Leaf from Thomas Aquinas, Commentary on the Sentences of Peter Lombard, in Latin, decorated manuscript on parchment [Italy (most probably Florence), second half of fifteenth century (probably c. 1475)] Single leaf, with double column of 37 lines of a small and precise humanist bookhand (with part of Book I, Distinctio XIX), paragraph marks in alternate red or dark blue, simple red or blue initials with remainder of opening words of these sections in capitals, a few spots and stains, else excellent and fresh condition, 287 by 210mm. Provenance:In a blogpost released as this catalogue was in its final stages, Peter Kidd has added greatly to the provenance of the parent volume of this leaf. He notes a probable Florentine origin, and that the arms occur for a number of Italian families, but was unable to conclusively identify a Florentine family (citing examples from neighbouring Siena instead). One possible Florentine identification are the Neri family of Florence, whose arms are found in the form here, but with crescents argent, not or, in a seventeenth-century armorial in private ownership. The family was numerous in Renaissance Florence, but one possible candidate is the Francesco di Neri di Filippo del Nero, recorded in the 1450s as an official of the Medici studio (the intellectual centre of the court). Kidd then traces the parent volume in a catalogue of the Florentine bookseller T. de Marinis (cat. VIII, 1908, no. 3); with it reappearing in Davis & Orioli of Florence and London, in 1925-26; and then to Philip C. Duschnes, by 1941, when leaves appeared in his cat. 48 of that year. By 1944, a substantial part of it had passed to Duschnes' associate, Otto Ege (1888-1951), and he included leaves in his Fifty Original Leaves from Medieval Manuscripts and Original Leaves from Famous Books portfolios. The remnant of the book came to light in Sotheby's, 26 November 1985, lot 80 (some 32 single leaves; full page illustration there). See S. Gwara, Otto Ege's Books, 2013, pp. 131-32, his HL 40. The present leaf acquired from a UK collector in 2016.
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Ɵ Psalter in Old French translation, with Latin rubrics, illuminated manuscript on parchment [northern France (probably Paris), first half of fourteenth century] To view a video of this lot, click here. 61 leaves (plus a modern paper endleaf at front and back), wanting a single leaf from fourth gathering, else complete, collation: i-iii8, iv7 (wants first leaf), v8, vi6, vii8, viii6, ix8, horizontal catchwords, single column of 29 lines of a rounded vernacular bookhand, red rubrics, one-line initials in red or pale blue, 2-line initials in gold on pink and blue grounds heightened with white penwork, many leaves with late medieval French additions in margins, five large historiated initials in pink or blue, heightened with white penwork, before tessellated or gold backgrounds, and within thin gold frames and with foliate extensions in margins terminating in coloured and gold fruit and foliage, these enclosing (i) fol. 12r, the anointing of David, (ii) fol. 19r, David pointing to his eye as God appears to him in the heavens above (with a long-beaked dragon-like animal in the border), (iii) fol. 30v, David naked in the waters (iv) fol. 39r, David laying the bells (with a grinning long-eared creature in the margin above him), (v) fol. 33r, the Trinity, the frontispiece with a large square miniature enclosing David before Goliath on a burnished gold ground, within a pink and blue decorated frame, extensions of coloured and gold bars along upper and inner edges of text block, these with foliage and triangular protuberances, one long curving foliate shoot across bas-de-page supporting two squat trees and a hound chasing a white hare, the latter looking over his shoulder at his pursuer, some leaves with original flaws to parchment, first leaf discoloured and much scuffed with serious losses to initial and opening text there, two further initials rubbed (those on fols. 30v and 33r), most leaves with stains from old water-damage, this leading to numerous hard to read areas with leaves at front and back of volume, overall fair condition, 215 by 