's Woman III which had been in Iran since the Islamic revolution. In the 1990s, he famously liaised with Diana, Princess of Wales.Condition: Good condition, overall as expected and fully commensurate with age. Old wear, losses, small dents, minor nicks, extensive signs of weathering and erosion, soil encrustations. Naturally grown patina in various tones of malachite-green overall.Weight: 751.7 gDimensions: Height 20.5 cmExpert's note: It is interesting to note that wild goats and other bovids appear in artifacts from a wide range of sites within Northern, Central and Western Asia over a long period of time spanning thousands of years. Goats are among the earliest animals domesticated by humans. The most recent genetic analysis confirms the archaeological evidence that the wild bezoar ibex of the Zagros Mountains is the likely original ancestor of probably all domestic goats today. Neolithic farmers began to herd wild goats primarily for easy access to milk and meat, as well as to their dung, which was used as fuel, and their bones, hair, and sinew which were used for clothing, building, and tools. The earliest remnants of domesticated goats dating 10,000 years before the present are found in Ganj Dareh in Iran. Goat remains have been found at archaeological sites in Jericho, Choga Mami, Djeitun, and Cayonu, dating the domestication of goats in Northern and Western Asia at between 8,000 and 9,000 years ago.Literature comparison: Compare a near-identical ibex bronze, 20 cm high, also attributed to Southern Siberia and dated 6th-5th century BC, at Galerie Samarcande, Paris, reference no. 88424. Compare a closely related example in the collection of the Musee Guimet, attributed to the Ordos region and dated to the second half of the first millennium BC, inventory number MA 3410.Auction result comparison: Type: Related Auction: Christie's New York, 27 October 2004, lot 175 Price: GBP 14,340 or approx. EUR 26,200 converted and adjusted for inflation at the time of writing Description: An Achaemenid Bronze Figure of an Ibex, Second Half of 5th Century BCExpert's remark: Compare with an Achaemenid version of the same subject, dating from the same period, but of smaller size (9 cm).公元前六至五世紀西伯利亞山羊銅鈕山羊形，羊角雄健有力，漏斗形耳朵，短尾，生動活潑，矩形鈕。可能曾經是寶座或戰車的一部分，中空，菱形開口。 來源：Oliver Reginald Hoare (1945-2018) 收藏。Hoare是一位著名的英國藝術人物，可以說是伊斯蘭世界最有影響力的經銷商，他於 1967 年加入倫敦佳士得，最初負責監督俄羅斯藝術。他發現一些放在走廊上的地毯是波斯地毯後，Hoare將它們進行了成功的拍賣，以此爲基礎成立了伊斯蘭藝術部，這是大型拍賣行中的此方面第一個部門。他於 1975 年離開佳士得，與 David Sulzberger 合作在 Pimlico 開設了 Ahuan 藝廊。1994 年，他通過談判將一份十六世紀的波斯手稿《Houghton Shahnameh》（波斯有史以來最重要的插圖手稿）歸還給伊朗，以換取自伊斯蘭革命以來一直在伊朗的Willem de Kooning《女人III》。 1990 年代，他與威爾士王妃戴安娜有過交往。 品相：狀況良好，總體符合預期，與年齡完全相符。 磨損、缺損、小凹痕、輕微劃痕、大面積風化和侵蝕，土壤結殼。 自然生長的孔雀綠色包漿。 重量：751.7 克 尺寸：高20.5 厘米由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A PAINTED AND GILT WOOD MANUSCRIPT COVER, TIBET, 14TH-15TH CENTURYOf rectangular form, the central panel finely carved in deep relief with foliate-shaped reserves enclosing in the center a small figure, probably depicting the infant Buddha, holding a tasseled cord and flanked on either side by a Buddhist lion, the three reserves connected by a white-painted dotted line, the beaded reserve edges decorated with disk motifs.Provenance: A private collection in Milan, Italy, acquired in Nepal between 1985 and 1990. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Some wear, expected age cracks, scratches, minuscule nicks, tiny chips, minor signs of weathering and erosion.Weight: 4,899 g Dimensions: Size 28.8 x 73 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 100 Price: USD 6,573 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A carved painted and gilt wood manuscript cover, Tibet, circa 14th century Expert remark: Compare the closely related decoration with similar gilt lions in shaped reserves. Also note the similar size (22.8 x 71.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 September 2005, lot 169 Price: USD 6,000 or approx. EUR 9,000 converted and adjusted for inflation at the time of writing Description: A carved wood manuscript cover, Tibet, 14th century Expert remark: Compare the related decoration with similar beaded reserve edges and disk motifs. Also note the similar size (23.4 x 71.7 cm).十四至十五世紀西藏彩繪描金經書木蓋長方形，中央如意形開光内紅地，高浮雕小佛像，手持瓔珞，兩側各有一半如意開光内有佛獅，三者之間以白點相連。上下左右區域内圓形圖案。 來源：義大利米蘭私人收藏，1985-1990年之間購於尼泊爾；貝加莫Leonardo Vigorelli私人收藏,購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度佛教藝術。在學習人類學並數十年在印度、喜馬拉雅地區、東南亞和非洲旅行，進行實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。 品相：狀況極佳，一些磨損、老化裂縫、劃痕、微小的刻痕和磕損、輕微的風化和侵蝕跡象。 重量：4,899 克 尺寸：28.8 x 73 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2004年9月23日，lot 100 價格：USD 6,573（相當於今日EUR 10,000） 描述：大約十四世紀西藏彩繪描金經書木蓋 專家評論：比較非常相近的鎏金獅裝飾。請注意相似的尺寸(22.8 x 71.6厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2005年9月21日，lot 169 價格：USD 6,000（相當於今日EUR 9,000） 描述：A carved wood manuscript cover，Tibet，十四世紀西藏雕刻經書木蓋 專家評論：比較相的裝飾，與邊緣相似的凸珠。請注意相似的尺寸(23.4 x 71.7厘米)。

