We found 9689 price guide item(s) matching your search

An early 20th Century hallmarked silver Corinthian column table lamp terminating in acanthus leaf capital, height 44cm including fittings, Sheffield 1908, Hawksworth, Eyre & Co Ltd.

A late 19th Century gilt metal oil lamp base with stepped square base below a Corinthian column capital decorated with acanthus leaves and scrolls, later converted to electric and another similar example with ebonised column (2).

Marc Antony AR Cistophorus. Ephesus, circa 39 BC. M·ANTONIVS·IMP·COS·DESIG·ITERET·TERT·, laureate head right, all within wreath / Head of Octavia atop cista mystica, flanked by snakes; III·VIR· downwards to left, R·P·C· upwards to right. RPC I 2201; CRI 262; RSC 2. 11.61g, 27mm, 11h. Good Very Fine. Slight corrosion to edges. Well detailed, pleasing tone. Following the death of Octavia's first husband C. Claudius Marcellus in 40 BC, her marriage to Antony sought to seal the Pact of Brundisium in which it had been agreed that Octavian would assume control of the west and Antony of the east. The striking of this type cements the agreement before the people of Ephesus, an important city, later made the capital of Asia Minor by Augustus in 27 BC. Octavia spent two winters with Antony in Athens and in 37 BC assisted in securing the Triumvirate for another 5 years at the Pact of Tarentum. Following this, Antony returned to the east and, having left Octavia behind, lived with Cleopatra in Egypt. Although they divorced in 32 BC, after Antony's defeat at the Battle of Actium and subsequent suicide, Octavia raised all of his surviving children by Fulvia and Cleopatra, along with her own.

Augustus AR Cistophorus. Ephesus, circa 25 BC. IMP CAESAR, bare head right / AVGVSTVS, capricorn to right, head turned back to left, cornucopiae on its back; all within wreath. RIC 477; RPC 2213. 11.58g, 26mm, 12h. Extremely Fine. Pleasant tone. The significance of the constellation Capricorn to Augustus is subject to debate, with some ancient sources reporting that it was his birth sign and others relating that he was conceived under the sign - the latter tying in with his official birthday on 23rd-24th September. Although we now view conception and birth as two separate events, the Romans viewed conception through to birth as a continuous process. Under the tropical zodiac, the sun transits Capricorn from late December to late January, marking midwinter and the shortest day of the year. For this reason, often it was considered a hostile sign but Augustus chose to interpret it positively since it had governed two major events in his life - the granting of imperium to him by the Senate in January 43 BC, and the acceptance of the title Augustus on 16 January 27 BC. The capricorn is represented as a goat with a fish tail, and is often thought to be a representation of Pan escaping an attack by the monster Typhon. Having jumped into the Nile, the half of Pan's body which was submerged was transformed into a fish. An alternative interpretation is that the goat is Amalthea, who suckled the infant Zeus after Rhea rescued him from being devoured by his father Cronus. The broken horn of Amalthea transformed into the cornucopiae, which on the present example is carried on the back of the capricorn. It is a symbol of fertility and abundance, and here accompanies the corona civica, awarded to Romans who saved the lives of fellow citizens by slaying an enemy, but in the case of Augustus for having saved the entire Roman citizenry from the horrors of further civil war. In 27 BC, Augustus had declared Ephesus capital of Asia Minor, promoting the city above the former capital Pergamon. The decision to use such striking imagery alongside his birth sign for issues minted in the new capital reinforced Augustus as the head of the new imperial regime.

Constans I AR Siliqua. Nicomedia, AD 337-340. Laurel and rosette-diademed head right, with eyes raised to heaven / CONSTANS AVG, Victory advancing left, holding wreath and palm; SMN in exergue. CNG E-377, lot 532 (same obv. die); CNG 103, lot 883; otherwise unpublished. 3.06g, 20mm, 6h. Extremely Fine. Flan crack, some porosity, hairline scratches. Lightly toned. Very rare, one of three known specimens of the type. Ex Classical Numismatic Group 102, 18 May 2016, lot 1099. Previously unpublished, the cataloguer of CNG 102 assigned this piece to the mint of Nicomedia in the decade following the loss to the city of its status as capital of the Eastern Roman Empire. Certainly this mint produced plentiful coinage in the name of Constans I after he was raised to the purple in AD 337, however the type and specifically the mintmark fit with the known emissions from the mint at Heraclea, and apparently oppose that struck for Constantius II at Nicomedia, so some small doubt remains. The SMN mintmark seen on the present piece would seem to imply that the coin was struck in Nicomedia, however a very similar mintmark was employed at Heraclea (cf. RIC VIII 12, RSC 2b) on issues known for both Constans I and Constantius II, whereas the known type from Nicomedia for Constantius II bears the mintmark SMN? (cf. RIC VIII 3, RSC 4b). The authors of RIC VIII noted that caution was required with regard this piece as they referenced Henry Cohen's earlier work, however this has now been confirmed (Peus E-420, 18 November 2017, lot 6346). Could this coin then simply bear the SMH mintmark of Heraclea, with an inexpertly engraved H? The clarity of the N on this particular example, and the existence of coins from other dies of the same type, strongly suggest it to be an unpublished type from Nicomedia and therefore extremely rare, with only two other examples being known.

Victorian photographs in album - North America 1904 - including Statue of Liberty, Lower New York, Brooklyn Bridge, Broadway, The Bowery, Central Park, The Capital, The White House, The Cascade - St. Louis Exhibition 1904, Palace of Liberty Arts and other views, Niagara Falls, views, King and Yonge Street Toronto, also Sherbourne St. steamer on St. Lawrence River SS Columbian shooting the Rapids, views of Montreal and Boston, plus winter sports and pursuits in Europe, views of Killarney and Scotland, etc - interesting social history record

7 metal paper press stamps. Gulf Pearl petrolium limited, Mayfair capital management.

Art Nouveau Royal Dux Bohemia Fine Quality - Tall and Impressive Hand Painted Porcelain Figural Centre Piece. Mould No 1128. c.1900 - 1910. Depicts a Semi-Nude Maiden Holding a Large Shell, Marked to Base Royal Dux Bohemia and Capital E within a Pink Triangle. Standing 17.25 Inches High. Nr Mint Condition.

A 1960s group of LPs to include The Animals first album on Blue Columbia, four Beatles albums, Japanese import Beegees, two Gene Vincent on Capital etc. all appear to be in v.g. condition.

