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Click here to subscribeA pair of Victorian style silverplated columnar candlesticks, the removable sconces of concave form with bead decoration, above a pierced corinthian capital over a leaf embossed column raised upon a stepped stag head with garland embossed plinth base, William Hutton & Sons, height 15.3 cm, loaded, (2).
Ditchfield (P.H.). The City Companies of London and their Good Works: A Record of their History, Charity and Treasure, 1904, photo-etched plts. and b & w illusts. from photos, one col. plt., some minor scattered spotting, t.e.g., remainder rough-trimmed, orig. half vellum gilt, a little soiled, 4to, together with London Interiors: A Grand National Exhibition of the Religious, Regal, and Civic Solemnities, Public Amusements, Scientific Meetings, and Commercial Scenes of the British Capital, 1841, fifty steel-eng. plts., a.e.g., contemp. diced calf gilt, some wear, 4to, plus Fleetwood-Hesketh (Peter), Murray’s Lancashire Architectural Guide, 1st ed., 1955, folding map, b & w illusts. from photos, orig. dec. boards in matching d.j. (designed by John Piper), slim 8vo, with other topography, architecture and related, including Pevsner guides, Batsfords, etc. (6 shelves)
BRETT WHITELEY (1939-1992) AUSTRALIAN “Outside Oberon” two large rain clouds, with rain over the area. Signed and dated 2/9/79. Inscribed, also bears stamp capital BW in a circle. 20.5 x 29.5ins. Note: Oberon is the highest town in the Blue Mountains region, New South Wales. Provenance: Given by the artist to the vendor.
An 18ct. gold, diamond and ruby "Happy Diamonds" quartz bracelet watch, by Chopard The oval champagne dial with diamond bezel and outer glazed compartment containing three faceted ruby and two brilliant-cut diamond free floating collets within brilliant-cut diamond and ruby to oval ruby single stone shoulders and ropework triple-row bracelet the clasp with raised capital "C" and diamond single stone accent, case dimensions 22mm x 20mm, convention hallmarks The dial and bracelet signed Chopard, the reverse signed Happy Diamonds, No. G 4293 1979335181 View on Christie's.com
A pair of Victorian silver columnar candlesticks, London 1889, the removable sconces of concave form with bead decoration, above a pierced corinthian capital over a leaf embossed column raised upon a stepped stag head with garland embossed plinth base, Edward Hutton, height 15.3 cm, loaded, (2).
Scarce James Braid stamped smf driving cleek stamped with the makers R Condie St Andrews oval logo – the head is stamped in capital letters "JAMES BRAID" likewise Jas Braid to shaft – overall length 39.75" fitted with period leather grip with thick underlisting. Note: comes with a written label from P A Truett stating that this is the only club which he has seen with James Braid stamp to the head as well as to the shaft which would indicate that it may well have been one of Braids personal clubs again the length of shaft is synonymous with James Braid.
ZICHY, MIKHAIL 1829-1906 Nubian with a Waterpipe signed and dated 1862 Pencil and watercolour, heightened with white, on paper, 49.5 by 31 cm. "Provenance: Private collection, USA.Exhibited: Mihály Zichy, Gustave Doré. Deux "monstres de génie", Musée Félicien Rops, Namur, Belgium, 12 September 2009 - 3 January 2010.Literature: Exhibition catalogue, Mihály Zichy, Gustave Doré. Deux "monstres de génie", Musée Félicien Rops, 2009, p. 22, fig. 14, illustrated. This magnificent watercolour offered here for auction dates from the peak of Zichy’s creativity. Hungarian by birth, Mikhail (Mihály) Zichy settled successfully in Russia, becoming exceptionally popular at court. He was, with good reason, dubbed the darling of three Russian emperors. Zichy worked in a variety of materials, including oils, but he made his mark above all as a first-class watercolourist. His watercolour and mixed-technique works on paper are distinguished by an unsurpassed skill and richness. Oriental subjects, which had become fashionable in the mid-19th century, also found their way into Zichy’s oeuvre. The detail in his architecture, interiors, fabrics, jewellery and weapons, elaborated to the point of illusion, rivalled the best exponents of French Orientalism, and his works occupied a well-deserved place in the collections of the capital’s elite. Nubian with a Waterpipe can safely be compared to Zichy’s very best works and is undoubtedly of museum quality."
