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Click here to subscribeA sketch book and folio of primary sketches made during the Blitz in South East London, the sketch book titled ‘Flying bombs & incendiaries, Beckenham, Penge, Croydon etc’, comprising of pencil, ink, pencil and ink studies of ARP, bomb shelters and people within them, destruction caused by the bombs etc, most are annotated with comments on the scene or damaged occurred including deaths, names and location, along with a few studies from art school.
Literature. Thomas Chippendale (1718-1779). 'The Gentleman Cabinet-Maker's Director: Being a large Collection of the Most Elegant and Useful Designs of Household Furniture, In the most Fashionable Taste. The Third Edition', 'London: Printed for the Author, 1762', with a dedication plate 'To the Right Honourable Hugh Earl of Northumberland', with two-hundred engraved plates after Thomas Chippendale, folio gilt tooled leather with a red Morocco spine.
Leaf from a Romanesque Bible, with large initial, in Latin, manuscript on parchment [southern France or northern Spain, second half of twelfth century (probably last decades)] Single leaf, with double column of 48 lines of a small and angular early gothic bookhand (written space: 203 by 125mm.), some biting curves and written above topline, small amount of marginalia, red rubric, one small blue initial formed of split bars within red penwork picking out acanthus leaves, one large initial ‘A’ (opening “Adam set enos caynan …”, the opening of I Chronicles) in large split pale blue bars, edged with and containing red acanthus leaves, foliate extension in border filling over half the page in height, line-pricking just visible in lower part of outer border, one large stain at head of second column (but text legible), modern pencil folio no. ‘118’ in upper outer corner, else good condition, 264 by 182mm.; in Otto Ege’s card mount with his printed description taped to front and his pencil notes Otto Ege owned the present manuscript before 1939, and it was no. 59 on his Handlist. The leaves are extremely rare in Ege’s sets, and S. Gwara records none in any known collection but draws his information from the photographs in the 1952 Microfilm Memorial Archive, Berks County Historical Society, Reading, PA. (Otto Ege’s Manuscripts, 2013, p. 139 and p. 6, n. 14). The emergence of this leaf with its strange initial opens the possibility that the parent manuscript was from northern Spain, rather than France.
Large decorated initial from a manuscript Antiphoner, repaired with sections from a late twelfth-century Missal, both on parchment [northern Italy (probably Bologna), late thirteenth century] Single leaf, with large initial ‘E’ (96 by 79mm., opening “Ecce vicit Leo …”, a responsory for the Second Procession at Easter) in finely scalloped blue bars shaded with gold and heightened with white penwork, enclosing symmetrical sprays of blue acanthus leaves on pink, red, and pale brown grounds, a coloured knot at the head and foot of the initial’s body, simple initials in red or blue with contrasting penwork, capitals touched in red, rubrics in red, 7 lines of early gothic bookhand with music on a 4-line red stave (rastrum 28mm.), torn area of bottom of leaf supported with cutting from a twelfth-century Missal (260 by 90mm.), most probably from central Italy and early twelfth century (cf. the similar initials in the group of mss in Avril and Zaluska, Manuscrits Enlumines d’origine italienne I, 1980, nos.60-63, 66 and 72, all from central Italy and ranging in date from the late eleventh to the first decades of the twelfth century; and Berg, Studies in Tuscan Twelfth Century Illumination, 1968, no.133, pl. 380, Pistoia and second quarter of twelfth century) with remains of 3 columns of text (from 2 leaves), 10 lines, with capitals touched in yellow and the top of a large initial ‘I’ in yellow with a geometric interlace top and red and green grounds, eighteenth-century Biblical reference and folio no. “51”, some small spots, reverse with heavy grain-pattern and hence somewhat dark, overall good, 470 by 340mm. Once owned by Bernard Rosenthal, and with his stock no. “BMR Misc 6a” in pencil.