Taschenbibel. - Biblia latina, mit den Prologen des Hieronymus und den Interpretationen hebräischer Namen. Illuminierte Handschrift auf dünnem Pergament. Paris, Mitte des 13. Jahrhunderts.170 x 119 mm. 395 Bll. (fehlen die ersten 2 Bll. mit den Epistolae des Hieronymus). Lagen: 116-2, 2-2216, 2320-1, 24142512. Text mit dunkelbrauner Tinte in gotischer Minuskel (Perlschrift), zweispaltig zu 52 Zeilen. Schriftspiegel 115 x 75 mm.Kolumnentitel in alternierend roten und blauen Lombarden, Kapitelzählung an Bund und Außensteg entsprechend in roten und blauen röm. Ziffern; einzeilige Initialen in den Psalmen und Interpretationes alternierend in Rot und Blau, zweizeilige Initialen zu den Kapiteln in Rot oder Blau mit teilw. seitenhohem Fleuronnée in der Gegenfarbe; zu Beginn der Prologe etwa 60 mehrzeilige Initialen mit Fleuronnée in Rot und Blau (1 ausgelassen).Zu Beginn der biblischen Bücher etwa 83 große Randleisteninitialen in Deckfarben und poliertem Gold, gefüllt mit Blattranken, teilweise mit langgezogenen Ausläufern, diese besetzt mit Blattranken oder grotesken zoomorphen Figuren wie löwenartigen Köpfen oder Ganzfiguren, geflügelten Drachen oder auch menschlichen Gesichtern. Zur Genesis eine über den gesamten Außensteg reichende historisierte I-Initiale in Deckfarben und poliertem Gold, der goldkonturierte Stamm besetzt mit 8 Medaillons, deren obere sechs die 6 Tage der Schöpfung symbolisieren, im siebten Medaillon der segnende Herrgott, darunter in breiterem Feld der gekreuzigte Christus mit Maria und Johannes; unten beidseitig symmetrische Ausläufer in Form von zwei geflügelten Drachen.Zahlreiche ma. Marginalien und Glossen in brauner Tinte. Vor- und nachgebunden 6 Pergamentblätter, beschrieben von Händen des 15. Jahrhunderts mit Merkversen, Listen mit Kapitelinitien und anderen biblischen Tabellen, Notizen zu den biblischen Büchern, den Todsünden u.a.Brauner Kalblederband des 18. Jahrhunderts auf vier Bünden mit Streicheisenlinien und verg. Rt., Papiervorsätze; Goldschnitt.(Einband stark berieben; Innengelenke an einigen Stellen gelockert. Oben eng beschnitten, die Kolumnentitel teils angeschnitten, auch im unteren Rand die Initialausläufer teils beschnitten, desgleichen die Marginalien im Außenrand. Von der Initiale zur Genesis fehlen Teile des oberen und unteren Ausläufers. Stellenweise stärkere Gebrauchsspuren, wenige Blätter mit stärkerem Braunfleck im Text. Wenige kl. Randmängel. Das erste und letzte Pergamentvorsatzblatt mit dem Papiervorsatz zusammengeklebt. Auf dem fliegenden Papiervorsatz vorn ein eingeklebtes gest. Wappenexlibris in Siegelform mit Familienwappen und den drei Nürnberger Wappen, bezeichnet "Bib: Nor:" sowie ganzs. Notiz von Hand des 18. Jhs., die irrig den Band mit der Bibliothek des Eucharius Gottlieb Rinck (1670-1745) in Verbindung bringt.)Provenienz: Bibliothek Otto Schäfer (OS 1578), Auktion bei Sotheby's, London, 25. Juni 1995 (Sammlung Otto Schäfer, 2. Teil). Dort vom Vorbesitzer erworben.Schönes und typisches Beispiel einer sogenannten Taschenbibel.- Zwischen 1170 und 1230 wurden im Zusammenhang mit dem Lehrbetrieb an der Pariser Universität grundlegende vereinheitlichende Neuerungen an der Form der lateinischen Vulgata eingeführt, und zwar eine standardisierte Anordnung der biblischen Bücher, eine standardisierte Kapitelzählung und eine festgelegte Reihenfolge ergänzender Texte. Infolgedessen nahm die Bibelproduktion des 13. Jahrhunderts vor allem in Paris quantitativ einen beachtlichen Umfang an. Großen Erfolg hatten kleinformatige Kodizes, die in Dicke, Format und Inhalt an die heute im Schulunterricht üblichen Bibeln erinnern. Es sind handliche Stücke, die im Gegensatz zu den in der Regel schweren und großen Bibeln des 12. Jahrhunderts bequem in einer Tasche Platz fanden. Um dies zu erreichen, wurde ein extrem dünnes Pergament als Beschreibstoff gewählt. Als Schrift diente die französische Perlschrift mit einer Zeilenhöhe von ein bis zwei Millimetern. Zwei Spalten und Kolumnentitel erleichterten die Lesbarkeit. Auf große Illustrationen wurde zugunsten eines Schmuckes durch Zierinitialen verzichtet.Unsere Bibel aus der Bibliothek Schäfer wurde in einer der zahlreichen Pariser Schreibwerkstätten hergestellt, die sich vornehmlich auf die Produktion von Bibeln spezialisiert hatten. Es handelt sich hier um das sogenannte "Mathurin"-Atelier, benannt nach einem Brevier, was dort kurz nach 1247 für die Trinitarier von St. Mathurin in Paris hergestellt wurde (vgl. R. Branner, Manuscript Painting in Paris during the Reign of Saint Louis, 1977, S. 75-77 u. 214-15).