* KALINOVSKI, GENNADI 1929-2006 The Satan`s Ball. Illustration for "The Master and Margarita" by Mikhail Bulgakov signed, inscribed and dated 1989 Pencil, black ink and watercolour on paper, 34 by 51.5 cm. Literature: Mikhail Bulgakov, Master i Margarita, St Petersburg, Vita Nova, 2001.In 2002 Kalinovsky was named Artist of the Year at the XV Moscow International Book Fair for his illustrations for The Master and Margarita."… At last they regained the platform where Koroviev had first met Margarita with the lamp. Now her eyes were blinded with the light streaming from innumerable bunches of crystal grapes. Margarita stopped and a little amethyst pillar appeared under her left hand."Mikhail Bulgakov, The Master and MargaritaGennadi Kalinovski was perhaps the most brilliant exponent of Moscow book illustration from the 1960s to the 1990s, the period of its real blossoming. Moscow took over from Leningrad which, from the late 1920s to the early 1940s, had led the way in book design. But by the time of Khrushchev’s Thaw, the Northern Capital hardly produced any new names, while in Moscow talented young book illustrators in the persons of Ilya Kabakov, Valery Alfeevsky, Anatoly Kokorin, Erik Bulatov, Eduard Gorokhovsky, Oleg Vassiliev and many others moved into action.Even in such prestigious company, Kalinovski was unique. Read any work illustrated with Kalinovski`s watercolours, and you cannot imagine those characters outside the world proposed by the artist. It was only possible to create such masterpieces by totally renouncing any secondary considerations which might impede the artistic sacrament. This is explicitly confirmed by Kalinovski himself: ‘I can only work when I am entirely shielded from the pressures of life. I would even shut all light from my studio, blocking up the windows and avoiding communication with others almost entirely, lying for long days and weeks, half dreaming and half in the real world, running through images of different types, one after the other, which had come to me from, as I understand it, some kind of reservoir which we know as the subconscious.’
* ROERICH, NICHOLAS 1874-1947 Commands of the Teacher signed with a monogram, also numbered "N4", dated 1927 by the artist and further numbered "RM697" by the Roerich Museum on the reverse Tempera on panel, 35 by 78 cm. Provenance: Roerich Museum, New York, 1927–1935. Nettie & Louis Horch collection, USA, from 1935. Dr Carlos Giro collection, USA. Acquired from the above by the present owner. Exhibited: Roerich Museum, New York (permanent collection), 1927–1935, no. 697.Literature: The Mystic East Inspires Nicholas Roerich`s Paintings, New York Times Mid-Week Pictorial, October 29, 1927, illustrated. Roerich Museum Catalogue, 8th ed., New York, Roerich Museum, 1930, p. 29, no.697. V. Ivanov, E. Gollerbach, Roerich, Vol. 1, Riga, 1939, p. 106, illustrated. Commands of the Teacher is one of the paintings that Nicholas Roerich completed while staying in the Mongolian capital Ulaanbaatar. From September 1926 until April 1927, he was preparing for the journey to Lhasa where he intended to meet the Dalai Lama. This expedition, which involved the incredible feat of crossing Mongolia and Tibet from north to south, was the culmination of Roerich’s serious interest in Buddhism as a philosophical and moral teaching. The whole family was deeply involved in Buddhist studies at that time: his wife Helena wrote and published Foundations of Buddhism (in Ulaanbaatar, in 1927) and his son George was already making a career as an oriental scholar by publishing several works on Buddhist subjects. Not surprisingly, Roerich’s most important paintings from this period, including the present one, have Buddhist connotations. Before leaving for Lhasa, Roerich sent his works to New York, and in October, New York Times Mid-Week Pictorial had a full page report on their arrival with several reproductions, including Commands of the Teacher. The article said that "the artistic record of the Roerich expedition to Asia headed by Nicholas Roerich, an artist of international reputation, has been enriched by the recent arrival of more than 100 paintings by Professor Roerich, which have come back from the heart of Mongolia. The paintings recently reached the Roerich Museum in New York after a lengthy journey from Ulan Bator Khoto, Mongolia, across the world to America. They will be added to the present collections of the Roerich Museum and will be opened to the public for the first time on Nov. 17, 1927, the fourth anniversary of the foundation of the museum." (The Mystic East Inspires Nicholas Roerich’s paintings, Mid-Week Pictorial, October 29, 1927.) The five paintings reproduced therein were undoubtedly chosen by Roerich himself, and the inclusion of Commands of the Teacher testifies to its significance. The painting presents a Buddhist disciple reading from a xylograph on the shores of a mountain lake. The scenery is somewhat suggestive of Lake of Nagas and Nagarjuna, the Conqueror of the Serpent, two other paintings with Buddhist elements from 1925. The disciple himself is a highly advanced adept and has achieved a Buddha’s enlightenment, which is indicated by the ushnisha, the supernatural cranial protuberance. The deer pasturing at his feet are another reminder of Buddhahood, which allows for the miraculous power of taming wild animals. The title of the painting helps us to understand the main idea of this panel: though a Buddha in his own right, the adept has a teacher, someone even more advanced than himself. Roerich was very fond of the idea of endless spiritual growth by virtue of an unbroken, hierarchical line of Masters. The concept of "commands" reveals the active nature of the master-disciple relationship. Instead of associating the teaching with abstract metaphysical postulates, Roerich invokes the idea of practical down-to-earth tasks, in line with the Buddhist principle that the path to enlightenment is first and foremost the path of serving humanity. There is a later variant of this painting entitled Book of Life (c. 1930s), in which the whole scene is moved from the ground level up into the high mountains. The adept and animals are distanced from the viewer and enclosed in a translucent, eerie light. By contrast, the original painting is a more direct and forceful interpretation. Executed on a rough panel with holes and several nails still intact (it must have originally served as construction material), the work has an unfinished feel, as if the artist lost interest in polishing the details as soon as his idea came alive. The expressivity of the lines and overall roughness emphasizes the "action-rather-than-meditation" message of the artist. At the same time, the recipient of commands maintains his intense mental focus despite the wild undulations of blue and orange rocks behind him. While his body seems to be almost of the same quality as the surrounding rocks, his mental presence commands the surroundings. We are thankful to Gvido Trepša, Senior Researcher at Nicholas Roerich Museum, New York, for providing catalogue information.
