![ƟBook of Hours, Use of Paris, in Latin, illuminated manuscript on parchment [northern France (doubtless Paris), c. 1450]204 l](https://cdn.globalauctionplatform.com/6dcc909d-d162-4883-813c-aafe00b926c8/0dffac34-ecc6-4ce7-b319-aafe00bbc0e6/468x382.jpg)
ƟBook of Hours, Use of Paris, in Latin, illuminated manuscript on parchment [northern France (doubtless Paris), c. 1450]204 leaves, collation impracticable, wanting a single leaf (once with a miniature), else complete, written in two sizes of script in single column of 14 lines of lettre bâtarde (ruled in burgundy, and with Calendar in red, liquid gold and blue), capitals touched in pale yellow wash, dark burgundy rubrics, one-line initials in blue or liquid gold with penwork in contrasting colour, larger initials in blue heightened in white, enclosing swirls of coloured foliage and on burnished gold grounds, most pages with decorated border panels of coloured and gilt acanthus leaves and stylised foliage terminating in leaves and seedpods, Calendar with each leaf decorated with decorated border panels and roundels in bas-de-page with zodiac symbols and monthly occupations set within borders of loosely intertwined coloured vines and coloured foliage (the interstitial spaces between these vines filled with gold in style reminiscent of work of the Bedford Master), twenty-four small arch topped miniatures set within gold frames and with three-quarter decorated borders of foliage as before, five three-quarter page miniatures set within gold frames, with thick gold frames with coloured foliage surrounding text, all within a full decorated border of foliage as before, all growing from green pastures at foot of bas-de-page (many with trees set in corners), the foliage enclosing birds and on one leaf a phoenix rising from the ashes of a fire and an erased coat of arms suspended from a tree and supported by two hairy wildwomen sitting within a wickerwork enclosure, some chipping to a few miniatures and small thumbing in a few places, a few leaves with slight cockling, else good condition, 118 by 86mm.; eighteenth-century morocco over pasteboards, gilt tooled with arms of Prondre de Guermantes below a ducal coronet and supported by lions rampant on both boards (see below), and gilt spine with monogram formed from initials PP beneath coronets in each compartment with floral stamps, title gilt: Heures set within hearts, gilt edges, splits at edges of boards and small losses from edges (especially foot of spine), but overall solid in binding, in card dropboxProvenance: 1. Written and illuminated in Paris around the year 1440: note the prominence of St. Geneviève (the patron saint of the city) in gold on 3 January in the Calendar. The original patron appears in the miniature accompanying the prayer Ave alius conceptio, on fol. 174r, fashionably dressed and with a sword, kneeling in devotion before the Virgin and Child with this book open before him, his coat-of-arms (erased by a later owner), surmounted by a helm and a phoenix, hanging in a tree in the border, supported by hairy wildwomen within a withy enclosure.2. Paulin Prondre de Guermantes et de Bussy (1650-1723), seigneur de Guermantes, Conseiller secrétaire du roi, receiver general for Lyons, president of the Chambre des comptes in Paris and celebrated French bibliophile: in his gilt armorial binding, and perhaps with his pen 'No 4862'. At the opening of the eighteenth century, he reconstructed the palace at Guermantes to the immediate west of Paris, and among other collections housed his vast library there. His dynastic line went extinct in 1805, and the contents of the house were widely dispersed.3. Hannah Eliza Roscoe (née Caldwell; 1785-1854), received as a gift from her famous father-in-law, W. Roscoe (1753-1831), the prominent abolitionist of the slave trade, art collector, writer on Lorenzo de Medici and briefly MP for Liverpool, whose remaining book collection (including a Shakespeare First Folio, two block books, printing by Gutenberg, Furst & Schoeffer and Sweynhem & Pannartz, and a small collection of manuscripts) was sold by Winstanley of Liverpool on 19 August 1816. Her inscription to front endleaf records that the gift was made on the occasion of her marriage in 1818 (to Roscoe's eldest son William Stanley), as well as noting that she wrote the inscription