Leaf from an illuminated Missal, in Latin, manuscript on parchment [probably Rhineland or perhaps northern Netherlands, late fourteenth century] Single large leaf, with double column of approximately 21 lines in an elongated and angular script, with sharp-edged wedges at head and foot of ascenders, with music in the form of hufnagelschrift neumes arranged on pale green and red clef lines, red and blue penwork ‘knots’ used to fill space between words that accompany music, capitals in spiky penstrokes and touched in red, red rubrics, one large red initial leaving blank parchment foliage within its body, encased in blue penwork, 2 illuminated initials in burnished gold, on bicoloured blue and dark pink grounds heightened with white penwork, the first extending its gold body into margin in two long thin bars edged with blue and pink which extend the full height of the column and terminate in spiky gold leaves, contemporary folio number “Li” in red at head of page, modern pencil “76” in upper outer corner, 340 by 240mm.; gilt frame
Collection of leaves from liturgical codices, in Latin, manuscripts on parchment [twelfth to fifteenth century]5 leaves, including: (i) large leaf from a late twelfth-century Lectionary, double column of 23 lines in 2 sizes of fine early gothic script, red rubrics, simple red and pale blue initials, largest initial with swirl of red penwork acanthus leaves at foot, 340 by 260mm., France (probably northern), late twelfth century; (ii) 4 leaves most probably from a single Lectionary manuscript, double column of 32 lines, red rubrics, initials in red or blue with contrasting penwork, 2 with original folio numbers ‘lxxii’ and ‘lxxxiiii’, one with remnants of a large initial (mostly gone through ink burn), each 360 by 265mm., Italy, late fourteenth or early fifteenth century; all recovered from account book bindings and hence with losses to edges, sections of text washed out and later scrawls, overall fair condition
The Annunciation to the Virgin, in an initial on a leaf from a Gradual, manuscript on parchment [Southern Netherlands (perhaps Guelders), dated 1544] Single large leaf, with a large initial ‘A’ (opening “Ad te levavi animam …”, the Introit for the First Sunday in Advent), in delicate gold edged acanthus leaves on a dark brown ground, set on pale fawn grounds with a thin white frame, enclosing a scene of the Virgin kneeling in prayer, one hand raised in surprise as the angel in golden robes arrives and the Holy Spirit descends in the form of a tiny white dove on sunbeams, full decorated border in Ghent-Bruges trompe d’oeil style with realistic flowers, a green seed pod, a pigeon, a butterfly, flies and snails laid down on yellow grounds, three coats-of-arms in the bas-de-page (those of the de Reautmont family: 4 crosses gules on argent; the arms of the Vauderic family of Guelders quartered with an unidentified set of arms with 3 spears argent on azure; and an unidentified set), simple red or blue initials, other initials in complex penwork with foliage and human faces picked out in their bodies, original folio number “L” at head of leaf, red rubrics, 11 lines of text with music on a 4-line black stave (rastrum: 13mm.), slight discolouration at edges from mounting, excellent condition, 425 by 304mm.; framed At the head of this leaf, above the initial, the scribe added the dating inscription, asking in Dutch for prayers for himself: “finitus anno domini M vc xliiii Bidt voer de scriver”. However, another leaf from the same manuscript has the date ‘1541’ added to its margin in a sixteenth-century hand (see next lot). The manuscript may have taken three years to complete, or the other scribe may have been mistaken when reading another inscription in the parent volume. It was most probably commissioned by the person whose three noble family lines are depicted in the arms at the foot of the page (see above), for a favoured religious institution. The presence of a kneeling Cistercian monk in another leaf from the same parent manuscript (see next lot) indicates the Order of the recipient monastic house.
The Martyrdom of St. Catherine, in an initial on a choirbook leaf, manuscript on parchment [Southern Netherlands (perhaps Guelders), dated 1541 (but more probably 1544)] Single large leaf, with a large initial ‘G’ (opening “Gaudeamus omnes in domino …”, an introit used for various feasts), in delicate gold edged acanthus leaves on a dark brown ground, set on pale peach grounds with a thin brown and white frame, enclosing a scene of St. Catherine kneeling before her executioner as he draws his sword, her wheel in the background with a pile of human heads at its foot as the heavens open and sunlight streams down, a tonsured Cistercian monk in the foreground kneeling in prayer, full decorated border in Ghent-Bruges trompe d’oeil style with realistic flowers, a peacock, another bird, a dragonfly and a snail laid down on yellow grounds, one coats-of-arms in the bas-de-page (the arms of the Vauderic family of Guelders quartered with an unidentified set of arms), simple red or blue initials, original folio number “xxv” at head of leaf, red rubrics, 11 lines of text with music on a 4-line black stave (rastrum: 13mm.), “1541” added to lower margin in sixteenth-century hand), a few scratches and tiny flakes to paint, slight discolouration at edges from mounting, excellent condition, 424 by 303mm.; framed From the same parent manuscript as the previous lot.