* REPIN, ILYA 1844-1930 Returning Home signed, c. 1876-77 Oil on canvas, 84 by 124.5 cm. "Authenticity has been confirmed by the expert G. Churak.Authenticity has been confirmed by the expert E. Kirillina, Director of Research of Penaty, House Museum of I. Repin.Authenticity has been confirmed by the expert V. Petrov.Exhibited: Posthumous Exhibition of I. Repin Works, Helsinki, 1930. This enigmatic picture by Ilya Repin, although mentioned in literature, has until recently been out of sight of the general public and the art market. Yet this work symbolises a significant and sudden change in the biography of Repin who was discovering new directions for his art. The picture shows the very first moment of the reunion between Repin’s elderly parents and their beloved son, who had left the paternal home 13 years before. In 1863, the 19 year-old had left Chuguyev for St Petersburg. He was ready to make the journey even by foot, driven by a desire to study at the Academy of Arts. Now, having spent almost three years in Paris and made Academician, he returned to his childhood town where his fascination with painting had started. With him is his young wife and somewhere behind her must be their two small daughters. Later their son, Yuri, would be born here. The family spent a year in Chuguyev. From there the 33 year-old Repin, full of ideas and plans, left for Moscow and then St Petersburg, where his pictures would cause major stir in Russia’s artistic circles. The Repins had returned to Russia in early July 1876 and went first to the artist’s in-laws, who lived at a dacha at Krasnoe Selo. Here, Repin immediately began painting and drawing everything and everyone he saw; notably, he executed the exceptionally beautiful study On the Turf Bench. He passionately took in everything he had missed during three long years. He was overjoyed at meeting his family and friends, getting to know everyone anew, intently studying the changes in them. It was typical for Repin to express all his emotions through painting. Painting was for him the most direct route to learning, dialogue and insight. Finally, the whole family moved to the Kharkov area and nearby Chuguyev, where they arrived on 1 October 1876. We can see in the painting what joyful commotion the appearance of these guests from the capital has caused in this small provincial town and how proudly Repin’s father comes out to meet his son and how his sick mother, remaining at the door and supported by a female helper, seems to be crying tears of joy. In the yard are many more people, curious to observe this very special event. Repin accurately depicts his parents’ house (now a museum dedicated to the artist), the yard and the next house along the yard, where he would soon set up his studio. This is where would paint the renowned work The Protodeacon, along with many other portraits and studies. Having lived in Paris before, his head was probably spinning from what he saw around him. Many types and characters interested him, and this picture of his meeting with the parents has become an extraordinary testament to this, full of lyrical feeling, the immediacy of the artist’s experience and genuine love. Elena Kirillina, Director of Research at Penaty, House Museum of I. RepinReturning Home by the renowned Russian artist Ilya Repin is not only exceptional in its artistic qualities, but also depicts an important event in the artist’s life, his long-awaited return to his parental home. Repin had not been to his native Chuguyev for almost thirteen years. First, he had studied for a lengthy period at the Imperial Academy of Arts in St Petersburg, before embarking on a three-year study trip abroad.The painting has a very personal character. The artist must have been thinking many times about the reunion with his parents and transferred his imaginations onto canvas. At the same time, Returning Home is typical for the Itinerants. Russian genre painting of the second half of the 1870s, and especially the work of Repin, is concerned with the fixation of the moment and the realistic actuality of events, preoccupations which bring Russian art so close to real life. Repin was a master of conveying the characteristics and mood of the depicted figures. The artist was concerned with the emotionality of the reunion as well as the various attitudes — simple curiosity, indifference or euphoria. This is also apparent in another well-known picture painted a few years later, They Did Not Expect Him (1884, The State Tretyakov Gallery). Returning Home occupies an important place in the artist’s oeuvre. Painted relatively early in the artist’s career, the present picture could be considered a starting point from where Repin’s work became more emotional and more nuanced in the depiction of human relations. For many years this unique painting was in a private collection, and many specialists thought it lost. Its rediscovery is without doubt an important event for Repin specialists as well as for the wider public."