155mm.; bound in nineteenth- or early twentieth-century green velvet over pasteboards, this rubbed at corners Provenance:1. Written and illuminated in France in the fourteenth century, perhaps for a wealthy patron: most large Biblical codices in French were produced for the devotions of secular aristocratic owners, or female ecclesiastics; the endleaves at the back filled with contemporary and near-contemporary instructions in French on the use of the volume during certain feasts and services.2. Most probably surviving the Middle Ages in a monastic or cathedral library, with the numerous additions demonstrating use then, and then entering private hands during the Secularisation: with the initials 'I.F.D.S' in bas-de-page of frontispiece in an apparent eighteenth-century hand. Text:The Psalter was the first book of the Bible to circulate in French prose. The original early twelfth-century translation into Anglo-Norman French was based on Jerome's Latin translation of the Hebrew Psalter, and formed the basis of several French versions on both sides of the Channel. That here opens Psalm 1 with '[Boin eures] est li hons qui [nala p]as el conseil [des] felons' and ends Psalm 150 with '... chose qui a esprit loes nostre seigneur'. It provided the basis of the Psalter in the first complete Bible in French, compiled and translated in the thirteenth century and so usually known as the Bible du XIIIe siècle. While the earliest manuscripts to survive date to the end of the thirteenth century, the text probably reached a final form by about 1260 in Paris, or just perhaps Orléans (see C. Sneddon, 'On the creation of the Old French Bible', Nottingham Mediaeval Studies, 46 (2002), pp. 25-44, and 'The Bible du XIIIe siècle: its medieval public in the light of its manuscript tradition', in The Bible and Medieval Culture, 1979, pp. 127-40), in part driven on by the Dominican Order and their mission of lay instruction.They are far from common on the market, with the last recorded copies offered by Les Enlumineres, Text Manuscripts 2, Before the King James' Bible (2012), no. 16; Laurent Coulet, cat. 29 (2003), no. 29; and a slim volume of 27 leaves, probably abstracted from a larger Bible, sold by Christie's, 30 April 2008, lot 165, for £18,500.
Leaf from Thomas Aquinas, Summa Theologiae, in Latin, decorated manuscript on parchment, with another leaf from a contemporary legal concordance [France, thirteenth century] Leaf from the Summa Theologiae, in double column of 57 lines of a tiny and rounded university script (with distinct. V, quaestio I, solutio III-quaestio II, articulus II), red or pale blue paragraph marks, running titles ('D/V') in capitals in same colours, original folio no. '32' at upper outer corner of recto, 3-line initials in red or blue with long whip-like penwork in contrasting colours, these sometimes terminating in clusters of three coloured dots, some 'nota bene' marks with 'clover-symbols' at head and long vertical penstrokes parallel to text columns with human faces picked out in penstrokes, some contemporary and near-contemporary marginalia indicating use, some spots and stains, a few tears at edges, else good condition, 342 by 226mm., France, thirteenth century; with another leaf from an apparent legal concordance, in three columns of approximately 85 lines of tiny script with numerous abbreviations, and cadels in uppermost lines, paragraphs marks in red or dark blue, running titles in vertical margin in blue and red capitals ('QII'), with one contemporary marginal addition 'Causa XI', discoloured in places with splits to edges and scuffs in places, overall fair condition, 323 by 236mm., France, thirteenth century The first leaf here is a fine example of a medieval university copy of perhaps the most influential theological work of the Middle Ages by one of its greatest scholars. Thomas Aquinas (1225-74) was a leading light of the scholastic movement, rediscovering, translating and synthesising the previously lost works of Aristotle with Christian thought. The present work is unfinished, but still acted as the fundamental compendium of the entire teachings of the Church intended to instruct students in medieval theology.