A pair of wooden table lamps, of recent manufacture, each carved as an inverted section of a Corinthian column capital, 38cm high excluding fitments, with square section tapering shades, 71cm high overall, together with a matched pair of wicker log baskets and a pair of modern fireguards Please note: the lot also includes a set of modern fire irons

Mary Isabella Paine (early 19th century), Original Sketches taken in the Isle of France, 1837, nineteen pencil sketches with titles in ink, various sizes mounted in a contemporary book. Isle de France was the name of the Indian Ocean island of Mauritius and its dependent territories between 1715 and 1810, when the area was under the French East India Company and part of France's empire. Under the French, the island witnessed major changes, including the importation of slaves for increased agriculture and works that transformed Port Louis into a major capital, port, warehousing, and commercial centre. During the Napoleonic wars, the British overcame the French in December 1810 and in the Treaty of Paris (1814), the French ceded Île de France together with its territories to Great Britain. The island then reverted to its former name, 'Mauritius'.

An oil lamp on circular base to barleytwist column with Corinthian capital, pink reservoir and etched pink/cranberry shade with etched decoration and separate associated clear glass funnel (funnel does not fit lamp), height to shade rim approx 69cm. CONDITION REPORT: The front screws off. Surface wear, minor losses and firing faults to the shade, a 2.5cm hairline crack to reservoir, surface dirt, wear and bubbling also, a few minor dents and cracks to the brass.

An oil lamp with barleytwist type brass column and Corinthian capital to circular base, peach reservoir with enamel detail and peach glass shade with etched floral decoration and clear glass chimney, height to shade rim approx 67cm. CONDITION REPORT: Very minor nibbles to shade interior rim, small chips and nibbles to shade base, some loss and rubbing to enamel decoration and visible manufacturing imperfections, some rubbing to etching on shade and manufacturing imperfections, general surface wear commensurate with age, use and display.

Five Boxed Russian Moskvitch 1:43rd Scale Diecast Model Cars all Different Liveries, including Noyta cccp - Capital.

A carved hardwood Corinthian capital, 24" wide

A PAIR OF VICTORIAN SILVER DWARF COLUMNAR CANDLESTICKS, THE CORINTHIAN CAPITAL ON SPIRALLY FLUTED SHAFT, NOZZLES, 15CM H, LONDON 1889, LOADED

A 20th century carved stone capital, 48cm. S4M

Royal Dux Bohemia Fine Quality Pair of Impressive Hand Painted Porcelain Figurines. c.1900. Depicts Classical Maidens / Attendants In Flowing Robes, One Holding an Ewer / Pitcher Containing Wine, The Other Holding a Bowl of Fruit. Each Figure Raised on a Circular Base. Each Figure Marked Royal Dux Bohemia with a Capital E to Base of Figure Within a Pink Triangle. Mould Number 2112 & 2113. Each Figure In Nr Mint Condition and Stands 14.75 & 15.5 Inches Tall - Please See Photo.

A Classical design composition garden statuary pedestal, Ionic capital, fluted column, 47cm high; a square garden planter (2)

A 19th century cast and gilt bronze figure of Minerva, kneeling atop an Ionic capital with shield raised and spear in hand (probably salvaged from a marble clock garniture) 25cm high

Red Flamingos Saloman Signed Limited Edition 266/295  - Mounted and Framed 55x62cmEdwin Salomon was born in 1935 in Ocna Mures, a town in the region of Transilvania. In 1948, he moved to Cluj, the capital of Transilvania. He grew up there and after graduating from the local high school; in 1951, he was admitted to the Academy of Fine Arts named after Ion Andrescu in Cluj. In the fourth year of his studies, the National Museum of Bucharest bought three of his paintings. Two years later, in 1957, he graduated from the Academy of Fine Sculptors Association as a member, an act that symbolized his adaptation to the Israeli art world. In 1965,Salomon went to Paris, for additional artistic training at the Sorbonne. In the same year he was awarded the Nordau Prize. Later he won more prizes : Tel- Aviv's Bible Museum award for the year 1983 and a honorary Prize awarded by the Holon Municipality in 1985 in the form of 18 trees planted in his name. In 1989, he was accepted as a member of the National Artists Association of France and was awarded the Gillot Dard Prize. In 1990, he won a silver medal at the International exhibition in Turon. He teaches art at a variety of institutions, among them the Art Institute of BatYam, the Tel Aviv Museum and the teachers College in Ramat Hasharon, as well as serving as Art Director for the Wizo-France Vocational high school.Edwin Salomon's paintings appear in numerous private collections in Israel, the USA, Canada, Uruguay, Brazil, Romania, Sweden, Hungary as well as in public collections such as the National Museum of Bucharest, the Cluj Museum, The Hertzelia Museum, the President's residence in Jerusalem and the Great Synagogue of Washington D.C.

White Flamingo's Saloman Limited Edition 260/295  - Mounted and Framed 55x62cmEdwin Salomon was born in 1935 in Ocna Mures, a town in the region of Transilvania. In 1948, he moved to Cluj, the capital of Transilvania. He grew up there and after graduating from the local high school; in 1951, he was admitted to the Academy of Fine Arts named after Ion Andrescu in Cluj. In the fourth year of his studies, the National Museum of Bucharest bought three of his paintings. Two years later, in 1957, he graduated from the Academy of Fine Sculptors Association as a member, an act that symbolized his adaptation to the Israeli art world. In 1965,Salomon went to Paris, for additional artistic training at the Sorbonne. In the same year he was awarded the Nordau Prize. Later he won more prizes : Tel- Aviv's Bible Museum award for the year 1983 and a honorary Prize awarded by the Holon Municipality in 1985 in the form of 18 trees planted in his name. In 1989, he was accepted as a member of the National Artists Association of France and was awarded the Gillot Dard Prize. In 1990, he won a silver medal at the International exhibition in Turon.He teaches art at a variety of institutions, among them the Art Institute of BatYam, the Tel Aviv Museum and the teachers College in Ramat Hasharon, as well as serving as Art Director for the Wizo-France Vocational high school. Edwin Salomon's paintings appear in numerous private collections in Israel, the USA, Canada, Uruguay, Brazil, Romania, Sweden, Hungary as well as in public collections such as the National Museum of Bucharest, the Cluj Museum, The Hertzelia Museum, the President's residence in Jerusalem and the Great Synagogue of Washington D.C.

Book of Hours Page, 14th-15th century AD A vellum page with Latin writing to each side, the capital letters illuminated with pigment and gilding. To the side a panel of interlaced flowers. Ex. London Collection, formed over between 1990 - present. Declaration of provenance:  All provenance details are supplied by the vendor (consignor) – Hansons Auctioneers and Valuers supply a Certificate of Authenticity with all antiquities sold showing authenticity. Provenance and known details recorded on this.