Dominican Republic, Order of Juan Pablo Duarte, badge, 85 x 55mm., silver, silver-gilt and enamel, fitted with a silver brooch bar suspension bearing a miniature silver-gilt and enamel badge of the Order, the centre set with a pearl, the brooch bar reverse inscribed, ‘Rafael Leonidas Trujillo 1950’, nearly extremely fine £500-700 Information derived from the Trujillo family indicates that originally the miniature badge was set with a diamond. Rafael Leonidas Trujillo Molina was born in San Christobal on 24 October 1891, the third of eleven children of Jose Trujillo, a minor retailer, and Altagracia Julia Molina Chevalier. After several short-lived jobs, the young Trujillo entered the Dominican army during the time of the U.S. occupation of the country, 1916-24. Rising quickly through the ranks, by the time the Americans vacated the country, he was in command of the army. When a rebellion broke out in 1930 against President Horacio Vasquez, Trujillo was ordered to suppress it; however, no action against the rebels was taken, the capital, Santo Domingo was taken without a fight and the rebel leader, Rafael Estrella was installed as Acting President in place of the ousted Vasquez. In the nominally ‘free’ elections of May 1930, Trujillo, as leader of the newly formed Dominican Party won the Presidency, by gaining a staggering 95% of the vote! The country swiftly moved to a one-party state with all opposition brutally suppressed. In the absence of any viable opposition, Trujillo was ‘acclaimed’ President for a second term in 1934 but, following U.S. precedent, declined to stand for a third successive term, and instead installed Jacinto Peynado, 1938-40 and Manuel Troncoso de la Concha, 1940-42 as his nominees, whilst retaining all effective power himself as ‘Generalissimo’. Trujillo was persuaded to stand for election again in 1942 and as before won handsomely. He retained the Presidency until 1952, when his younger brother, Hector Trujillo was given the title; Rafael Trujillo retaining all effective power as before. In 1960 his brother was removed from nominal power, and the Presidency was bestowed upon Joaquin Balaguer, with Trujillo again in effective control. Rafael Trujillo’s life and the power of the Trujillo family in the country came to an end on 30 May 1961, when he was shot dead by an assassin in Santo Domingo. Originally buried with full honours in his home town of San Christobel, his body was later removed and reburied in Paris.
‘In 1963, Australian Army Captain Barry Petersen was sent to Vietnam. It was one of the most tightly held secrets of the Vietnam War: long before combat troops set foot there and under the command of the C.I.A., Petersen was ordered to train and lead guerilla squads of Montagnard tribesmen against the Viet Cong in the remote Central Highlands. Petersen successfully formed a fearsome militia, named the ‘Tiger Men’. A canny leader, he was courageous in battle, and his bravery saw him awarded the coveted Military Cross and worshipped by the hill tribes. But his success created enemies, not just within the Viet Cong. Like Marlon Brando’s character in Apocalypse Now, some in the C.I.A. saw Petersen as having gone native. His refusal, when asked, to turn his Tiger Men into assassins as part of the notorious C.I.A. Phoenix Program only strengthened that belief. The C.I.A. strongly resented anyone who stood in their way. Some in U.S. Intelligence were determined Petersen had to go. He was lucky to make it out of the mountains alive.’ The Tiger Man of Vietnam, by Frank Walker (Hachette, Australia, 2009), refers. The highly important and incredible Vietnam M.C. group of thirteen awarded to Lieutenant-Colonel A. B. “Barry” Petersen, a guerilla warfare expert and member of the Australian Special Forces “Army Training Team Vietnam”, who was dubbed by the media as “Lawrence of the Highlands” following his extraordinary leadership of a highly motivated force of Montagnard tribesmen - respectfully known by the Viet Cong as “Tiger Men” - in numerous hit and run missions in Darlac Province, a role originally sponsored by the C.I.A. but subsequently abandoned amidst claims of him having developed a ‘personality cult’ in a scenario reminiscent of the fictional character Colonel Kurtz in Apocalypse Now: but as recounted by Petersen in his compelling memoir, Tiger Men, An Australian Soldier’s Secret War in Vietnam, the Montagnard remained loyal to him to the end, bestowing on him the title Dam San, after a legendary warrior, and making him a Paramount Tribal Chief Military Cross, E.II.R., the reverse officially dated ‘1965’; Australian Active Service Medal, 3 clasps, Vietnam, Malaysia, Malaya (13668 A. B. Petersen); General Service 1918-62, 1 clasp, Malaya, E.II.R. (1/3668 A. B. Petersen); Campaign Service 1962, 2 clasps, South Vietnam, Borneo (13668 A. B. Petersen); Vietnam Medal 1964-73, with M.I.D. oak leaf (13668 A. B. Petersen); Australian Service Medal 1945-75, 1 clasp, Thai-Malay (13668 A. B. Petersen); Australian Defence Force Service Medal, clasp, E.II.R. (13668 A. B. Petersen); Australian National Medal, with Bar (13668 A. B. Petersen); Australian Defence Medal (13668 A. B. Petersen); Australian Anniversary of National Service 1951-72 (1708727 