Leaf from an Antiphonal, most probably of Franciscan Use, with a large illuminated initial, in Latin, manuscript on parchment [Italy (most probably Central, or perhaps Bologna), late thirteenth century] Single large leaf, with single column of 5 lines of a large and rounded liturgical bookhand, with music on a 4-line red stave (rastrum 45mm.), instructions to painter who added ornamental capitals in tiny hairline script in border, catchwords within penwork frame at foot of verso, capitals encased with elaborate penwork, rubrics in red, opening letters after the large initial in tall red or blue capitals with penwork, one very large initial 'F' (opening 'Francisci pia plantua ...', the first response after the first lection in the first nocturn of Matins for the Feast of St. Clare) in grey-white acanthus leaves with blue and red leaves (the uppermost trailing off into a long curling penstroke surmounted by a large gold bezant), the cross bar and infill of the letter with geometric mirrored foliage enclosing burnished gold panels on dark blue grounds, the whole initial on burnished gold (heightened with curling white penwork) and blue grounds to its left, an apparent folio no. '56' twice in middle of vertical border of recto in seventeenth- or eighteenth-century hand, some light flaking from ink in places, small scuffs to acanthus leaves in places, a fold or two, small spots and stains, else in good and bright condition, 600 by 415mm. As the office here is that of the Feast of Saint Clare, the parent volume was most probably made for use in a Franciscan community. The geometric work within the initial and the use of white penwork overlaid on the gold grounds points to Central Italian and Bolognese work of the late thirteenth century (see the antiphonal of similar age reproduced in M.M. Manion and V.F. Vines, Medieval and Renaissance Illuminated Manuscripts in Australian Collections, 1984, no. 5, pp. 39-40 and fig. 27). The leaf here was acquired from a private European collector in 2018.
A collection of signed photographs and ephemera to include - Strangeness in Space, Raintown, The Light of September, Brad Paisley, James Best, Roy Scheider, Mary Stuart Masterson, Sylvester Stallone, Zoe Wanamaker, Robert Lindsay, Garth Brooks, Jim Ross, Bret Hart, Harrison Ford, Daniel Bryan, Bruce Boxleitner and more. (Q)
A PAIR OF ITALIAN GILTWOOD WALL LIGHTS EARLY 20TH CENTURY the backplate in the form of a flaming torch with twin-leaf scroll arms, together with a pair of giltwood three-light chandeliers, each carved with leaves and with bud pendants (4) 38.5cm high, 47cm wide (max) Provenance From the collection of Edward Croft-Murray CBE (1907-1980).
A FRENCH ONYX AND ORMOLU CLOCK GARNITURE LATE 19TH / EARLY 20TH CENTURY the brass eight day drum movement with an outside countwheel striking on a bell, with a mercury pendulum, the backplate stamped 'A la Gerbe d'or rue de Rivoli A chapus Paris' and numbered '31339', the circular dial with Arabic numerals and painted with floral swags and signed indistinctly, the four glass case with a bowfront front door flanked by faceted columns surmounted by an urn and finials, together with a pair of conforming five-light candelabra, each with a flaming urn snuffer (3) the clock: 43cm high, 29cm wide the candelabra: 51cm high Provenance By direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).
A FRENCH KINGWOOD BONHEUR DU JOUR IN LOUIS XV STYLE LATE 19TH / EARLY 20TH CENTURY with ormolu mounts, the raised shaped back fitted with five lattice parquetry veneered drawers, flanked by twin-light leaf and flower sconces, the serpentine front with a conforming frieze drawer on cabriole legs 125.7cm high, 126.5cm wide, 65cm deep Provenance By direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).
A PAIR OF GILT BRONZE FOUR-LIGHT CANDELABRA C.1870-80 each with detachable drip-pans and hung with tasselled chains, above a naturalistic leaf stem and tripod monopodia hoof feet (2) 54cm high, 20cm wide Provenance From the family collections of Captain George Lionel Jameson OBE (1880-1961) and by descent.
A PAIR OF CUT GLASS TABLE LUSTRES 19TH CENTURY each with two tiers hung with faceted pear shapes, with gilt brass nozzles and a baluster stem and scalloped edge bases, together with a large cut glass twin-light table lustre (3) the pair: 25.4cm high, single: 42.3cm high Provenance From the family collections of Captain George Lionel Jameson OBE (1880-1961) and by descent.