Book of Hours Page, 14th-15th century AD A vellum page with Latin writing to each side, the capital letters illuminated with pigment and gilding. Ex. London Collection, formed over between 1990 - present. Declaration of provenance:  All provenance details are supplied by the vendor (consignor) – Hansons Auctioneers and Valuers supply a Certificate of Authenticity with all antiquities sold showing authenticity. Provenance and known details recorded on this.

19th century pine fire side uprights fireplace pilasters, mask Corinthian column capital, scrolled decoration, fluted, acanthus leave carved with stepped ogee plinth, H89cm

Art Nouveau Royal Dux Bohemia Fine Quality - Tall and Impressive Hand Painted Porcelain Figural Centre Piece. Mould No 1128. c.1900 - 1910. Depicts a Semi-Nude Maiden Holding a Large Shell, Marked to Base Royal Dux Bohemia and Capital E within a Pink Triangle. Standing 17.25 Inches High. Nr Mint Condition.

Royal Dux Bohemia Fine Quality Hand Painted Porcelain Figure Group. Depicts Young Dutch Girl at The Well Feeding Two Goats on a Rocky Crag. c.1910 - 1920. Mould Number 2559. Marked Royal Dux Bohemia and Capital E, within a Pink Triangle to Underside of Figure. Wonderful Condition. Stands 13.25 Inches High.

Royal Dux Bohemia Fine Quality Pair of Impressive Hand Painted Porcelain Figurines. c.1900. Depicts Classical Maidens / Attendants In Flowing Robes, One Holding an Ewer / Pitcher Containing Wine, The Other Holding a Bowl of Fruit. Each Figure Raised on a Circular Base. Each Figure Marked Royal Dux Bohemia with a Capital E to Base of Figure Within a Pink Triangle. Mould Number 2112 & 2113. Each Figure In Nr Mint Condition and Stands 14.75 & 15.5 Inches Tall - Please See Photo.

"North Africa, Carthage AR Shekel. Time of Hannibal. Carthago Nova, circa 218-206 BC. Bare male head (Hannibal?) left / Horse standing right, palm tree behind. MHC 142; ACIP 603; SNG BM Spain 104-5. 6.98g, 21mm, 11h.Very Fine; light scuff on edge. Very Rare. This coin is conventionally believed to carry the portrait of Hannibal on the obverse.In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of ""re-establishing Carthaginian authority in Iberia"" (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka, Mahon and finally in 227, Qart Hadasht (Latin: Carthago Nova) as his capital. After his untimely death in 221 he was succeeded by Hannibal (247-182), oldest son of Hamilcar Barca, and Hamilcar's second son Hasdrubal (245-207 BC). The Barcids now wielded control over much of the mineral rich Mediterranean side of the peninsula until 219 when Hannibal made the fateful move of taking and sacking Saguntum, a well established Roman ally. The wholesale slaughter of this Roman allies’s population, and the arrogance with which the Roman ambassadors sent to Carthage to seek redress were met, led directly to the Second Punic War: the great statesman Quintus Fabius, speaking to the Carthaginian senate, gathered a fold of his toga to his chest and held it out, saying ""Here, we bring you peace and war. Take which you will."" The Carthaginians replied ""Whichever you please - we do not care."" Fabius let the fold drop and proclaimed ""We give you war."" "

1978 Wales in Australia Rugby programmes - incl v Australia 1st Test, v Australian Capital Territory, v Victoria, and v Queensland (VG) (4)

New York. National Geographic Magazine (publishers), The Reaches of New York City, published Baltimore, 1939, large decorative folding lithographic map by Albert H. Bumstead, inset map of South Jersey, margins decorated with portraits of prominent Americans, topographical vignettes and vistas, old folds, 705 x 645 mm, together with Historic and Scenic Reaches of the Nation's Capital, published Baltimore, 1938, decorative folding lithographic map, the vertical margins decorated with portraits of illustrious personages, 645 x 765 mm (2)

After JOHN LEECH; a coloured hunting print "A Capital Finish", 17" (43cms) x 24" (61cms), another after CECIL ALDIN "The Sweetest Music in All The World", and one other hunting print.

An unusual montage of five views of New Zealand city scapes inscribed Capital Kaleidoscope - T Sherwen, dated 1989, 34 x 55cm, together with a 19th century watercolour of an estuary scene with shipping, and a further collection of pastels, watercolours, etc of landscape subjects, buildings, etc, various sizes all framed

A quantity of railway and London Transport related items. Including 50+ books published by London Transport, Ian Allan, Capital Transport, etc. Together with an archive of London Transport employee and Union booklets and leaflets dating from 1940s-1980s and relating to working practices, rules & regulations, Union elections, etc. Plus 20+ models of LT buses, including examples by Corgi, Dinky, Matchbox, EFE, and some kit built. A BR railway lamp in white and a few other items. Viewing recommended. QGC-VGC. £50-70

A Gilt Brass Engraved Striking and Repeating Alarm Carriage Clock, signed Brunelot, circa 1870, carrying handle and repeat button, enamel dial with Roman numerals, alarm dial twin barrel movement with a silvered platform lever escapement and striking on a bell, backplate stamped with the trade mark capital B within a circle for Brunelot and Medaille D'or Pons 1827, numbered within the movement plates 340, 17.5cm high over handle, with later outer travelling case see illustration . 14.06.18, Gilding slightly rubbed in parts, front and left hand side glass panels with small chips to corners, dial with hairline cracks to the bottom left hand side, dial with minor scratches and dirt marks in parts, name on the dial is rubbed, platform is discoloured, movement is dirty, going train and alarm mainspring barrels are winding smoothly, striking barrel is not winding, strike not working, movement in going order, later outer travelling case.

An Oak Eight Day Longcase Clock, signed S.Lomax, Blackburn, circa 1770, swan neck pediment, wavy shaped trunk door flanked with inset pilasters, plinth with canted corners, 13-inch square brass dial with chapter ring signed, dial centre with engraved scroll decoration, date aperture, penny moonphase and lunar scale apertures, four pillar movement with an anchor escapement and inside countwheel striking on a bell, 225cm high see illustration . 19.06.18, Hood with some moulding detail missing to the sides, swan neck front capital has come off, some wood is slightly lifting to the left hand side of the trunk, right hand side of the plinth with side panel and mouldings have come apart due to dry joints, sides of the skirting have come apart, plinth with the top right hand side corner moulding is missing, plinth left hand side with wood lifting, dial is discoloured, chapter ring needs silvering, later seatboard, movement needs cleaning.