in 1851 when she was 65 years old. The date 1819 28 Mai added in her hand at the end of text.4. Thereafter in the English-speaking trade, with notes on contents added in English by mid-twentieth-century hand to first endleaf.Text and illumination: The book comprises: a Calendar (fol. 1r); the Gospel Readings (fol. 14r); the Obsecro te and O intemerata (fol. 22r); the Hours of the Virgin, with Matins (fol. 33r), Lauds (fol. 59v), Prime (fol. 71r), Terce (fol. 76r), Sext (fol. 80r), Nones (fol. 84r), Vespers (fol. 88r) and Compline (fol. 92r); the Seven Penitential Psalms, ending with a Litany and prayers (fol. 98r; wanting first leaf with large miniature); the Hours of the Cross (fol. 117r); the Hours of the Holy Spirit (fol. 126r); the Office of the Dead (fol. 130r); followed by the Suffrages to the Saints, including a number of masses and prayers.Despite the selection of small miniatures to open the Hours of the Virgin (an apparent attempt to economise on the commission) this volume has an impressive array of decoration. In addition to the Calendar with its twenty-four marginal miniatures, the book has twenty-seven small miniatures and five large miniatures, all by a skilled artist who worked in Paris in the years after the 1420s and 1430s. There is much here from the early decades of the fifteenth century, including the trees set on grassy mounds at the corners of the bas-de-page of some miniatures, as well as the intertwined frames of the roundels of the Calendar with their interstitial spaces filled with gold, which echo those of the Bedford Master, and the tall and angular stylised flowers in the bas-de-page of some of the large miniatures, which are close to the work of the Dunois Master (see F. Avril & N. Reynaud Les Manuscrits à Peintures en France, 1140-1520, p.37). Some of these features were reborn in the midpoint of the fifteenth century in the work of the Maître Francois and the Maître de Rambures, and our artist's human figures, with their oval faces, drooping noses and eyes formed by black dots hanging down from single-stroke eyelids, are of that period.The larger miniatures comprise: fol. 33r: the Annunciation to the Virgin, with small birds and a peacock in margin; fol. 117r: the Kiss of Judas, with flying birds in margin; fol. 126r: Pentecost, with small birds in margin; fol. 130r: Judgement Day, with birds in margin; fol. 174r: the owner kneeling before the Virgin and Child surrounded by angels, a peacock, a phoenix and arms supported by wildwomen in margin. The smaller miniatures comprise: (i) John writing his scroll; (ii) Luke writing; (iii) Matthew writing; (iv) Mark seated at his writing desk; (v) the Virgin and Child adored by angels; (vi) the Pietà; (vii) the Visitation of the Virgin to St. Anne; (viii) the Nativity; (ix) Annunciation to the Shepherds; (x) the Visitation of the Magi; (xi) the Presentation in the Temple; (xii) the Flight into Egypt; (xiii) the Virgin being crowned by God; (xiv) Christ before Pilate; (xv) Christ being nailed to the Cross; (xvi) the Raising of the Cross; (xvii) Golgotha; (xviii) the Deposition from the Cross; (xix) the Entombment of Christ; (xx) the Trinity; (xxi) the Scourging of Christ; (xxii) a Pope kneeling before an apparition of Christ; (xxiii) the Cross, with smalls birds and a peacock in border; (xxiv) St. John the Baptist; (xxv) St. Christopher; (xxvi) St. Sebastian; (xxvii) St. Michael. Ɵ indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT). 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A George III inlaid mahogany and satinwood crossbaned sideboard, c.1820, by Gillows of Lancaster, the low raised back over a central shallow frieze drawer with chequerboard inlay over a deep drawer with inlaid sunburst spandrels and an inset reeded arch, flanked on either side by deep bow front drawers on square tapering legs and spade feet, 153cm wide 60cm deep 92.5cm high
Early 20th century longcase clock with spring driven Westminster chiming movement, striking on gongs, brass 11inch break arch dial, with shell and scroll spandrels, matted centre and silvered chapter ring, subsidiary chime silent regulator in the arch, wooden pendulum. In a mahogany case with arched door hood with plain columns and swan neck pediment with applied carved rosettes. 193.5cm overall height (Door key, winding key present).