Roman Imperial Coinage, Theodosius II, Solidus, Constantinople, 408-20, d n theodosivs p f avg, pearl-diademed and cuirassed bust facing, holding spear and shield, rev. concordia avgg z, Constantinoplois seated front, resting right foot on ship prow, holding Victory on globe and sceptre, 4.34g (RIC 202; RCV 21127). Light graffito in obverse field, otherwise good very fine £400-£500
19th Century Tokens, STAFFORDSHIRE, Perry Barr, William Booth, Penny, 1811, wheatsheaf, rev. value, edge plain, 20.78g/5h (W 955). Usual flaw over n in token, some light surface marks, otherwise very fine and with an unusual die-axis, extremely rare as an original £300-£500 --- Provenance: DNW Auction T14, 1 October 2014, lot 553; bt W. McKivor May 2013
![George III (1760-1820), New coinage, Shillings (2), 1819, 1820 (ESC 2152, 2157; S 3790) [2]. Light surface marks, otherwise e](https://cdn.globalauctionplatform.com/ba8c9bdb-ec51-4d24-9687-ad4e00ce6a5c/42df2feb-9081-4b3b-b6b1-ad4e00d25c89/468x382.jpg)
Miscellaneous Tokens and Checks, Co-operative Societies: Brightside & Carbrook CSL, hexagonal brass 1 Cwt Nuts Coal by Gill (Rains 34), lozenge-shaped brass 1 Cwt Best Coal by Gill, 38 x 29mm (R –), hexagonal aluminium 2lb Loaf (R 35), plastic 2lb Loaf (4), dark brown (2), green (2) (R 37, 37a), brass 1 Pint by Gill, Sheffield (2, different) (R 41), hexagonal brass 1 Pint by Gill, Attercliffe (4) (R 42), brass 1 Pint, unsigned (2, striped and solid numeral) (R 43-4), 1 Pint (2), yellow plastic painted black, bevelled rims, and light blue plastic (R 47b, 48), Milk Dept (3), grey plastic (one overpainted red) (R 50, 51, 51a), Canteen, hexagonal Penny, Threepence and Eightpence (R 58, 58b, 60); B[righthouse] & C[arbrook] C[oal?], brass 1/2, stamped 19, aluminium 1/2, stamped 54, brass 1, stamped 4, aluminium 2, stamped 27 (R 66-9); B[righthouse] & C[arbrook] CSL (Broughton Lane), brass Barrow Check by Gill (R 71); Brightside & Carbrook (Sheffield) CSL, 1 Pint, first series (4, different) (R 74-7) [32]. Generally fine to very fine, second and Barrow Check rare £80-£100 --- Brightside & Carbrook CSL, founded by William Carr in 1868; a planned merger with the Sheffield & Ecclesall CSL in 1985 never took place
Miscellaneous Tokens and Checks, Transport: L[ondon] M[idland] & S[cottish] R[ailway], Sheffield (Goods), oval nickel (2), stamped 250, 298, both 46 x 28mm; Sheaf [Motors], Coal Aston, uniface brass Carwash, 34mm; Sheffield and Rotherham Railway, 1838, copper (2), omnibus check, stamped 692, 889, both 27mm (W 2888; Smith 685A; D & W 330/50); Stringer & Co (Sheffield) Ltd, brass, 23mm; Charles Thompson, brass Threepence, 23mm (Smith –); George Wright, brass Threepence, from the newmarket to cherry tree hill, etc, 24mm (Smith 685E) [8]. Fine and better, last two rare £60-£80 --- Stringer & Co (Sheffield) Ltd, manufacturers of light cars and motorcycles, 3 Fowler street, Wincobank; Charles Thompson (1815-97), a second-generation member of a family that built up an extensive transport business in the Sheffield area in the 19th century, based on the Glossop road, including landaus, broughams, 4-horse buses, wedding carriages, mourning coaches, wagonettes, gigs and drays; George Wright (b. 1807), omnibus and cab proprietor, 18 Change alley