Five various framed bank notes to include Chinese and German examples; and a quantity of framed capital stock and Bond certificates

•JAMES SPARSHATT (B. 1966) 'EL ENSAYO' Cuban dancers, numbered 3/12 in pencil to the margin, palladium platinum print, 41cm x 48cm Provenance: Acquired from Capital Culture, Covent Garden, London

Giovanni Battista Piranesi (Italian, 1720-1778) Ancient intersection of the Via Appia and Via Ardeatina; Ancient Circus of Mars with neighbouring monuments viewed from the Via Appia Two architectural capriccios forming the frontispieces to vol II and III, respectively of Le Antichità Romane, Rome, circa 1756 Etchings with engraving, [F.225; W-E.360 and F.287; W-E.422, respectively] 40 x 64.5 cm (15 ¾ x 25 ½ in) and 40 x 60 cm (15 ¾ x 23 5/8 in), respectively Together with Veduta dell’Isola Tiberina [H.121; F.836; W-E.254], and Spaccato interno della Basilica di S. Paolo fuori delle mura [H.7; F.792; W-E.138], 2 plates from the Rome edition of Vedute di Roma; also a large marble vase and pedestal [F.656; W-E.943]; and 2 small plates of trophies and the capital of a column [F.134; W-E.269 and F.968; W-E.800, respectively] (7) Property of the late Roger Bruno Higgins Please note: One of the prints is illustrated twice in the printed catalogue.

Miscellaneous - A Treatise on Meteorological Instruments: Explanatory of their Scientific Principles, Method of Construction, and Practical Utility, by Negretti & Zambra [...], Published and Sold at [...their] Establishments, London 1864, pp: xii, 152, 8, contemporary buckram and yellow endpapers, small 4to; Goldsmith (The Rev. J.), Geography, on a Popular Plan, Designed for the Use of Schools, and Young Persons: Illustrated with Sixty Copper-Plates, fifth edition, Richard Philips, London 1808, engraved maps and plates, full contemporary calf, gilt lettered morocco title label, thick 16mo; Local Provincial Imprint, The Scholar's Companion; Being A Complete Question Book for the Learner of Arithmetic, third edition, Printed and Sold by T. Woodhead, Chesterfield 1827, pp: [ii], 72pp, contemporary red morocco spine and marbled paper boards, 12mo; 19th century Chesterfield Grammar School full morocco prize binding; American Imprint, "The Modern Babylon": Mysteries of London; A Picture of Life and Things As They Are in the British Capital, Holland & Glover, New York 1845, 64pp, contemporary quarter green morocco and marbled boards, thin 8vo; Wright (Andrew, of The Inner Temple), Court-Hand Restored: or, The Student's Assistant in Reading Old Deeds, Charters, Records, etc., Neatly Engraved on Twenty-Three Copper-Plates [...], eighth edition, Henry G. Bohn, London 1864, contemporary buckram, 4to; The Surprising Travels and Adventures of Baron Munchausen [...], Two Vols. In One, With Plates, Printed for The Booksellers, London [n.d., c. 1840], pp: xii, 162, complete with engraved frontispiece, one-page and fold-out plates, contemporary quarter oxblood morocco and papered marbled boards, title label to spine, 12mo; Old and New London: A Narrative of Its History, Its People, and Its Places, Illustrated with Numerous Engravings, From the Mos Authentic Sources, three-volume set, Cassell, Petter & Galpin, London [n.d., c. 1875], contemporary half-leather and buckram, 4to; early 19th century and later chap books; bindings; etc

An 18th century silver Harlequin taper stick, the capital with maker's mark of W.D in a rectangular punch with a wavy-edge border, modelled in a standing position, with arms raised holding a fluted drip pan, spool shaped capital, on a raised circular base, height 14.5cm, approx. weight 6oz.

An American silver part canteen for twelve, by S. Kirk & Son, stylised Old English Thread pattern, comprising: twelve table forks, twelve knives, eleven butter knives, twelve dessert forks, fifteen teaspoons, four tablespoons, a sauce ladle, twelve soup spoons, four sundae spoons, in a simulated crocodile skin canteen, plus a Brazilian silver dessert spoons, a sauce ladle, an American silver vase, tapering form on spreading foot, a Victorian Scottish silver single-struck egg spoon maker's mark T.P, Glasgow 1853, and a pair of small candlesticks with pierced capital, approx. weight 90oz. (qty)

An early Vulgate New Testament, missing titlepage, starting at page 3 with 'Sanctum Jesu Christi Evangelium Secundum Matthaeum Caput I...' and decorated capital 'L' (Liber generationis...), later-bound with a folding map of the Holy Lands (three maps in one) after Nicolas Sanson (1600-1667), the arms of Edward [9th] Duke of Norfolk, Earl Marshall of England (1686-1777) pasted down on inside front board (covering a previous ink inscription) and an engraving of Ezekiel and the Angel to inside back board, gilt-tooled calf, small 32mo

Pair of Italian Baroque-Style Painted and Parcel Gilt Torchères, 19th c., Ionic column capital, spiral-turned standard, circular base, h. 78 in

GLASGOW CELTIC 1914 Gilt inscribed Celtic Football and Athletic Company Limited Annual Summaries Ledger commencing in 1914. Contains Register of Directors and their home addresses, Register of Shareholders , addresses, shares held and amount paid on each share, both dated 25th May 1914. Other entries include Summary of Share Capital and Shares for the Celtic Football and Athletic Co Ltd dated 15th June 1915 as per Companies Acts 1908 and 1913, followed by a list of shareholders, addresses, shares held and amounts paid as at 30th April 1915 , signed by W.Maley Secretary 30/4/15. The Ledger also has the same information plus Register of Directors as at June 1916, there being 5 Directors including Thomas White and James Kelly. The entries continue for 1917 and 1918, a Balance Sheet for 1918 is included plus the entries for 1919 and 1920 conclude the register. Several signatures of Maley in the Ledger and it seems that all the pages of entries are in Maleys handwriting. Willie Maley was manager of Celtic between 1897 and 1940 when he retired at the age of 72. The Ledger is a little damaged at the top of the spine and on the both the front and back of the hardback ledger but overall condition is , in our opinion, Fair, possibly Fair-generally good and this ledger is the record of part of the history of the Club and did of course originally reside at the Club. As described

Hornby 0-gauge rolling stock vans, to include: Capital truck; milk van; brake van; and others. (13)