Dapper, Olfert: Gedenkwaerdig Bedryf Der Nederlandsche Oost-Indische Maetschappye, op de Kuste en in het Keizerrijk van Taising of Sina. Beneffens een Beschryving van geheel Sina. 3 Tle. in 1 Bd. Amsterdam: J. van Meurs 1670. 31 x 20 cm. Mit 1 doppelblattgr. Kupferkte. und 38 t. gefalt. und doppelblattgr. Kupfertafeln sowie 57 Textkupfer. 3 Bll., S. (3)- 504, 3Bll.; 1 Bl., 263 SS., 1 nn. S. Ldr. mit Rt., Blind- und Goldpr., blindgepr. Mittelstück. (Rücken brüchig. Ecken stark bestoßen. Teils etwas altersfleckig. Paginierungsfehler.) Landwehr VOC 544. Löwendahl I, 145. - Re-Edition im Jahr der Erstausgabe mit den vier Tafeln des zweiten Teiles, die im Bericht an den Buchbinder erwähnt sind. Der Bericht über die zweite und dritte Gesandtschaftsreise. Als dritter Teil ist Dappers landskundliche Schrift als Anhang beigefügt. Die Tafeln mit Ansichten, Genreszenen, Flora, Fauna usw. - "This work reproduces some of the Koloniaal Archief documents on 1662-1664 and on the Van Hoorn embassy with slight changes and adds some documents that have not been preserved in manuscript" (Löwend.)

Mortlach-50 year old-1936Distilled at Mortlach Distillery 17th October 1936, bottled 17th October 1986 by Gordon & MacPhail.Crystal decanter. Driven cork, wax sealed. In original presentation case, accompanied by certificate of authenticity and stopper. Good labelling. Level: 1.5cm below shoulder. 75cl. Single malt, 40% volume1 crystal decanterFootnotes:This very old Mortlach single malt is a magnificent example of pre-WWII single malts and bottled in 1986 by Gordon & MacPhail after half a century in oak. This decanter is adorned with The Dram Takers label, under the famous Book of Kells series by Gordon & MacPhail.The Book of Kells is an illuminated manuscript Gospel book in Latin, containing the four Gospels of the New Testament together with various prefatory texts and tables.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Bible leaf, Latin. Single leaf from the Gutenberg Bible, comprising Numbers 7.38-8.12, double column, 42 lines, Gothic type, headlines of Lombard capitals in alternating red and blue, 2-line chapter initial L in red, chapter number in alternating blue and red, initial-strokes in red, central ox head watermark clearly visible, a few patches of light foxing, inner margin neatly strengthened, preserved in folding card chemise and custom morocco-backed drop-back box, folio (390 x 285 mm.), [Mainz], [Johann Gutenberg & Johann Fust], [c.1454/55].⁂ A single leaf from "greatest of all printed books" (PMM). This leaf is particularly desirable since the distinctive ox head watermark is clearly visible right in the middle of the page and is only partially covered by one column of text. This is one of three watermarks used in the Bible (the others being a bunch of grapes and a walking ox); the paper itself was imported from Caselle in Piedmont, Northern Italy, one of the main paper-making centres in the 15th century.It is the first substantial European printed book. The humanist Aeneas Sylvius, secretary of Emperor Fredrick III, saw sample sheets of the Bible at the Imperial diet in Frankfurt am Main, in late October or early November 1454, and again at Wiener Neustatt in March 1455, from where he wrote about the amazing production to his friend Cardinal Carvajal in Rome."Its printers were competing in the market hitherto supplied by the producers of highclass manuscripts. The design of the book and the layout of the book were therefore based on the book-hand and manuscript design of the day, and a very high standard of press-work was required, and obtained, to enable the new mechanical product to compete successfully with its handproduced rivals. Standards were set in quality of paper and blackness of ink, in design and professional skill, which the printers of later generations have found difficult to maintain" (PMM).Literature: BMC I, 17; Goff B-526; H 3031*; Bod-inc B-237; BSB-Ink B-408; GW 4201; ISTC ib00526000.