Walker 'Age' Cabinets - Two 20th century retro vintage paper clad box wood index filing / folio drawer cabinets. One of the cabinets being an arrangement of 3x3 each with swan neck drop handles along with a cabinet with an arrangement of four straight drawers with index holder handles. Measures; 27cm x 32cm x 27cm.
MINTON; a large and rare tile, painted and gilt-heightened depicting Medieval musicians in an interior, impressed marks, probably for September 1872, 25.5 x 50cm, framed. These tiles strike a strong resemblance to the art pottery tiles designed by Henry Stacy Marks and a watercolour exists in the Minton archive with a near identical depiction of one of the musicians featured in one of the tiles, detailed in the archive as Class Letter U (no folio number) 'Musicians on Brown Ground', according to spine of folder, but including also sporting subjects in Medieval dress, artist unnamed.Additional InformationPre-glaze chip to back of tile, minor surface scratches to front.
MINTON; a large and rare tile, painted and gilt-heightened depicting Medieval musicians in an interior, impressed marks, probably for September 1872, 25.5 x 50cm, framed. These tiles strike a strong resemblance to the art pottery tiles designed by Henry Stacy Marks and a watercolour exists in the Minton archive with a near identical depiction of one of the musicians featured in one of the tiles, detailed in the archive as Class Letter U (no folio number) 'Musicians on Brown Ground', according to spine of folder, but including also sporting subjects in Medieval dress, artist unnamed.Additional InformationSome minor discolouration and surface scratches.
MINTON; a large and rare tile, painted and gilt-heightened depicting Medieval musicians in an interior, impressed marks, probably for September 1872, 25.5 x 50cm, framed. These tiles strike a strong resemblance to the art pottery tiles designed by Henry Stacy Marks and a watercolour exists in the Minton archive with a near identical depiction of one of the musicians featured in one of the tiles, detailed in the archive as Class Letter U (no folio number) 'Musicians on Brown Ground', according to spine of folder, but including also sporting subjects in Medieval dress, artist unnamed.Additional Information5cm chip to top left corner, probably pre-glaze, general surface wear.
MACKENZIE AND MITCHELL, EDINBURGH. A GOOD QUALITY WALNUT BURR YEW-WOOD AND AMBOYNA PANELLED LIBRARY CABINET / FOLIO STAND with adjustable top above a fall down frieze drawer and a pair of hinged doors revealing folio shelves, applied moulded free-standing decoration with burr veneered decoration; standing on bun feet with under casters 107cm, wide 61cm deep 96cm high.
Criminal Commissioners Report for Jersey - 1847, First Report of the Commissioners Appointed to Inquire into The State of the Criminal Law in the Channel Islands, Jersey, printed by William Clowes & Sons, London 1847, with errata slip, contemp. half calf and green cloth, gilt lettering to spine, folio.
Jersey and Channel Islands law interest, Guillaume Le Rouillé, an early edition of the customary law of the Duchy of Normandy, 'Le grand coustumier du pays et duche de Normendie: tres utile & profitable a tous practiciens', pub. in Rouen by Nicolas le Roux for Francoys Reganult of Paris, 1539, typeset in Gothic Bastarda, text in parallel columns, title page in red and black with woodcut borders, woodcut initials and illustrations, folio, in later full blind tooled calf, gilt spine lettering, handwritten ink notations to text throughout, contemp. owner's inscription to title in ink, folio.
Jersey Commissioners Report - 1861, Report of The Commissioners Appointed to Inquire into the Civil, Municipal, and Ecclesiastical Laws of the Island of Jersey, together with the Minutes of Evidence and Appendix, printed by George Edward Eyre and William Spottiswoode, 1861, contemp. tan cloth, red morocco label with gilt lettering to spine, folio.