A. B. Petersen); South Vietnam Cross of Gallantry, with two Silver Stars; South Vietnam Medal 1964, with ‘1960’ clasp (13668 A. B. Petersen); Pingat Jasa Malaysia Medal (13668 A. B. Petersen), mounted as worn, together with unit commendation riband bar, Infantry Combat Badge and “Tiger Men” beret badge, generally good very fine (16) £60000-80000 M.C. London Gazette 29 October 1965: ‘Captain Petersen graduated from the Officer Cadet School at Portsea on 17 December 1954. Since his graduation, Captain Petersen has served as a Platoon Commander with National Service Trainees and as a Platoon Commander with the 1st Battalion, Royal Australian Regiment. Captain Petersen’s service with the 1st Battalion, Royal Australian Regiment included three years service in Malaya from 1959 to 1961. Captain Petersen was a Company Second-in-Command with the First Recruit Training Battalion at Kapooka until his assignment to the Australian Army Training Team Vietnam in August 1963. Captain Petersen’s assignment as a member of the Australian Training Team Vietnam involves advice on the administration, training and operational employment of Montagnard personnel in Darlac Province. He was so occupied when the Montagnard Revolt of September 1964 broke out. During this revolt, in which several thousand heavily armed Montagnard soldiers were deployed against the provincial capital of Ban Me Thuot, Captain Petersen was required to prepare for the initial contact with the rebel tribesmen. On the afternoon of 20 September 1964, the first day of the revolt, he conducted a small party of intermediaries to the hamlet of Boun Enao. This involved passing through a prepared ambush. Having detected this, he dismounted from his vehicle, located the ambush commander, and persuaded him to permit the party’s onward movement. He was then required to approach the rebel stronghold and obtain admittance for the party. This he did, in gathering darkness and under conditions of extreme sensitivity involving a high degree of personal risk. Having gained admittance, by his own powers of persuasion he brought together the local leaders for talks with the intermediaries. The talks were successful, and paved the way for the eventual peaceful return of the Montagnard personnel to their proper duties. This most fortunate outcome is substantially attributable to the personnel influence of Captain Petersen, and to the high degree of courage displayed by him in effecting the necessary contacts.’ Citation for the South Vietnam Cross of Gallantry with Silver Star: ‘Captain Petersen served as Senior Advisor to the Darlac Sector Truong Son Force in the period August 1963 to August 1965. During this period Captain Petersen rendered an outstanding service to the Government of Vietnam by giving sound advice on the organisation, training and operations of the Truong Son Force. The outstanding success which the Truong Son Force has attained in combat actions against the Viet Cong is attributed to his vast knowledge of military operations and his wealth of military experience. Captain Petersen has on numerous occasions accompanied the Truong Son Force on combat operations and, without exception, the influence of his presence, advice and leadership, ensured complete and total success of these operations. The Truong Son Force has attained one of the best combat records in Vietnam by inflicting heavy casualties and equipment losses on the Viet Cong while sustaining minimum of friendly losses. Captain Petersen’s great contribution has been and will continue to be an inspiration to the people of Vietnam in their struggle to remain a free nation. In view of his outstanding service to the Republic of South Vietnam, Captain Petersen is awarded the Cross of Gallantry, with Silver Star.’ Citation for the Second Silver Star to the South Vietnam Cross of Gallantry: ‘Major Petersen arrived in Vietnam on 29 April 1970 as Officer Commanding, ‘C’ Company, 2nd Battalion, The Royal Australian Regiment. Since his arrival in this country, Major Petersen has commanded ‘C’ Company continuously on operations. During its service so far in Phuoc Tuy Province, ‘C’ Company has killed 21 Viet Cong and captured four prisoners. In October 1970, ‘C’ Company located the tracks of 120 men of the Viet Cong Chau Duc District Headquarters and the Chi (Local Force) Company which were followed for 15,000 metres through difficult secondary jungle until contact was made. In the ensuing actions, the enemy were scattered and prevented from re-organising. Major Petersen’s aggressive leadership and skilful handling of his Company were largely responsible for the disruption and withdrawal of the enemy force for re-organisation and re-training from the area normally used by it. His knowledge of the enemy’s methods, and his own tactical knowledge, have contributed greatly to the success of his Company in operations.’ Arthur Barry Petersen joined the Australian Army in July 1954, gr
A PAIR OF VICTORIAN SILVER CANDLESTICKS having a square sconce with egg and dart moulded edge detail, the spirally fluted column with foliate moulded capital on a stepped square weighted base decorated with moulded bands, marks for London 1885, maker John Batson. 14.5cm(h) 873grams(weighted).