Language.- Trost (Martin) Grammatica Ebræa Generalis, cui Chaldæo-Syriasmus Collectus..., sig. A bound before title, browned, Wittenberg, Johann Röhner, 1637 bound with Waser (Caspar) Grammatica Syra, duobus libris methodice explicata, second edition, text in Latin & Syriac, title with woodcut ornament, [Smitskamp 289], Leiden, Raphelengius, 1619 and Seidel (Caspar) Tres Manipuli Linguæ Sanctæ, double column, Hamburg, Jacob Rebenlin, 1638 and Zeker Rab. Memoria Multa, translated into Latin by Benjamin ben Immanuel Musaphia, Hamburg, Jacob Rebenlin, 1638 and Eclogae Sacrae Novi Testamenti Syricae, Graecae, Latinae..., Jena, 1637, manuscript copy in Latin and Syriac, 92pp. inter-leaved, [c.1638], together 5 works in 1 vol., some browning, staining or spotting, contemporary blind-stamped vellum-backed wooden boards, lacking clasps, upper joint split, but holding firm, vellum soiled, rubbed, 4to⁂ An excellent sammelband of works relating to Syriac, Hebrew, and other languages, including a 17th century manuscript copy. Smitskamp says of the second mentioned that it 'is handsomely printed in the best of the Raphelengius tradition, with the Syriac serto types in clear impression'.

Golden Bull.- Thülemeyer (Heinrich Günther von) Tractatio De Bulla Aurea, Argentea, Plumbea Et Cerea in Genere, nec non in Specie De Aurea Bulla Caroli IV Imperatoris, 8 parts in 1, text in Latin and German, engraved additional pictorial title, letterpress title in red and black (folded at foot), fine folding engraved plate and illustrations in text of miniatures from the original manuscript, woodcut decorative initials and tail-pieces, A2 of 'Andronici eiusdem nominis Secundi' misbound within preliminaries, offsetting, some spotting or foxing, and mostly light browning (as often), contemporary calf, gilt spine in compartments and with replacement leather label and 2 small paper labels, upper joint starting, but holding firm, rubbed and scuffed, folio, Frankfurt, For Johann Melchior Bencard, 1697.⁂ Rare in commerce, and those copies traced often defective. On the Golden Bull of Emperor Charles IV, issued in 1356, and which provided the constitutional foundation of the Holy Roman Empire for the next centuries. It was named the Golden Bull after the seal that it carried.

Virgilius Maro (Publius) Codex antiquissimus a Rufio Turcio Aproniano V.C. distinctus et emendatus qui nunc Florentiae in Bibliotheca Mediceo-Laurentiana..., additional engraved architectural title, half-title, printed in red & black capital letters, engraved title vignette portrait, head- & tail-pieces and initial, half-title lightly marked, small and neat hole repairs to pp.457-459, with final page (blank recto) laid down to endpaper, contemporary calf, ruled in bright gilt, joints rubbed with lower joint cracked but holding firm, one or two scuff marks, still an excellent copy overall, 4to, Florence, Manni, 1741.⁂ Type-facsimile of the 4th century Virgil manuscript in the Bibliotheca Laurenziana, edited by P.F.Foggini, later librarian of the Vatican Library. The edition, printed by Manni in Florence, was printed with types imitating the uncial script of the original, in red and black. By combining different sizes of types, the printer was also able to include the annotations and emendations of Asterius and Laetus. "A curious piece of Italian typography, very characteristic of the eighteenth century." Updike, Printing Types I p.171.

Walsingham (Sir Francis, principal secretary, c. 1532-90).- Supplicaton from ye officers of the Customes... [docket title] To the righte honorable Sr ffrances Walsyngham... pryncipall Secretarye to her Majestye... In abeyance of parte of suche covenante passed betweene her Majestye, and your honnor, that was the cheifest rrasyon that encouraged one Alexander Ged now absente to proceede in the ffarmynge of the portes of Lyme and Bostone, manuscript, in a fine Elizabethan hand, 2pp., a few small holes slightly affecting a few words of text, a few small stains, folds, folio, [c. 1570s]. ⁂ Provenance: From the archive of Nathaniel Bacon of Stiffkey, Norfolk, 1546-1622.