Fiji : 1874-1916 A remarkable collection of the postmarks of Fiji in a Senator loose-leaf album. Starting with Levuka, the old capital, with cds cancels on 12 stamps, a page of 'Sunburst' killer cancels showing the Levuka oval type on 2 single KEVII adhesives & a strip of 4 of the 2d dull green on piece; the Suva killer on 8 values, two in bright red; Smaller post offices are represented by BUA, with three values with manuscript name cancel & date(1900-02); UDU KACU manuscript cancel across a pair of 1d mauve(1899); TAVIUNI on Edward 1d(1905); NANUKULOA RA on 1d mauve(1902); scarce cds cancels of P.O.BA (3), P.O.NADI (2), P.O.NAVUA(3) & undated violet double ring SAVU SAVU/POST OFFICE on Edward ½d pair. The a 'locally made' cancel of P.O.NAMOLI in violet (c1900-01) on 2 x ½d green. Violet LAUTOKA, part cancels in violet on 1d & 2d(c 1900-07) & 4 examples of the 23mm cds on 4 adhesives (1905-10). A manuscript cancellation by the postal agent at NAUSORI (1897) plus 3 values with the cancel of 'A.M.Brodziak & Co Nausori' (1898) & 1899,1900 & 1903 examples of the Nausori P.O.cds on 1d or 2d adhesives; 2 pages of SUVA with various cds cancels from 1892 & examples of the duplex (1895). Three pages of cancels, not written-up, at the back of the album include more 'killer' cancels & part straight line cancels of SOMO SOMO, NADARIVATU, NADROGA, WAINIBOKASI etc. Plus some possibly fiscal manuscript cancels. A terrific lot for the specialist, many marks are rarely seen. All on stamp(s).(114 items - 135 stamps) Scans & photocopies are available - please contact the office. [US3]

UTAGAWA HIROSHIGE (1797-1858) Cherry trees at night at the Yoshiwara, from the series 'Famous Places in th Eastern Capital', woodblock print in colours, 22 x 34cm, mounted but unframed

Fitzherbert (John) The Boke of Husbandry, collation: A6 B-M8 N4 (lacking final leaf N4, probably blank), almost entirely printed in black letter, title within woodcut architectural border, woodcut initials, several leaves guarded and/or with marginal restoration but textually intact and with good margins, some soiling, modern calf, spine lettered and ruled in gilt, [STC 10997.3; Fussell I, pp.1-6], 8vo, In aedibus Thomae Bertheleti typis impress. cum privilegio Ad imprimendum solum, 1544.⁂ The only copy recorded by ESTC. "The book deals exhaustively with the best principles of arable farming of the time, describes the tools and discusses the capital required, and is moreover a conspectus of the life of a contemporary farmer and his family and servants, and many of the methods are fundamentally those which all later generations of farmers must perforce follow." (Fussell).Provenance: William Taylor (contemporary ink inscription in lower margin of L6.Rothamsted acquisition date 1934.

Russia.- Lyall (Robert) The Character of the Russians, and a Detailed History of Moscow, first edition, 13 hand-coloured aquatint plates, 10 plain plates and one large folding engraved plan of Moscow, library blind-stamps to title and plates, occasional spotting or offsetting, lacking half-title, endpapers browned, [Abbey, Travel 224], 4to, 1823⁂ An important work, which includes a fine folding panoramic view of the Kremlin palace from the river Moskva, a catalogue of plants found in the vicinity of the capital, an essay on Russian architecture and an account of Napoleon's burning of Moscow in 1814.

Columella (Lucius Junius Moderatus).- Laetus (Pomponius) Hortuli commentarium, sive In de re rustica Lib. X commentum, collation: [a6, b4], 10 leaves, text in single column, 35 lines, type: 4:86G, blank space for one capital, with printed guide letters, on recto of first leaf, some light marginal water-staining and spotting, 19th century red morocco-backed marbled boards, gilt, spine lettered in gilt, 4to (207 x 141mm.), [Rome, Bartholomaeus Guldinbeck], [c.1485].⁂ Rare edition of this commentary on the tenth book (entirely devoted to gardening) of De Re Rustica by Columella, the most systematic of all treatises of Roman writers on agricultural affairs, which first appeared in Rome in about 1472. This commentary is without the text, and was circulated in manuscript around 1467. On the basis of a comparative study of the surviving manuscripts, authorship can be attributed to the famous Roman humanist Pomponius Laetus (1428-1498). "Laetus apparently did not edit the text, and the commentary is concerned with the explication of mythological, geographical, and botanical points [...] much of his material comes from Cato, Varro, and Pliny the Elder" (V. Brown, "Columella", p. 181).Only 14 copies of the Hortuli commentarium are recorded in institutional libraries, including the Rothamsted one. The edition was issued entirely anomymously and without date, and is now generally assigned to the printing house established in Rome by Bartholomaeus Guldinbeck. Provenance: Rothamsted acquisition date 1915 Literature: ISTC ic00765000; H 5494*; GW 7188; Bod-inc C-390; BMC IV 73; IGI 3068; Goff C-765; Klebs 288.2; V. Brown, "Columella, Lucius Junius Moderatus", in CTC III, pp. 175-176, 181-184.