Miscellaneous Tokens and Checks, Transport: County Borough of Rotherham Tramways, white Penny, black Threehalfpence, orange Twopences (2, varieties) (Smith 685BA, BC, BD); Rotherham Transport Department, white Penny, blue Threehalfpence (Smith 685CA, CB); Sheffield Corporation Tramways, type 1, shield with helmet crest, Twopence, dark blue (Smith 685AG), type 2, shield with lion crest, Central Schools, Halfpenny, dark blue (Smith 685AK), Halfpenny, white (Smith 685AM), Pennies (6), red (4, varieties), dark red, maroon (Smith 685AP, AQ, AR), Threehalfpence (3), grey (2, varieties), black (Smith 685AU, AW); Booth & Fisher W[est] T[horpe] L[ine], grey celluloid (Smith 685BW); Sheffield Transport Department, type 1, large arms, Halfpenny, Penny, black Threehalfpence, Twopences (5, two varieties), yellow hexagonal Twopence-Halfpenny, light purple, hexagonal Threepence, black Fourpence, Fivepence (Smith 685CA, CB, CF, CG, CH, CK, CL, CO, CQ), type 2, small arms, Twopences (2), Threepence, Fourpence, Fivepence and Sixpence (Smith 685DA-DE inclusive), type 3, dodecagonal Twopence-Halfpenny and Threepence-Halfpenny (Smith 685DK, DL), type 4, black Pennies (3), pink Twopences (2), orange Fourpences (2), blue Fivepences (2) (Smith 685EA, ED, EI, EK); National Transport Token, aluminium Fivepence and Twopence [50]. Generally very fine £80-£100 --- The first electric tram route in Sheffield ran from Nether Edge to Tinsley and opened in 1899. The electrification of the rest of the system followed soon after, and the last horse tram ran in 1902. In 1910 Sheffield tram routes covered a total of 39 miles; subsequent extensions increased this to 48 miles by 1951, the year before they started to be abandoned and replaced by buses; the last of the old public trams ran on 8 October 1960. Booth & Fisher (Motor Services) Ltd, established 1921; their bus and coach fleet was subsumed within South Yorkshire Passenger Transport Executive from 1975
Victoria, Coronation, 1838, a silver medal by B. Pistrucci, bust left, rev. Victoria receiving crown from standing figures, 36mm (W & E 88.2; BHM 1801; E 1315). Some light hairlining, otherwise extremely fine or better, lightly toned £300-£400 --- Provenance: Baldwin Auction 98, 3 May 2016, lot 2305
Kings of Mercia, Offa (759-96), Penny, Light coinage, Canterbury, Baba, +offa rex in angles of long cross botonnée, quadrilateral within circle in centre, rev. babba within tablet divided by pelleted cross with fleured ends, 1.07g/5h (Chick 91; N 267; S 907). Edge ragged between 1 and 4 o’clock, otherwise very fine, scarce £800-£1,000
![Edward the Confessor (1042-1066), Penny, Expanding Cross type, [Light issue], Canterbury, Gyldwine, geldepine on cænt, 0.96g/](https://cdn.globalauctionplatform.com/ba8c9bdb-ec51-4d24-9687-ad4e00ce6a5c/9304be6e-e93d-4093-a980-ad4e00cfde5c/468x382.jpg)
Charles I (1625-1649), Truro or Exeter mint, Halfcrown, mm. rose, large equestrian portrait, walking horse, oval garnished shield, 14.04g/1h (Bull 660/16; Besly J16; SCBI Brooker 1027, same obv. die; N 2550/1; S 3065). A little weak at 12 o’clock, otherwise about extremely fine, light tone £700-£900
Scotland, Robert III, Light coinage, Lion, mm. cross on obv. only, crowned shield, rev. St. Andrew, without nimbus, on saltire cross breaking legend, lis each side, double saltire stops, 2.30g/11h (SCBI 35, 522ff; B 15, fig. 420; S 5160). Small edge cut and weakly struck, otherwise about very fine £2,400-£3,000
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