ANTONINUS FLORENTINUS (1389-1459). Confessionale: 'Defecerunt scrutantes scrtinio'. -Titulus de restitutionibus. Venice: Johannes de Colonia and Johannes Manthen, 1474. Median 4° (234 x 169mm). Gothic type. Contemporary Italian illuminated initial and white-vine border on first leaf, blank shield in lower margin, initials and paragraph marks in red and blue, red capital strokes. (Decoration slightly rubbed, occasional small wormhole or marginal wormtrack, occasional light spotting or staining.) Contemporary Italian blindtooled calf over thin inner-bevelled boards, possibly Urbino [de Marinis 950, central tool of little stars], panelled with foliate tool border and stars at centre (rear cover with old repair, a little scuffed, some wear at spine, without clasps). Provenance: an unidentified cardinal (ink-stamps in lower margin) -- Cary W. Bok, March 1928 (inscription) -- André Himpe (De Gulden Passer 2003, no. 9). St. Antoninus, Archbishop of Florence, composed 3 different texts on confession which are differentiated by their incipits. The present text discusses the powers of the confessor, the seven deadly sins, the manner of interrogating people of different status, and absolution and imposition of penance. H *1177; GW 2104; BMC V, 225; Bod-inc A-326; BSB-Ink A-576; Goff A-798. View on Christie's.com
AUGUSTINUS, Aurelius (St., 354-430). De civitate Dei. Commentary by Thomas Waleys and Nicolaus Trivet. Basel: Johann Amerbach, 13 February 1489. [Bound with:] AUGUSTINUS, Aurelius. De trinitate Dei. Basel: Johann Amerbach, 1489. Two works in one volume, super-chancery 2° (305 x 205mm). De civitate: Gothic types. Opening major initials in blue, red and green decoration, minor initials, paragraph marks and capital strokes in red. De trinitate: Gothic and Greek types. Rubricated. (De Civitate with title-page in facsimile (with large woodcut), some soiling and repairs to first and last leaves, an occasional light stain.) 20th-century tan morocco-backed vellum boards by G.P. Gray and Co, Cambridge, spine lettered (lightly soiled). Provenance: a few marginal annotations in an early hand -- Henry Bellingham (d. ?1650, inscription on a2r) -- Philip Worsley Wood, 1913 (bookplate)- - André Himpe (De Gulden Passer 2003, no. 12). THE MOST IMPORTANT AND INFLUENTIAL WORK by St Augustine of Hippo, composed shortly after the sacking of Rome by the Visigoths in 410. HC 2064 and 2037; GW 2887 and 2926; BMC III 751; BSB-Ink A-861 and A-877; Bod-inc A-529; Goff A1243 and A1343. View on Christie's.com
BAPTISTA MANTUANUS (1447-1516). Parthenice prima, sive Mariana. -Ad beatam Virginem votum post febrim acerrimam. Deventer: Richardus Pafraet, 10 February 1492. Chancery 4° (209 x 140mm). Gothic types. Opening 6-line initial in red and blue with penwork decoration and extensions, other initials in red or blue, red capital strokes. (Title in facsimile, bottom margin of final leaf replaced.) Early 20th-century brown morocco, gilt lettering on spine. Provenance: some contemporary marginal annotations -- George Dunn, Woolley Hall (1865-1912, bookplate) -- André Himpe (De Gulden Passer 2003, no. 18). Third edition of an important work, printed by the FIRST PRINTER in Deventer. It was the first in a series of seven hagiographic epic poems in which the Italian Carmelite poet celebrated the lives of Mary, Catherine of Alexandria and other Roman Catholic saints. Not in BSB. HC 2635; GW 3278; BMC IX 55; IDL 650; CIBN B-44; Goff B-59. View on Christie's.com
Psalterium. Edited by Bruno (d.1045), Bishop of Würzburg. [Nuremberg:] Anton Koberger, 1494. Median 4° (227 x 172mm). Gothic type, double column, text with commentary surround. Initial spaces with guide-letter, rubricated, yellow capital strokes. (Occasional faint dampstain, small stain at some extreme foremargins.) Contemporary blindstamped calf over wooden boards (rebacked preserving parts of original backstrip, rubbed without clasps). Provenance: some contemporary annotations -- MS date table on rear flyleaves spanning 1502-1524 -- amateurly-drawn armorial at end -- Christian Closner, 1658 (title inscription) -- 18th-century library stamp: M.B.H., college library at ?Auxil. -- André Himpe (De Gulden Passer, 2003, no. 35). Second edition with the commentary of Bruno, Bishop of Würzburg. H *4012; BMC II, 439; BSB-Ink P-836; Bod-inc P-514; Goff P-1050. View on Christie's.com