Palladius (Rutilius Taurus) Opus agriculturae, manuscript on vellum, II + 111 + I leaves (text complete, although manuscript resewn with result that it is impossible to give its original quiring), early inked foliation to upper margin, faded or trimmed at time of rebinding, modern pencilled foliation written every ten leaves in outer upper margin, text block: 120/125 x 80mm., single column, 24-25 lines, text written in brown ink, in a single minuscule chancery hand throughout, rubricated in red, the first capital letter of each chapter set out, a generally well preserved manuscript, browning, staining, and spotting in places owing to different quality of vellum used or recycled (some leaves are palimpsest), some flaws to vellum, a few organic holes, around which the scribe has written text, marginal notes and glosses in two early hands, the earliest in reddish brown ink, vellum pastedowns and endpapers, 19th-century russia, covers within frame of blind and gilt fillets, central gilt arms of Pelham-Clinton family, spine with four raised bands, title and 'MS' lettered in gilt, gilt turn-ins, green silk bookmark, 8vo (156 x 113mm.), Italy (?Tuscany), [early 15th century].⁂ inc. Palladij Rutilij Tauri Emiliani viri Inl[ustris] opus agriculturae incipit feliciter. Titulus libri primi. [text inc. De praeceptis rei rusticae. Pars est prima prudenciae, ipsam cui praeceptur[us] es extimar[e] ...].expl. Palladij Rutilij Tauri Emiliani viri Inl[ustris] opus Agriculture explicit feliciter.A fine manuscript, from the celebrated library of the Dukes of Newcastle in Clumber, of this important 4th-century Roman treatise on agriculture, which enjoyed a wide popularity in the Middle Ages and early Renaissance, owing to its clear arrangement, with the farming and gardening tasks subdivided according to the twelve months of the year. Palladius relied mainly on Columella's De re rustica, but seems however to have had personal experience of farming, mentioning his own farmlands in Italy and Sardinia.The Opus agriculturae (On Agriculture) was originally composed by an introduction and twelve books corresponding to the months of the year; Palladius later added a fourteenth and fifteenth book, entitled De veterinaria medicina (On Veterinary Medicine) and Carmen de insitione (On Fruit Trees) respectively, which generally had a separate manuscript circulation. The work was first printed in Venice in 1472, in the collection dedicated by Nicolas Jenson to the Roman authorities on agriculture (see lot 5). Palladius' manuscript tradition is extremely complex, with the text of the Opus agriculturae represented by over one hundred manuscripts, from the 8th to the 16th century. The earliest surviving manuscripts extant contain, as here, Books 1-13, and derive from one lost copy which was probably produced in north-eastern France in the 8th century. The hand-writing suggests an Italian origin for the Rothamsted Latin Palladius, but it has not been possible to identify with certainty the area of its production, although north or central Italy, possibly Tuscany, would appear most likely. If both the place of production of the manuscript and the marginal glosses which supplement the text deserve further research, the importance of its provenance is by contrast, unquestionable. As the arms stamped in gilt on the binding show, it was once preserved in one of the most refined English libraries, that assembled in Clumber by the Pelham-Clinton family, Dukes of Newcastle under Lyne, and mostly formed by the fourth Duke of Newcastle (1784-1851). The book collection was sold at four Sotheby's sales between 1937 and 1938, offering a fine group of manuscripts, including the famous Hours of Isabel of Brittany, also known as the Lamoignon Hours. The preface to the sale catalogue states, "The books and manuscripts from Clumber [are] the most important to appear at auction in this country since the Holford sales nearly ten years ago".No other Palladius manuscript has appeared on the market in the last fifty years.Provenance: from the library of the Pelham-Clinton family, Dukes of Newcastle under Lyne (armorial binding; see Sotheby's sale The Magnificent Library the Property of the Late Seventh Duke of Newcastle Removed from Clumber, Worksop and Sold by Order of the Rt. Hon. the Earl of Lincoln, London 1937).Rothamsted acquisition date 1937. Literature: N.R. Ker, Medieval Manuscripts in British libraries. V. Indexes and Addenda, edited by I.C. Cunningham and A.G. Watson, Oxford, 2002, p. 13; J. Svennung, Untersuchungen zu Palladius and zur lateinischen Fach- und Volkssprache, Uppsala 1935, esp. pp. 619-629; Palladius, Opus agriculturae. De veterinaria medicina. De insitione. Edidit R.H. Rodgers, Leipzig, B. G. Teubner, 1975; R.H. Rodgers, "Palladius", in Catalogus Translationum Commentariorum III, pp. 195-199.

Cato (Marcus Porcius), Marcus Terentius Varro, Junius Moderatus Columella and Rutilius Taurus Palladius. Libri de re rustica, first Giunta edition, collation: AA8 BB12 a-z8 &8 Ꝝ8 ꝶ8 A-P8 Q12 , woodcut printer's device on otherwise blank final leaf, a few woodcut diagrams, decorative initials on title and 7-line capital letters in text supplied in red and blue, headlines and chapter headings with red and blue flourishes, capital letters and numerals throughout highlighted in yellow, ruled in red throughout, last 2 leaves laid down, margin and lower corner of title repaired to verso, some water-staining at head causing some running of the blue decoration mostly towards end, a few ink annotations, name inked out from head of title, upper hinge weak, 19th century roan, spine faded, 8vo, Florence, Filippo Giunti, 1515.⁂ A lavishly decorated copy of this important edition.Rothamsted acquisition date 1915.Literature: Adams S806; Renouard 67; Bib. Bacchia II, 594; Bib. Gastronomica 311; EDIT xxxxxxxxxxxxx

Bifolium from a New Testament with readings from John and the Pauline Epistles, in Latin on parchment [probably France or Low Countries, tenth century]Bifolium, each leaf with single column of 28 lines in a late Carolingian minuscule with signs of Romanesque influence, but retaining a strong st-ligature, a capital ‘e’ with a protruding tongue and distinctively Carolingian forms of ‘f’ and ‘r’, small initials in red (now each somewhat oxidised to silver), ch. nos. in margins, a few small corrections in a near-contemporary hand, scuffed with losses to text on reverse, small stains, torn at edges, overall fair and presentable, each leaf 200 by 158mm. From a visually appealing Carolingian portable codex of the New Testament.

Leaf from an early Atlantic Bible (II Samuel 8-11), in Latin, manuscript on parchment [Italy, late eleventh century or perhaps c. 1100]Single monumental leaf, with double column of 48 lines in a fine rounded Romanesque hand, without biting curves and with a number of paleographical features which hark back to Carolingian models (note in particular the capital ‘F’ which sits with its lower horizontal penstroke on the line, recalling insular forms), reused in a later binding and hence with blank margins trimmed away, small rust-spots and holes and some small scuffs and stains, overall in good and presentable condition, 490 by 310mm. What is remarkable here is that despite the skill of the copyist and the high quality of his script, there are a surprisingly high number of corrected textual errors on this leaf. Individual missing words were added, most probably by the main hand or a close associate, interlineally, on ten occasions, while other words have been corrected by adding missing parts of them in the margins. An entire clause is added between lines in one place, and in another a line was erased to make room for two small cramped lines with omitted text. Extraneous words or letters are erased, leaving awkward gaps mid-sentence, others have their grammatically incorrect endings lined through and replaced and another is dotted under and its correct variant written above it. Finally some repetitions of a few words are deleted by lining through. There are so many of these in fact that one can only read a few lines without stumbling across such an error. Unless we are to believe that such an accomplished scribe was capable of making so many mistakes, then we might suppose that as this leaf comes from a parent codex early in the tradition of Atlantic Bibles, it was faithfully copying a notably faulty exemplar. The palaeography might suggest that this exemplar was very early, perhaps even pre-Carolingian.

Leo the Great, Tractatus LXXII, in Latin, single leaf from a vast Carolingian manuscript on parchment [Germany (probably western Germany), first or second third of tenth century] Single large leaf, with double column ruled in drypoint for 33/34 lines in a skilled Carolingian minuscule, using et-ligature integrally within words, tall wedged ascenders, an ‘e’ with a long thin tongue, and a characteristic capital ‘S’ whose entire lower compartment sits below the line, simple capitals in same ink, trimmed at top removing only blank border, and at outer edge removing a few letters from the edge of the outer column, some folds, cockling and small stains and scuffs from reuse in the binding of a large volume, but overall in good and legible condition, 389 by 237mm. This is most probably the last surviving relic of a breathtakingly large Carolingian codex, presumably prepared for monastic reading.