Book of Hours, Use of Rome, in Latin & French, illuminated manuscript on vellum, 93 leaves (catchword on f. 83 does not follow, but text complete, f. 48 should follow f. 52, lacks final blank), the first and last blank, save for a liquid gold border on the first and red rules on both, catchwords, single column, 17 lines plus headline, written in dark brown ink in a fine slightly sloping italic hand with calligraphic flourishes, some small gold capitals, line-fillers in gold on red or blue, full-page miniature of St. Louis of France, on a landscape background, within border of flowers on liquid gold ground, occasional light staining, spotting or finger-marking, handsome contemporary Parisian olive morocco, gilt, covers with large leafy spray centre-pieces and corner-pieces of a cherub's head enclosed by leafy sprays, all within a triple filet outer border, spine in compartments, each with a central stylised ?leaf decoration within double filet borders, spine ends with hatching decoration, lacks ties, lower joint starting, but holding firm, rubbed at extremities, g.e., housed in a reddish-brown crushed morocco case by Rivière & Son, (146 x 103mm.; binding 154 x 114mm.), [Paris], [c.1575-80].⁂ Apparently written for use by a member of the French royal court. The Calendar (ff. 3-28) is extended to include a series of anniversaries including biblical and classical events, and notices of events relating to many members of the French royal family are given in great detail. The high quality binding has corner-pieces enclosing a cherub's head that are highly reminiscent of the royal binder Nicolas Ève (cf. Fletcher Foreign Bookbindings, pl.XXXVI & G.D. Hobson Les reliures à la fanfare, 1935, pp.38 & 52, and fig.43). Provenance: I: Apparently written for use of a member of the French royal court, with an unidentified monogram in silver on blue at the foot of the miniature. II: 'Barbe Dormant' (19th century ink inscription to rear endpaper) III: Christie's, 28th June, 1973, lot 57. IV: Sotheby's 8th December, 1975, lot 85, sold to Lawrence J. Schoenberg. V: Bibliotheca Schoenbergensis, sold Sotheby's 6th December, 2001, lot 93, bought by present owner. Literature: L.F. Davis Bibliotheca Schoenbergensis, Medieval and Renaissance Manuscripts and Rare Books from the collection of Lawrence J. Schoenberg, 1998, no.1, pl.1.

Elizabethan Courtier.- Spencer [married names Stanley, Egerton] (Alice, Countess of Derby, noblewoman, daughter of Sir John Spencer, d. 1586 of Althorp, Northamptonshire, 1559-1637).- Petition of Alexander Bannyon on behalf of his father John Bannyon, "whereas aboute a month past yt pleased the Ladie Stafford, and the Lady Digby to write their favorable lines unto ye La: in my fathers behalf, that in compassion of the poore of all of him, his wife and x children, most of them younge, yor honor would vouchsafe to extend yor goodness towards him in permitting him to enioy his his finale livinge of xxii s... whout paying... a lease graunted by the... late Earle of Derby...", manuscript on paper, 12 lines, 1p. with conjugate blank, folds, browned, folio, ?Dragon watermark, [c. 1595].⁂ Three prominent Elizabethan courtiers, including Maids of Honour and Gentlewomen of the Bedchamber."Alice [Spencer] married Ferdinando Stanley, Lord Strange, heir to the earldom of Derby, secretly in 1579/80. Since he and his mother, Margaret, countess of Derby, were potential successors to Elizabeth I, the marriage caused considerable suspicion, especially as it had been promoted by the earl of Leicester. A beautiful, well-educated, and cultured woman, Alice entered the queen's household and became prominent at court. Ferdinando, one of the richest noblemen in the country, sponsored actors and playwrights and wrote poetry. She encouraged the visitation of acting companies in the 1580s, when the Queen's Men, Earl of Leicester's Men, and Earl of Essex's Men appeared there many times. After Ferdinando's death in 1594, his own company, Lord Strange's Men, became the Countess of Derby's Men. This was the company that merged with the Lord Chamberlain's Men in 1594, with Shakespeare as chief playwright." - Oxford DNB.Bannyon had two powerful supporters in his petition, comprising, Dorothy Lady Stafford (1526-1604), daughter of Henry tenth Lord Stafford, by Ursula Pole; grand-daughter of George Duke of Clarence, brother of King Edward IV; married 154Os (second wife) Sir William Stafford (died 1556), his first wife Mary Boleyn was sister of Queen Anne Boleyn and Abigail Lady Digby (c.1552-1611), daughter of Sir Arthur Heveningham (d. 1557), by Mary Shelton (buried 1571), a first cousin of Queen Anne Boleyn, first cousin once removed of Queen Elizabeth I.

Hertfordshire.- Clutterbuck (Robert, local historian and landowner, 1772-1831) [Autograph manuscript notes relating to Hertfordshire], autograph manuscript notes signed on 13 pages, excerpts of 4 works on Hertfordshire in 1 vol., including by Thomas Cox (Magna Britannia) and Walker (General View on the Agriculture of the County of Hertford), engraved map of Hertfordshire by Robert Morden, browned, bookplate of Clutterbuck on front pastedown, 19th century half morocco, slightly rubbed, sm. 4to, printed text 18th - 19th centuries & manuscript [c. 1810].⁂ "The impossibility of Witchcraft, plainly proving from Scripture and Reason, that there never was a witch, and that it is both irrational & impious to believer there ever was in which the depositions against Jane Wenham lately tried and condemned, for a witch at Hertford are confuted and exposed. 8vo 1712. Lond." Provenance: Ink inscription of Andrew Coltée Ducarel (1713-85), librarian and antiquary.