W Howe (20th century)Watercolour drawingThree-arched bridge over river, signed lower left, 19cm x 27.5cm20th century English school Watercolour heightened in white Twin-arch bridge over river, hill rising to background, 18.5cm x 24.5cm Kiwasaki(?)Watercolour heightened in white Sailing ship on river, signed lower right, 14.5cm x 30.5cm 20th centuryOil on canvas Sandy shoreline, 19cm x 39cm (4)
Early 19th Century mahogany and line inlaid longcase clock, the painted dial with moon phase arch, subsidiary seconds and calendar with a two train movement striking on a bellWeights and pendulum are presentIt is in working order but we haven't had it running.We have the pillar but it has quite bad woodworm.Both collars are present
George III mahogany longcase clock the broken arch hood with brass mounted flanking pilasters above a moulded figured panelled door and conforming plinth base, the brass dial with matted centre, silvered chapter ring, Arabic and Roman numerals, subsidiary seconds dials and date aperture, signed FRA. Gregg, St. James's, the two train movement with anchor escapement striking on a bellIn working order
Figured walnut longcase clock, the broken arch hood with flanking pilasters above a moulded panel door and conforming plinth base, the brass dial with matted centre, silvered chapter ring, Arabic and Roman numerals, subsidiary seconds dial and date aperture, signed to the arch Obadiah Smith, Ratcliff Highway, London, the two train movement striking on a bell
Major-General Sir John Adye (1857-1930), a group of eight watercolour drawings, to include: 'Rectory Farm, Checkley', inscribed, initialled and dated 1913; 'Annecy', inscribed, signed and dated 1928; 'Arch of Augustus, Aosta', inscribed, signed and dated July 1928; 'Tourrettes [France]', inscribed, signed and dated June 1929; 'Place des Huguenots. Grasse', inscribed, initialled; 'Gulf of Salermo from Ravello', inscribed, signed and dated 1930; 'Ravello', inscribed, signed and dated 1930 and 'Cragside [Northumberland]' inscribed, signed 'by Johnny' and dated 1913 (two framed)Note: Major-General Sir John Adye C.B., K.C.M.G. R.A. was the son of General Sir John Miller Adye G.C.B. R.A., although not as well-recorded as an amateur artist, he obviously inherited his father's passion for watercolour.Provenance: Adye family by descent (see Gorringe's Winter Sale on 03 December for further Adye family-related items)
A George III oak 8-day Longcase Clock, John Smith, Chester, with two-weight movement striking on a bell, the 13-inch brass dial with moon-phase above silvered chapter ring with black Arabic minutes and black Roman hours, subsidiary seconds and date aperture, brass spandrels, signed in the arch John Smith, Chester, the case with swan-neck hood and brass-mounted columns on a trunk with shaped door above a plinth on ogee bracket feet, 89in (226cm) high.
Scottish George III inlaid mahogany long cased clock, swan neck pediment over a brass dial with seconds and date subsidiary dials, with a sun and moon dial to arch by Peter Millar, Alloa circ 1800. Height 229cm The clock is in very good condition. The hands are intact and move freely. There are no damages to the face, just minor areas of tarnish. The glass has one small hairline crack to the top left (see additional photo). There are no splits or damages to the wood. No parts of the wooden case appear to be missing. Pendulum and two weights with the clock. Key for the door. We do not test long case clocks to assess if they are working Dimensions 50cm wide, 23cm deep, 229cm high
A good early 18th century 8-day longcase clock, 12 x 16 inch arched brass dial, wheatear engraving to outer perimeter, applied, silvered chapter ring engraved for the maker James Beckett, Dover (listed by Loomes as working 1720 - 1721), seconds ring, cast spandrels and unusual crest to arch, matched steel hands, 8-day internal countwheel bell striking movement, 5 ringed and finned pillars, oak case has been carved later, retains shell inlay to trunk door, with key, pendulum and 2 cast-iron weights, 210cm tall.