ƟWilliam Peraldus, Summa de vitiis, in Latin, decorated manuscript on parchment [France (perhaps central), late thirteenth century]  224 leaves (plus one modern paper endleaf at each end and an original parchment endleaf at front), wanting a single leaf after fol. 101, else complete, collation i-iii8, iv12, v-vi8, vii10, viii8, ix12, x10, xi11 (last but one wanting), xii8, xiii12, xiv10, xv8, xvi12, xvii-xviii10, xix12, xx2, xxi10, xxii-xxiii8, xxiv12, contemporary leaf signatures in red, with quire signatures until tenth quire then sporadic catchwords, double column of approximately 35 lines in a number of tiny and leaning university hands, with curling cadels in places in lower margins, red rubrics, red or blue paragraph marks, simple initials in red and blue with penwork to contrast, some spaces left for other initials, initial in frontispiece on red and blue with bi-coloured penwork, some marginalia, one leaf once with a devotional miniature (planned as part of the original layout, but now wanting, leaving only paste-marks from its edges), slightly trimmed at edges (but many leaves with original prickmarks from ruling), some cockling and natural flaws to a number of leaves, small rustmarks to first original endleaf showing earlier binding had two clasps held in place by iron nails (marks on inside of this leaf suggesting another devotional miniature once pasted there), overall fair condition, 170 by 120mm.; nineteenth-century brown tooled leather over pasteboards, scuffs to edges This is a charming and stout thirteenth-century codex with a noble French provenance, and of a date and possible origin which may place it close to the author and the earliest manuscripts of the textProvenance:1. This volume is a little too homespun to have been produced in a large and populous centre such as Paris, and the irregularities of its hands and later history may indicate an origin in central France instead, perhaps in the Auvergne. The first owner, or at least a near-contemporary one, added the textual observation in French: “Le vin broutin est fally” (probably ‘the eighth paragraph is wanting’) in large script at the head of fol. 123r.2. Claude Etienne-Annet (1754-1823), marquis des Roys, seigneur d’Echandelys in the Auvergne, politician and captain in the regiment de Dauphin-Cavalrie: his armorial bookplate inside front board. He is not recorded as great book collector who sought acquisitions from far afield, but he did live through the French Revolution and the secularisation of the monasteries of France. 3. Roque Pidal y Beraldo de Quirós (1885-1960) of Madrid, the grandson of the marquis de Pidal, and a substantial antiquarian and bibliophile with large collections of manuscripts and incunables: his label on front board noting this codex was deposited along with his other manuscripts in the Biblioteca Nacional for some time (this his MS. 12). Part of his collection passed to his alma mater, the University of Oviedo, in 1935, and the rest was dispersed by his heirs.Text:William Peraldus (c. 1190-1271) was a Dominican preacher from Peyraut in the Ardèche. He studied in Paris before entering the Dominican Order, rising to become prior of the community in Lyon in 1261, where he waited in attendance of Philip I, count of Savoy and archbishop of Lyon. His magnum opus was this work, the Summa de Vitiis, mirrored by his later sister-composition, the Summa de Virtutibus. That here deals with the seven capital vices and sins, and spread widely throughout Europe as a practical handbook for preaching. It survives in over 500 manuscripts, often from Dominican and Franciscan communities, but what sets the present manuscript apart as of potentially great textual importance is its date and the probable geography of its origin. It is notably early, written within the lifetime of the author or in the years immediately following, and probably from the same region as that in which the author worked, the Auvergne (Echandelys sits some 30 miles to the west of Lyon). The codex here includes the Summa de Vitiis on fols. 1-221r, followed by an antiphon sung at the Mass of St. Paul’s crucifixion (28 April): “Christus passus est pro nobis …”. Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT). 

Ɵ  Valerius Probus, De notis romanis, in Latin, manuscript on paper [Italy, mid-fifteenth century]  9 leaves, a single complete gathering (the last leaf once a cancelled blank), wanting a single leaf at beginning, else complete, entries in 2 columns: abbreviations followed by expanded text, all in professional humanist script (approximately 21 lines in each column), entries arranged alphabetically, each entry headed by an ornamental Roman capital, watermark of a hunting horn with central band and elephant-trunk like lips to mouthpiece (close to Briquet 7686 and many others, from a wide distribution across fifteenth-century Italy), first leaf beginning with last two lines of prologue of text, some old waterstains (without substantial affect to text), a few later scribbles in margin, overall in fair and presentable condition, 198 by 135mm.; stitched into card binding, probably nineteenth-century This is the only surviving work securely attributed to the Roman Grammarian, Valerius Probus (Marcus Valerius Probus, c. 20/30-105 AD.), who rose to prominence during the reign of Nero. What survives is most probably only part of the original text. Abbreviations, and excessive use of them, were as much of a problem for Ancient readers as they were for medieval, Renaissance and modern students of manuscripts. Isidore of Seville notes that some frowned on their usage, and Justinian expressly forbid their use in legal texts and set punitive penalties for anyone using or selling such a book. Probus’ text championed a more permissive approach to their employment by copyists, offering the reader an easy reference tool for their decipherment. Copies are extremely rare on the market, and the Schoenberg database lists only a single manuscript as having been offered for sale, that in a Renaissance compendium sold by Laurence Witten in his cat. for 1964, no. 313 (now Beinecke, Yale). Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT). 