Austen (Jane, novelist, 1775-1817).- Brydges (Sir (Samuel) Egerton, first baronet, styled thirteenth Baron Chandos, writer and genealogist, 1762-1837).- Brydges Family with some female Collateral Branches [including a poem by Jane Austen on Anne Lefroy], collection of c. 100 manuscripts, letters, cards and engravings, numerous newspaper cuttings, all laid down, bound in late 19th century paper wrappers, manuscript label on upper cover, upper cover torn, items v.s., 1748-1907; and a small collection of engravings of the Brydges and related families coats of arms, v.s., v.d. (2).⁂ Manuscripts including:(1). Brydges (Jemima, maiden name Egerton, wife of Edward Brydges and mother of Anne (Brydges) Lefroy, the friend of Jane Austen, 1728-1809) A.Ls to her mother Anne Egerton, 3pp. and address panel, sm. 4to, n.p., 14th August 1750, "We have had great rejoycings to day in our Neighbourhood on account of Mr Oxendn bringing his Lady home, Sr. George sent all the Tenants to meet them as far as Harbledown."(2). Valentine, watercolour of a naval captain, with manuscript poem addressed to Miss Bridges at Rev. George Lefroy's house at Ashe, 2pp. with conjugate blank and address panel, sm. 4to, 1804.(3). Elegiac Lines on Mrs Lefroy by Sir Samuel Egerton Bridges. Bath, "Deep Grief is dumb, she long ago, dear shade/Strikes in glad notes to the Creators praise" [first and last lines], inscribed at tail: "Mrs. Lefroy died by a fall from her horse on 16th of December 1807", manuscript poem, 2pp., sm. 4to, n.d.(4). Austen (Jane) The following lines were addressed by Miss Jane Austen ro the memory of Mrs. Lefroy, who died Decr 16th the birthday of the composer, manuscript poem, 3pp., first f. slightly creased, 8vo, n.d.⁂ This poem with the full 13 stanzas as written by Jane Austen, her nephew, Edward James Austen-Leigh, only published 11 in his memoir of 1869. Austen Leigh deleted stanzas 4 "At Johnson's death by Hamilton 'twas said" and 5 "So we of thee - unequalled in thy race".(5). Austen-Leigh (James Edward, nephew of Jane Austen, son of her eldest brother James and his second wife Mary Lloyd, 1798-1894) A.Ls to the Rev John Branfill Harrison, 2pp. with conjugate blank, 8vo, Bray Vicarage, Maidenhead, 11th June 1870, thanking him for "sending the two stanzas, which are not given in my Memoir, of the verses of Jane Austen in Memory of Mrs Lefroy. Perhaps they may be thought long enough without them; as the whole is valuable rather as a record of the affection for her friend than for any great poetic merit, which could add to my Aunt's literary reputation", folds.(6). Brydges (Edward, of Wootton Court, Kent, father of Anne Lefroy, 1712-80) 2 A.Ls.s. to his wife Jemima Brydges, together 3½pp. with conjugate blanks and address panels, slightly depressed and missing his wife.Anne Bridges Lefroy (1747-1804), writer of prose and verse; daughter of Edward Brydges of Wootton Court, Kent. She married in 1778, George Lefroy (1745-1806), vicar of Ashe in Hampshire. Anne led a lively social life and as a writer was something of a mentor to the young Jane Austen. The Lefroys and Austens lived not far apart in Hampshire and socialised on a regular basis. As a young woman, Jane Austen met and fell in love with George Lefroy's nephew Thomas Lefroy (1776-1869, judge and politician) who was visiting from Ireland. George and Anne sent Tom away to London, as he was not in a position to marry Jane. Anne Lefroy died on 6 December 1804 (on Jane Austen's birthday) when she was thrown from a bolting horse and four years later, Jane Austen recorded her regard for Anne, with the above poem, written in 1804. Provenance: Compiled by Edith Dering Harrison (1852-1934), daughter of Reverend John Branfill Harrison and a descendant of the Brydges family.

Scottish Heraldry.- Hooke (John Campbell, Lord Lyon King of Arms, c. 1737-95) Grant of arms to William Graham of Limekilns, gold and watercolour depiction of coat of arms in left margin, manuscript on vellum, red wax seal of the Lord Lyon cracked with small loss, housed in part of a wooden skippet, housed in a metal cylinder, 300 x 360mm., 1772; and 2 others, grants of arms by the Lord Lyon to the Graham family, 1770 and 1884 (3 manuscripts in 2 metal cylinders).⁂ Limekilns in Fife, on the Firth of Forth, 3 miles south of Dunfermline.

Gunmaker to George III.- Mortimer (Harvey Walklate) and others. Commonplace book, manuscript, 94pp., excluding blanks, includes 6pp. index at end by Mortimer's son, first few ff. loose, occasional spotting, lightly browned, contemporary marbled boards, crudely rebacked in thick paper / card, corners worn, rubbed and scuffed, 8vo, [c.1790-1843].⁂ Harvey Walklate Mortimer (1753-1819), English gunsmith, who was appointed Gunmaker to George III in 1783. He kept his shop at 89 Fleet Street, London between 1782 and 1799, and was Contractor to the East India Company from 1796 until 1806. Includes a poem on time-pieces 'On a Watch', and epistolary poems to H.W. Mortimer from Mr. Francis Knight of St. James's Street, who according to the son's index was a 'workman of my fathers'.