A Victorian Stained Glass Window Depicting a Stork & Crown, English, mid 19th Century, depicting a stork standing in a river amongst lilies, flanked on both sides with columns supporting an arch surmounted with a crown, window is in a period copper frame with original brass catches to the top
Blades, Horncastle - a Victorian mahogany and oak eight day longcase clock, the signed 12" painted arch dial with duck shooting scene to the arch, subsidiary seconds dial and date aperture, Roman numerals, the movement striking on a bell, the swan neck pediment hood to a plain case with chamfered corners, height 205 cm, key, pendulum, two weights. Little is known of William Blades of Horncastle.
A pair of late 19th century Gothic style etched goblets with engraved arch and star decoration on a faceted stem, 18cm, and a single glass painted in enamels . Goblet 1: internal crack 2cm visible through the faceted stem. Painted glass: rim possibly ground, decoration and gilding rubbed. No clouding evident on any of the three. No other damage found. Please see ewbanks.co.uk for condition reports and further images
A Doyusha James Bond 007 Aston Martin DB5 Model Kit - a highly detailed and increasingly rare 1:20 scale example, manufactured in Japan. Factory fresh with the parts still sealed, the model features many of the special gadgets seen in the films and includes figures of James Bond and his arch nemesis Oddjob.
Pair of armchairs. Fabric and wood.. Cm 53,00 x 77,00 x 60,00. Pair of wooden and upholstered fabric armchairs, 1930s. The small armchairs are one of the first prototypes made by Franco Albini that will lead him to the design of the most famous Luisa in 1949. Provenance: Villa Baiocchi, Livorno, created by Arch. Cesare Pascoletti. We thank the archive Franco Albini (Milan) for the confirmation of the attribution to Franco Albini, at the request of the buyer the archive is available to produce the certificate of authenticity.
Michael Cardew CBE (1901-1983) An Abuja Pottery stoneware teapot and cover, compressed form with pie-crust band, painted arch repeat band in tenmoku, two Abuja tea cups and four saucers by Michael Cardew, a small jug and a covered bowl, an oil pourer with screw cover by Michael Cardew, all Abuja, impressed seal marks, one saucer repaired 20cm. wide (teapot), (13) Provenance Mary Gibson-Horrocks
A large Victorian black slate mantle clock, of architectural form, with inset malachite panels, the enamelled dial with brocot escapement and with eight day movement chiming on a bell. CONDITION REPORT: The clock is 50 cm wide, 42.5 cm high. The movement works when prompted. There is a small chip to the centre of the arch top. There are small nibbles to the left and right scrolls flanking the arch, more so on the left-hand side. There is a further small nick to the left-hand scroll at the base. There are two small chips to the front of the base. The left and right-hand side edges of the base both have small nibbles. The left-hand corner of the base has a small chip. Being black marble, a lot of these chips aren't instantly obvious but do become obvious once you run your finger over them. There is a 4 cm horizontal scratch to the upper right-hand side of the glass. The enamel dial appears to be free from any obvious chips, cracks or restorations. The chips to the case in my opinion are not overly significant but exist all the same.
An early 19th century oak longcase clock, the hood with swans neck pediment above the painted dial with ship to arch and with two-train striking movement, the case with long trunk door and raised on a plinth base. Height 208 cm. CONDITION REPORT: We have both weights. When the weights are applied to the movement it does tick away without the pendulum in place and it also strikes when the hands are advanced. We do not have the pendulum for this clock but they are not difficult to get. The seconds hand is missing. The movement is a little dirty but as stated appears to be operating and striking. The hood is in generally good condition. The door to the hood is however loose and requires attention to the hinges. The clock case itself is in generally good condition with no significant issues. The pine backboard has some traces of long gone old woodworm as is more than often the case. In our opinion major restoration would not be needed. With a pendulum the clock would operate. We do not have a winding key but probably have one that would fit.