The Hours of Isabella d’Este, Use of Rome, in Latin, opulently illuminated manuscript on parchment [Italy (Florence), c. 1490]  240 leaves, text complete, wanting a single leaf before fol. 233 (probably with a miniature), collation: i12, ii11 (i a singleton with miniature), iii-xi10, xii11 (i a singleton with miniature), xiii-xvii10, xviii8, xix11 (i a singleton with miniature), xx-xxi10, xxii11(i a singleton with miniature), xxiii-xxiv8, catchwords, single column of 13 lines of a fine rounded gothic bookhand, headings in red and burnished gold, one-line initials in blue or burnished gold, 2-line initials in same with contrasting infill and penwork, each initial followed by ornate penwork capital, seven large illuminated initials formed of coloured leaves, with full borders of dense coloured foliage and bezants extending into three margins, five large historiated initials and borders by the Florentine brother-artists Gherardo and Monte di Giovanni del Fora (Gherardo producing the miniatures and Monte the decoration), each with full borders of foliage enclosing smaller miniatures within roundels, putti, birds and architectural features, and the first four of these facing four full-page miniatures also by the same artists, within full borders enclosing further miniatures within roundels, prayers added in italic hand at end, a few small holes (mostly repaired), edges trimmed affecting extremities of borders, slight scuffs and stains in places, else in excellent condition, 130mm. by 88mm.; binding of late nineteenth-century Parisian black morocco, with gilt inlaid with brown strapwork in entrelac style by Marius-Michel (either Jean Marius-Michel, 1821-1890, or his son and successor in the firm, Henri, 1846-1925), splitting along edges of spine, but solid in binding  An exquisite Book of Hours, reflecting the very heights of Renaissance book production, and made for that period’s supreme female patron and art-collector; and almost certainly the last book connected with her or her court available on the market Provenance:1. Written and illuminated for Isabella d’Este (1474-1539), daughter of Ercole I d’Este, duke of Ferrara, and the wife of Francesco Gonzaga, marquis de Mantua: arms of Este and Gonzaga in the bas-de-page of the first illuminated double page opening, facing each other. She sat at the centre of a wide political network that encompassed almost all of Italy, with her father’s contacts in Rome, Naples and Venice, and her brother Alfonso’s marriages to Anna Sforza of Milan and then the infamous Lucrezia Borgia, the natural daughter of Pope Alexander VI. Her sister Beatrice married Ludovico ‘il Moro’ the Duke of Milan, and her sister-in-law became the Duchess of Urbino. She had a privileged and enlightened upbringing, and was encouraged from a young age to assert herself regardless of the male-centric world of Renaissance Italy. Ercole had all his children educated to the same high standard, and even as a youth she had her own substantial library rich in Classical texts and a complete presentation set of Aldines on parchment. Her husband lamented later in life “Havemo vergogna di avere per nostra sorte una mogliere che sempre vol fare di suo cervello” (‘we are chagrined at our fortune of having a wife who always wants to do things according to her own mind’), but seems to have secretly been pleased with a companion who would rule in his stead during his numerous absences from Mantua. She excelled in traditionally male arts, such as oratory and horse riding, and above all in art-collecting. She built a private museum in her apartments in the palace at Mantua, her studiolo, and pursued the greatest artists of the day to fill it with commissions from Mantegna, Raphael, Titian and Leonardo da Vinci (the last two both painting or sketching her portrait; Kenneth Clarke remarking of that by da Vinci, that the pose “must have influenced Venetian portraiture for the next ten years … in its ease and breadth [it] anticipates the Mona Lisa”), as well as a vast library and collection of sculpture and other valuable objects. She received literary tributes in works by Ariosto, Castiglione, Bandello, Bembo, Trissimo, and the diplomat and poet Niccolo da Correggio proclaimed her “la prima donna del mondo”. She has commanded the fascination of a modern audience and spawned a vast armada of modern writing on her and her collecting (see for example, E.P. Meyer, First Lady of the Renaissance: A Biography of Isabella d’Este, 1970, G.R. Marek, The Bed and the Throne: The Life of Isabella d’Este, 1976, D. Shemek, Ladies Errant: Wayward Women and Social Order in Early Modern Italy, 1998, and D. Looney and D. Shemek, Phaethon’s Children: The Este Court and its Culture in Early Modern Italy, 2005, and references there). This jewel of a book was produced at about the same time as her marriage to Francesco Gonzaga, when she was only 16 years old. The principal patron of the two artists here was the great Lorenzo de’ Medici (1449-92), who retained Gherardo di Giovanni in his intimate household. Isabella knew Lorenzo personally, and he is recorded incidentally as sending other costly gifts to her at the time of her marriage. This book was most probably a wedding gift. It does not appear in the inventories of books in the walnut cabinets in her Studiolo (S. Campbell, The Cabinet of Eros, 2006, appendix 1, pp.270-79), and was perhaps kept for private devotions in her bedroom or chapel.2. Most probably passing to the infamous Cardinal Richelieu in the seventeenth century. The political connections and power of the Mantua dukes collapsed in the seventeenth century, and under the ineffectual leadership of Ferdinando Gonzaga (1587-1626), and Carlo di Gonzaga (1609-31) agents for King Charles I of England and Cardinal Richelieu negotiated the sale of the artworks in the main palace (the former getting Raphael’s Madonna of the Pearls and Mantegna’s series of nine paintings, The Triumph of Caesar, for 68,000 great ducats; the latter Mantegna’s Parnassus and Minerva, transferred to the Louvre in 1801). Richelieu was also a book collector, and took possession of much of Isabella’s library, probably explaining the French binding on the present manuscript. His library of 900 volumes was mostly transferred to the Sorbonne c.1660, with a small number of books re-emerging on the market in the second half of the nineteenth century: William Bragge owned one (his sale in Sotheby’s, 7 June 1876, lot 374), as did Eugene Piot (his sale in Paris, 23 April 1862, lot 348), followed by others from Isabella’s library, and perhaps with a shared provenance: a Philostratus, Imagines, made in the early sixteenth century, once in the Sneyd collection, was sold at Sotheby’s, 16 December 1903, lot 615, and a copy of elegies, made c. 1500, also from the Cartier family, was sold in their sale with Lefèvre and Guérin, 1 March 1962, lot 1.3. Louis Cartier (1875-1942), jeweller, perhaps acquired on 14 June 1921: pencil note on last endleaf; by descent to his son, Claude Cartier (1925-1975): his sale in Sotheby’s, Monte Carlo, 25-27 November 1979, lot 1296.4. Re-emerging in Sotheby’s, 5 December 2012, lot 23, and sold for £217,250 to the current owner.Text:The text comprises: a Calendar (fol.1r); the Hours of the Virgin, with Matins (fol.14r), Lauds (fol.29r), Prime (fol.46r), Terce (fol.52r), Sext (fol.58r), None (fol.63v), Vespers (fol.69v), and Compline (fol.79v); the Office of the Dead (fol.115r); the Penitential Psalms (fol.184r) and Litany; the Fifteen Gradual Psalms (fol.215r); and the Hours of the Cross (fol.233r) The library of Isabella d'Este: Only a tiny handful of books from this crucial Renaissance library are now traceable. 

THE CLASH/SEX PISTOLS - 7". 25 x essential 7" to add to the collection! The Clash (x10) titles include Capital Radio E.P. (original promo only UK release CL 1 - Ex clean just a couple of quite light marks/strict VG picture sleeve with old tape residue on the top), One Emotion (private release C-1000), Should I Stay Or Should I Go (US limited edition), English Civil War (CBS 7082), Clash City Rockers, Complete Control (S CBS 5664), London Calling (S CBS 8087) and Radio Clash (A1797). Pistols titles include Holidays In The Sun (rare Italian p/s VIN45013 - Ex+/VG+), God Save The Queen (inc UK RE and YK-90-AX Japanese original, complete), Anarchy In The UK (inc. UK and French issues), Pretty Vacant (US and French picture sleeve pressings), C'Mon Everybody and (I'm Not Your) Stepping Stone. Condition is usually Ex to Ex+!