English landscape.- Newbery (William, artist and friend of John Constable, 1787-1838) Two albums containing 40 drawings and watercolours, and 6 etchings, including many landscapes of Sussex, views of the environs of the artist's home at of Heathfield Park, views in Oxford, Walthamstow, Lewes, some maritime scenes, a few studies after drawings by Crotch, a mezzotint with etching of Tivoli with inscription underneath that reads 'done in mezzotint [?] an etching by W. Newbery about 1838/ from a sketch by [?] PGS/ from one by J. Malchair/ probably from some Italian drawing...', and others similar, all neatly presented on album leaves, many leaves missing, some pages cut, of those that remain many with ink inscriptions and annotations underneath that are likely by William Crotch, various sizes, surface dirt, vol. 1 with manuscript note to front pastedown that reads 'Bequeathed to W. Crotch Kennington 1838/ by my dear friend W. Newbery/ by whom/ these were drawn', half calf, marbled boards, spines gilt, Cambridge Binding Guild stamps to inside covers, rubbed and worn, large 4to, mainly circa 1800-1820Provenance: William Crotch (English composer and organist, 1775-1847);Dawson Turner (patron of John Sell Cotman, 1775-1858);Sale. Sotheby's, London 1991⁂ Newbery was a friend of Dr. William Crotch, whom the present albums were originally bequeathed to, as well as John Constable. He was also a pupil of John Malchair and lived in Heathfield, Sussex. Newbery was well connected with the artistic circles of his day, and was a member of 'The Great Society' of Oxford and is likely to have known J.M.W Turner who also painted views of Heathfield Park, while the Newbery's lived there. The present album includes a landscape of Heathfield Park dated 'Aug. 19 1809', and shows a wooded landscape with two men, one of whom appears to be seated drawing.

European Travel Journal.- [Journal of a visit to Paris], manuscript, c. 290pp., 6pp. of pen and ink drawings and numerous other pen and ink drawings in the text, Letter in French with rates of rooms per night and inscribed on verso "Sir James Nicholson Bart...", 1f. with small tear in lower margin with slight loss of text, some staining, browned, original half calf, rubbed, 8vo, 1820.⁂ An extensive travel journal through Scotland, including Edinburgh, before making to London, Dover and Boulogne and proceeding to Paris. Visits the Louvre, and a number of other historical sites, watches funerals etc. With some pen sketches.

Qur'an, manuscript in Arabic.- An Attractive Ottoman Qur'an, illuminated manuscript on paper (many leaves tinted yellow), in Arabic, single column, 15 lines black naskh script, illuminated borders to opening two pages of text, numerous floral border illuminations to borders marking important sections of the text, leaves ruled in gilt, catch-words throughout, contemporary calf over boards with flap, central medallions and corner-pieces in gilt, some light surface wear to one cover, 8vo, Ottoman Turkey, [mid-nineteenth century].

Mutiny on the Bounty.- Christian (Mary Ann, only daughter of chief Bounty mutineer Fletcher Christian and his Tahitian consort Mauatua who settled on Pitcairn Island in 1790, 1793-1866).- Tapa made by Mary Christian of Pitcairn Island - daughter of Fletcher Christian - chief mutineer of Bounty, manuscript, folds, browned, 380 x 270mm., [?c. 1850].⁂ Inscription reads: "She is the heroine of a poem called 'The Maid of the South Seas' [by Mary Russell Mitford]. Made from the barks of the bread fruit tree... and Paper ?Mulberry tree bark."Tapa, a type of bark cloth made from the bark of the Breadfruit tree.

Charge of the Light Brigade.- Plan of the Battle of Balaclava, manuscript in red and black ink on tracing paper (some folds a little yellow), tipped onto paper sheet, 230 x 280mm., 1854.⁂ An interesting item showing the troop positions and some of their movements including the position of the Light Brigade. A note to the verso of the paper sheet reads: "Plan of the Battle of Balaclava by a Sergeant Major of the Royals - showing the point * where the Royals & Greys were halted!!!... Lord Lucan commanded the cavalry. 1854."

Cambridge University Rowing Records.- Volume of Records, manuscript, 12pp., some ephemera, including an original watercolour, relating to the University Boat Club, Trinity College Boat Club and Trinity College admissions, Peterhouse Music Society, Royal Visit to Cambridge, some laid down, most loose, original half morocco, morocco label on upper cover: "Cambridge Port Folio", 770 x 385mm., earliest date in text 1831; and 2 others related, v.s. (3)

Ferns.- Jaffray (Mrs P, compiler) Darjeeling Ferns, 52 full page fern specimens, printed labels with contemporary manuscript to each corner, one or two light stains or spots, a few specimens loose or becoming so, a few with minor loss but most in excellent and bright condition, original half straight-grain morocco album, extremities rubbed, folio, Darjeeling, c.1850.⁂ Provenance: Col. Ball-Acton, 1/KO It. Infantry, Woodlands Hotel pencil inscription to endpaper.

Drayton (Michael) Poems, title with woodcut border, woodcut head-pieces, trimmed, affecting head-lines, M4 with an early manuscript note, trimmed, occasional manuscript finger-posts, scattered spotting, later straight-grain morocco by Wallis, gilt, 8vo, for Iohn Smethwicke, 1608.

Children's dialogues.- Gallus (Evaldus) Pueriles confabulatiunculæ, title and small woodcut ornament within woodcut typographic border, woodcut head-pieces, occasional contemporary ink signatures and pen trials of a James Longmire, B6&7 outer margin trimmed, affecting text, trimmed at head, affecting some headlines and pagination, some spotting or staining, lightly browned, binding using an early English manuscript on limp vellum, ink signatures of James Longmire, soiled, 8vo, S. Holt, 1705.⁂ Rare, with ESTC recording only three copies (BL, Folger & Cardiff), and WorldCat not adding to our tally. Indeed, all editions of this work have small holdings recorded by ESTC.