OSBORNE, Thomas. The First Volume [volume II: A Second Part] of a Catalogue for the Year 1763. Consisting of the Libraries of the Rev. Dr. Philip Bearcroft ... Dr. Thomas Morton ... Dr. Moss ... Dr. Charles Feake ... Dr. Richard Conyers ... John Twisleton ... Walter Birmingham. [London: 1762-63]. 2 vols, 8°. Contemporary floral boards, printed label pasted on front cover of vol.II (paper mostly worn from spines, lightly rubbed). Contains amongst others, books belonging to the Bishop of Durham, Thomas Morton (1564-1659) and Philip Bearcroft (1695-1761), antiquary and Church of England clergyman. The books include 'a near complete set of common law; among which are a Set of private Acts, very scarce'. ESTC T152772; no copies in the Grolier Club. OSBORNE, T. A Catalogue for the Year 1764, of the Libraries of the Rev. Mr. Wood ... Dr. Umfrevile ... Peter Davall ... Wiliam Bussiere. [London: 1764] 8°. Contemporary floral boards (paper worn from spine); archival card case. Provenance: 'Bawdsey the 10th of Feb.ry 1764' (inscription opposite title). Includes a 'capital collection of Prints and Books on Prints ... a noble collection of antient manuscripts on vellum ... with near a complete collection of common law'. ESTC N14604; no copy in the Grolier Club. (3) View on Christie's.com
TWO NAPOLEON III GILT BRONZE-MOUNTED RED CAMPAN MARBLE AND POLISHED SLATE TORCHÈRES with ionic capital, plain shaft and sloping stepped foot cast with palmettes, on stepped plinth, 107cm h; 28 x 28cm or 29 x 29cm, stamped (on the bronze bush set into the top of the capital) GK ++The square tops original but one slightly larger than the other, both with a small or flat corner chip, the gilding original, the shafts in good condition, minor edge knocks and scratches around the base, much accretion of dirt and grime on the gilding
[Martinus [Strepus] Polonus.] Sermones de Tempore 252 ff. only (of 255) text double column table in 4 columns 46 lines and head-line Gothic letter capital spaces some water-staining mostly marginal but heavier to a few ff. particularly the last few (these with small worm trace to lower margin) contemporary calf over wooden boards remains of metal clasps spine worn with loss [BMC 1 322; Goff M-330; Hain 10854] folio [Strasbourg] [Printer of the 1483 Jordanus de Quedlinburg (Georg Husner)] 1488. *** Martin of Opava also known as Martin of Poland was a 13th century chronicler. He was active in Rome in the middle of the 13th century where he acted as penitentiary and capellanus for Pope Alexander IV and his successors. In 1278 he was apointed Archbishop of Gniezno by Pope Nicholas III.
A George V Corinthian Column Oil Lamp Base, London 1914, with brass fitting, on a hobnail and slice cut glass reservoir, the stop fluted column with foliate and scroll capital, on a rectangular plinth with columns to the corners, the swept square base with urns and linen swags within gadrooned borders, 68cm high, loaded
A Mahogany Eight Day Longcase Clock, the case with a swan neck pediment, fluted columns, inlaid trunk door flanked by fluted and carved capital pilasters, rectangular canted plinth upon bracket feet, 15-inch painted dial with Arabic numerals, date aperture and inscribed `W.Dawes, Whitehaven`, subsidiary seconds, the arch with rolling moonphase, four pillar movement with anchor escapement and striking on a bell, (dial associated to the movement and both are associated to the case), 246cm high
A Majolica Pedestal, possibly German, circa 1870, with a corinthian capital on a tapering column moulded with rosettes, swags and oak and leaf fronds, the square base with four mask panels on a stiff leaf sheathed plinth, picked out in typical brown, green, blue and yellow glazes, 123cm high
A Mixed Lot comprising: two various American base metal Vesta Cases, the first of shaped rectangular form with foliate embossed borders, and depicting Capital Hill and marked “Washington DC”; together with a further formerly electroplated rectangular example, marked with the American Spread Eagle and Stars & Stripes, various dates and makers (2)
An early 20th Century patinated Spelter and Alabaster mounted Mantel Clock, modelled in the form of a well head, and with Corinthian column capital, surmounted by a dove over scrolling mounts, and compressed circular drum case, to a shaped baluster reservoir flanked by a bare-breasted young lady holding an amphora with a further dove, to cast and beaded bezel with bevelled glass enclosing a 3 ½” Arabic chapter ring with outside minute track and matted centre to blued steel hands, and fitted with a circular brass movement with platform escapement and strike on a bell, height 28”
18 various makes of buses including Original Omnibus: Park Royal Trolleybus Hastings & District, Capital & Highlands 2-bus set; EFE: Barton Transport 2-bus set, Alexander Fleetline LT red, Routemaster Series RMA LT red; Corgi Blackpool: Brush Railcoach original livery, Balloon Tram Post War. All boxed, minor wear to some, contents VGC.