Basnage, Henri - Les Oeuvres de Maitre, contenant ses commentaires sur la coutume de Normandie, et son Traité des hipotéques, Troisieme Edition, 2 vols., Chez Maurry a Rouen, 1709, text in two columns, red and black title, contemp. full speckled calf with decorative gilt spine and gilt lettered labels, all edges red speckled, folio. (2)
δ Victor Pasmore (1908-1988)The image in search of itself (Bowness & Lambertini 65)The complete portfolio comprising 11 screenprints in colours, 1977, signed and numbered from the edition of 50 in pencil on the colophon page, each on Arches paper, together with title, colophon and text pages, printed by Kelpra Studio, London, published by Marlborough Graphics London, loose (as issued) and housed within the original black slipcase, overall 532 x 362mm (20 7/8 x 14 1/4in) (unframed) (folio) (11)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Patrick Caulfield (1936-2005)Some Poems of Jules Laforgue (Cristea 38)The book, 1973, edition A with the text in English, comprising 22 silkscreens printed in colours and a separate folder containing six screenprints signed and numbered from the edition of 200 in pencil verso, on Neobond synthetic paper, co-published by Petersburg Press and Waddington Galleries, London, the book bound as published in the original pale grey leather boards and matching slip-case, each sheet 405 x 355mm (16 x 14in) (folio)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Dieter Roth (1930-1988)2 Times 5 Bats (Dobke 360)The rare complete portfolio comprising 12 offset lithographs printed in colours and the double page speedy drawing, 1978, one lithograph serving at the title page, one as the label, the lithographs signed, dated and numbered from the edition of 100 in pencil, the drawing signed in pencil, on various papers, printed by Staib & Mayer, Stuttgart, published by Edition Hansjorg Mayer, Stuttgart & London, loose in the original cardboard portfolio, 510 x 380mm (20 x 15in) (13) (folio)
Agnes Martin (1912-2004)Paintings and Drawings 1974-1990 (suite of 10)The complete set of 10 lithographs printed in colours, 1991, from the edition of 2500, on vellum transparency paper, printed by Lecturis, Eindhoven and published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam, housed within the original grey card portfolio, each sheet 298 x 298mm (11 3/4 x 11 3/4in) (folio) (10)This set was published to celebrate the artist's 1991 retrospective at the Stedelijk Museum in Amsterdam.
Laszlo Moholy-Nagy (1895-1946)10 Fotogramme 1922-1926 The portfolio, 1973, comprising eight of the ten silver gelatin prints after the original photograms, lacking plates seven and nine, each sheet with the estate stamp, signed and numbered from the edition of fifty in pencil by Hattula Moholy-Nagy verso, and each with the 'Foto-Repro 1973' blindstamp, on matte photographic paper, with title and justification pages, published by Galerie Heiner Friedrich, Munich, and Edizione O, Milano, all housed within the original black portfolio box, various sizes, the largest 405 x 307mm (16 x 12in) (folio) (8)
δ Salvador Dali (1904-1989)Le métamorphoses érotiques (Field 69-15; M&L 342d)The complete set, including the etching 'La Chimère', 1969, signed and numbered from the edition of 150 in pencil, on Velin Rives wove paper, together with the title, justification and various text and collaged pages, each on Velin Rives wove paper, signed again in pencil and stamp numbered from the total edition of 300 on the justification page, the etching printed by Ateliers Rigal, Paris, all loose (as issued) and housed within the red fabric covered boards and slipcase, published by Edita, the etching diameter 125mm (5in); overall 340 x 265mm (13 3/8 x 10 1/2in) (folio)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)La quête du Graal (Field 75-9; M&L 778-789b)The complete set of 12 drypoints printed in colours, 1975, each signed and numbered in roman numerals from the edition of 25 in pencil, each Arches wove paper, together with the title and text pages in French, co-published by Pamela Verlag and Oeuvres Graphiques Contemporaines, Paris, all loose (as issued) and housed within the original white leather boards, each sheet 455 x 328mm (18 x 13in) (folio) (12) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
VICTORIAN ALBUM. Oblong folio album in diced calf (splitting at back) with gilt metal monogram commencing with four pencil sketches of members of the Yarker family of Conynger Hurst, Ulverston, followed by many decorative pages of crests & monograms interspersed with pasted in original watercolours, drawings & a few prints, incl. sepia drawings of Ullswater & Haweswater, a vignette & poem entitled "Foot of Ulverston", maritime scenes, watercolours of rustic scenes & figures, watercolours of children, amateur watercolour of Dalhousie, India & another of a building at Dum Dum, double watercolour "Who Brings the Bride Home" with extract from Bedlington Register Books, 5 sepia & watercolour drawings Aberdeenshire interest, etc.Condition report:Approx. 70+ pages. Approx. 36 watercolours and drawings, see images.
ϒA Regency rosewood folio stand, circa 1815, the hinged slatted uprights, with crossed ratcheted supports, and square section tapering trestle uprights, united by turned stretchers, on square section downswept tapering legs terminating in gilt brass castors, 112cm high, 69cm wide, 78cm deep ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
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