Racing broadsides.- 17 broadsides advertising horse races, comprising Chesterfield Races, 1833-49 (12, including 2 duplicates, 1 with contemporary manuscript notes of the winners in each race, with additional notes on blank verso); Mansfield Races, 1837; Derby Races, 1845, 1846 and 1849; Rochester and Chatham Races, 1845 (loosely inserted, printed in red and black with image to head, neatly backed, lower portion separated along fold), chipped and tears to extremities, occasionally touching text, folding creases, all but the last tipped in, bookplate of Joel Spitz to front pastedown, 20th century morocco-backed cloth, light fading to spine, folio.⁂ An excellent group of rare broadsides. Includes the names of competitors in the races as well as the value of the plates and sweepstakes.

Blake (William) Jerusalem: The Emanation of the Giant Albion, [one of 100 facsimiles], 100 illustrated leaves, printed on rectos only, occasional faint spotting, original blue printed wrappers bound-in, numbered 12 in manuscript to upper corner, previous owner's ink presentation inscription dated 1890, contemporary half-morocco, a little rubbed, slight bumping to corners and extremities, [Bentley Jr, 76], 4to, [Andrew Chatto], [1877].⁂ Bentley Jr. says of this edition, "The publisher, who is not given, was evidently Andrew Chatto, whose ledgers ... record an order on 17 Nov. 1877 for printing 100 sets of 'Blake reproductions' ..."

Japan.- Anonymous (probably early19th century) [Pictures of Tea Making], 32 double-page concertina work illustrating the process of tea making in the region of Uji, manuscript calligraphic captions, water-colour hand-colouring, some very light smudging but overall in fine and crisp condition, original silk-covered end boards, silk discoloured and fraying to extremities, paper cover with manuscript title to upper cover, paper from boards pulling away slightly in places, tall 8vo, [1803].⁂ A highly sumptuous colourful work displaying the tea making process in Japan with scenes showing the growing, harvesting and manufacture of tea. The first page consists of a preface, signed by a Buddhist monk, Shisho-so Shu-en and is dated 1803.

Book of Hours.- Livre d'Heures contenant la Sainte Messe et des Prieres diverses, manuscript on vellum in the style of a medieval manuscript, 40ff. written in black and red ink in a neat calligraphic hand, 15 lines, marginal decorations on 16ff. in red, blue and gold, initials and a few words in gold, some with marginal extenders in red and blue, contemporary tan morocco jewelled binding with strap-work design to covers of gilt-bordered black morocco onlays, spine in compartments with similar design and raised bands, central coronated monogram of pink sapphires and tiny rose-cut diamonds, oval clasp with a single pearl surrounded by tiny diamonds, g.e., inner gilt dentelles with dark green morocco doublures with gilt fleur-de-lys stamps, bright green watered silk endpapers also with gilt fleur-de-lys stamps, housed in a modern morocco drop-back box, ?France, [19th century].⁂ A charming late Victorian manuscript Book of Hours with dedication to the recipient "A Madame Adele de Cassin En Souvenir d'un Ami" and the letters A and C in the jewelled monogram on upper cover. Adele de Cassin (1831-1921) married the Marquis de Landolfo de Carcano.

Americas.- Martyr d'Anghiera (Peter) De rebus oceanicis et novo orbe...et item de rebus aethiopicis Indicis, Lusitanicis & Hispanicis..., woodcut initials, title with small repaired hole to fore-edge, not affecting text, occasional slight browning, light water-staining to lower margin and last few leaves, the odd spot or mark but a clean copy overall, later vellum-backed boards, worn at corners, rubbed, title in manuscript to lower fore-edge, [Adams M755; Sabin 1558], 8vo, Cologne, Gervinus Calenius & heirs of Quentel, 1574.⁂ An early authoritative history of the discovery of the New World by Peter Matyr, King Ferdinand's councillor for Spain's affairs in the New World. The work was expanded over time, this 1574 edition covering the first three decades of Spanish conquest from 1492 to 1516, together with Cortes' expedition to Mexico and Martyr's diplomatic mission to Egypt in 1501-02. Also included are miscellaneous writings by Damiao de Goes, Portuguese historian and statesman, among them a description of Lapland and an account of the religion and customs of the Ethiopians.

South America.- Brazil.- Steinmann (Johan Jacob) Souvenirs de Rio de Janeiro, lithograph title with vignette borders on brown paper, 12 exceptionally fine hand-coloured aquatint plates extensively heightened with gum arabic, all mounted on the same brown paper, ruled pen and ink borders with manuscript caption beneath, a couple with minor soiling, loosely inserted mounted hand-coloured lithograph copy of one of the plates with printed caption,contemporary black half morocco, gilt, by Carss & Co., Glasgow, spine lettered in gilt, rubbed, oblong 4to, Paris, chez Rittner & Goupil, 1837.⁂ A stunning suite of Brazilian views with the most exceptional quality of colouring. Few copies have appeared at auction and the date appears to vary from 1835 to this of 1837.Provenance: Alexander Rowand (bookplate).