A large quantity of Bus Books. A good collection including many titles by Ian Allan eg: British Buses in Colour, Municipal Buses in Colour, Bus Operators 1970 – various regional titles. Bus Annual and Bus Yearbook for many different years. Glory Days series eg: Wilts & Dorset, Aldershot & District, Yorkshire Traction, East Kent, Reading Transport. The Heyday of the Bus series eg: Scotland, Maidstone & District, The Postwar Years, Yorkshire. Also such varied titles as Streets of Belfast, Royal Blue Days, London Transport in Exile 1950s & 1960s. Also Trolleybuses titles by Middleton Press eg including Bournemouth, Cardiff, Darlington, Derby, Huddersfield. Together with titles by Venture, Irwell and Capital eg: Buses in the Seventies, Yorkshire Bus Memories in Colour, Interesting Independents - The Midlands. Hardback and Softback titles, including a few covering railway subjects. GC-VGC. Viewing recommended.
A French 19th century snuff box, pressed burr-wood, of Napoleonic interest, depicting a coffin with overlaid drape topped with the imperial wreath and capital `N` within a desert landscape with camels, palm trees, bearing the title `Le Convoi` and inscription `Ta memoire Ne S`Etein Dra Jamais` (2)
* The Royal Navy in the 20th Century. A fine unique collection of hand-made miniature-scale model waterline ships representing the Royal Navy strength from c. 1914-2000, comprising a large group of approximately 3,000 individual vessels commissioned into service during the period. Of wood and wire construction, each hand-crafted model finished in appropriate painted finish, every type of vessel represented by its original counterpart, replacement and new type including the smallest corvette and minesweeper to the largest capital ships and aircraft carriers etc. Contained in a series of display shelves in fitted cabinet, together with owner’s log-books and record-sheets etc. The whole collection, devised, formulated and crafted by Lt. Cmdr. Horace Jeremy Spencer Walpole (1924-2001). Walpole attended St. George’s School near Wellington, New Zealand from the age of 7 to 13 and then went to Dartmouth Naval College from age 13 to 18. During WWII he served on Destroyers and Frigates on North Atlantic Convoys, and on minesweepers in the English Channel during the latter part of the war. He ended his naval career as a submarinner, retiring in 1959. Back on dry land he ran the Farmhouse Hotel, Lower Swell, Gloucestershire, 1960-68, and then became a science teacher at Oakley Hall School, Cirencester, 1968-89. Lt. Cmdr. Walpole was a direct descendent of England’s first Prime Minister, Sir Robert Walpole (First Earl of Orford, 1676-1745). (-)
Lysons (Rev. Daniel & Samuel). The Environs of London: Being an Historical Account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital: Interspersed with Biographical Anecdotes, 3 vols. in five, 2nd. ed., 1800-11, three vols. with addn. eng. vignette titles, numerous etched and engraved views, plans, portraits and maps (inc. few folding), occ. spotting and some browning, t.e.g., contemp. half sheep, worn and some boards detached, spines faded, 4to (5)
Pennant (Thomas). A Tour of Scotland; MDCCLXIX, 3rd ed., Warrington, 1774, title with engraved vignette, 21 engraved plates (complete), some folding, light offsetting, 20th c. half calf, slightly rubbed, 4to, together with Letters from a Gentleman in the North of Scotland to his Friend in London; Containing the Description of a Capital Town in that Northern County; With an Account of Many Uncommon Customs of the Inhabitants..., 2 vols., 2nd ed., 1759, engraved plan (strengthened), eight engraved plates, some spots, annotated leaf at front of vol. 1, contemporary calf, rebacked, a little rubbed, 8vo, plus The History of Scotland..., 2 vols., 1800, scattered spotting, contemporary calf, spines with red labels, lightly rubbed, 8vo, with five others (10)
Moore (Marianne) Poems first edition some pencil annotations relating to the appearance of various poems in issues of The Egoist and the differences (mostly capital letters being used at the beginning of each line) publisher`s prospectus loosely inserted original decoartive wrappers 8vo The Egoist Press 1921. *** The author`s first book published in London without her knowledge by her friends Hilda Doolittle (H.D.) and Robert McAlmon.
AN UNOFFICIAL ROYAL NAVY SHIP`S BADGE FOR H.M.S. NEPEAN (1916)cast in brass with capital N flanked with cut-out swags surmounted with the naval crown — 10½in. (27cm.) high; together with a boat badge from H.M.S. Vindictive of pentagonal form and impressed with ship`s name to reverse — 5½in. (14cm.) high(2)H.M.S. Nepean was a destroyer of 1916 sold in 1921, thus pre-dating any official badge for this ship. The name has not been used since. H.M.S. Vindictive was a cruiser/carrier built in 1918, broken up in 1946.
A pair of modern cast parcel-gilt candelabra, by Garrard and Co, London 1973, modelled as spring and summer, foliate scroll columns, the raised foliate scroll base mounted with a lady with a watering can and a gentleman with a basket of flowers, foliate scroll arms each supporting a scroll urn capital, height 27.2cm, approx. weight 95oz. (2)
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![Psalterium. Edited by Bruno (d.1045), Bishop of Würzburg. [Nuremberg:] Anton Koberger, 1494.
Median 4° (227 x 172mm). Gothic](http://lot-images.atgmedia.com/SR/10058/2803817/d5387096e_468x382.jpg)
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