A 19th century Charles II style oak chair, having an arched pediment and foliate carved backrest between two turned supports, all above a stuff over seat with turned legs united by an X shape stretcher, all upon turned bun feet. 126 cm high. CONDITION REPORT: The chair is structurally sound with no loose joints. The top arch to the back rail has been broken and re-attached. The repair is firm. It is barely visible from the front but is from the rear where there are some timber losses. The remainder of the back is in good order with only minor surface marks and a small scuff to the top right hand corner beneath the arch. The seat is well upholstered. The legs are all in good order with no repairs. The stretchers are in good condition as are the feet. The colour is generally good.
An 18th century carved oak box settle, the three panel back with later Victorian face mask carvings, with shaped arm rests upon turned supports, the base with carved two panel front with flowers within a lozenge and arch flanked by sunflowers, all upon shaped bracket feet. 134 cm wide, 102 cm high.
ROBERT RAVALD (B1782) A MILKMAID BY A STONE ARCH signed and dated beneath the black line border (Robt Ravald 1796 ae 15), watercolour, 27.5 x 37.3cm and a contemporary late 18th c English School watercolour of a British man o'war and fishing boats, verre eglomise mount (2)Both typically faded and lightly browned in pair of early 19th c gilt cavetto frames with egg and dart slip, one frame gold painted at later date
A GEORGE III MAHOGANY BRACKET CLOCK JOHN TAYLOR LONDON, C1770 the breakarched brass dial with matted centre, alarm disc, date aperture and STRIKE/SILENT ring to the arch, rococo spandrels, the movement with verge escapement, bob pendulum, pull repeat and engraved backplate and brackets, in figured pagoda case with brass cone finials, frets and handles, ogee feet, 54cm hSome old restorations
AN ENGLISH JAPANNED EIGHT DAY LONGCASE CLOCK JOSEPH MEDLEY, BOSTON FECIT, C1760 the breakarched brass dial with engraved and matted centre, date aperture, subsidiary seconds dial, pierced hands and convex name disc to the arch, mask and dolphin spandrels and five fined pillar movement, the case with ogee pediment and turned pilasters, the moulded door to the trunk and base decorated with scenes including two horsemen fighting a dragon, pendulum with brass bob and two lead weights, 258cm hMuch encrusted with old dirt and grime, a very good example in unrestored condition. Movement complete and in our opinion original to the case, the cheeks not packed, one side glass to hood cracked
A LATE VICTORIAN SILVER HAND MIRROR, maker Harris Bros., London 1896, the circular bevelled mirror plate in a frame chased with a vignette of three children playing a cello, violin and flute below a pillared arch, raised rim, rococo scroll chased handle and with wirework and acanthus leaf surmount, 11 1/2" high, mirror 5 3/4" diameter (Illustrated) (Est. plus 21% premium inc. VAT)
A CHINESE PADOUK WOOD AND IVORY FOLDING ROOM SCREEN, c.1900, comprising a pair of arched panels carved with dragons amongst clouds in the arch, ebonised panels below with large flowerheads and butterflies in high relief, the base panels carved with birds amongst flowering branches, on castors, each fold 34 1/2" x 80" (Est. plus 21% premium inc. VAT)
A SMALL SATINWOOD OCCASIONAL TABLE, late 19th century, of bowed form with rosewood banding and ebony and box stringing, frieze drawer with turned brass handles, over arch flanked by a pair of deep drawers, raised on square tapering legs and spade feet, 20 1/4" x 14 3/4" x 30 1/2" (Est. plus 21% premium inc. VAT)
A late 17th century Flemish ebony cedar and tortoiseshell veneered table cabinet, of breakfront outline, the central architectural door, gilt metal mounted, with a figure of Venus and Cupid with a flaming heart within an arch, flanked by cylindrical tapering columns, a cherub mask above, enclosing four drawers inlaid with geometric stringing, flanked by six drawers, within borders inlaid with repeated stringing and roundels, wrought metal loop side carrying handles, on an associated projecting base, in similar style, with dummy drawer fronts, split turned uprights and ripple mouldings, on later turned bun feet, 100cm wide x 30cm deep x 61.5cm high, with two keys (2).Illustrated
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42009 item(s)/page