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NO RESERVE Britain.- Stereoscope.- Collection of c.90 stereoscope cards, with views mainly of England and the British Isles, and one or two of Nazareth and the Holy Land, mixed editions, some spotting to mounts, some fading, occasional manuscript notes verso; together with a Perfescope (metal clasp detached, velvet lining to viewer worn and coming loose), v.s., v.d., late 19th century. (c.90)⁂ Featuring views of Southport, the Isle of Wight, Isle of Man, Clevedon, Crystal Palace, Cheddar, Margate, Hastings, St Leonards etc. Also features one of Elizabeth I's Diamond Jubilee Pageant, 1897.

Herbal.- Dodoens (Rembert) A nievve herball, or historie of plantes, translated by Henry Lyte, first edition in English, black letter, numerous woodcut illustrations in text, lacking title (a pictorial one provided from another work and altered in manuscript), *2-6 (includes woodcut arms and portrait of author), 2H1-6 (duplicates of H1-6 erroneously bound in), and all after 3U4 (index / table ff., the last with printer's device and colophon verso), tears and marginal repairs to sig.2*, stained, some spotting, lightly browned, modern blind-stamped and gilt morocco, spine in compartments, corners worn, rubbed, London [i.e. Antwerp], by me Gerard Dewes [i.e. Henry Loë], 1578. sold not subject to return. ⁂ Dodoens served as court physician to Emperor Rudolf II of Austria before becoming Professor of Medicine at Leiden University in 1582.

Mathematics.- Euclid. Euclide megarense acutissimo philosopho, solo introduttore delle scientie mathematice, translated by Niccolò Tartaglia, [third edition], woodcut printer's device to title, woodcut diagrams, small manuscript ink notation to title, title [A1] and A2-B5 & B8 with paper restoration at fore-edge (sometimes affecting text), A3-A8 small worm hole with the loss of a few letters, 2Q1-8 defective at lower fore-edge corner with loss of text, and or paper restoration, damp-staining throughout, nineteenth-century half vellum, spine with morocco label, rubbed, [Edit 16 CNCE 18357], Venice, Giovanni Bariletti, 1569 § Tacquet (Andrea) Elementa Euclidea Geometriae planae ac solidae, 2 parts in 1, titles with woodcut ornaments, first title with ink staining and small hole to blank portion, folded woodcut diagrams mounted on stubs, several torn or with small defects, foxing and browning, Naples, Giuseppe Antonio Elia, 1744-60, bound with another similar, together 2 works in 1 vol., contemporary vellum, toned and stained, tears at joints and spine ends; and another mathematics, 3 vol., 8vo (5)⁂ Originally printed in 1543, Tartaglia's translation of Euclid was the first early modern translation of this mathematical classic text into a vernacular language.

Theology.- Aquinas (Saint Thomas) [Opera Omnia], Vol.3 & 4 in 1, woodcut portraits of Saint Thomas Aquinas within ornate frame to both titles, woodcut devices to colophons, woodcut initials, first title with two ink ownership inscriptions (lower worn through from acid), title outer margin with paper restoration and small loss to lower edge, occasional browning, some scattered light foxing and spotting, [EDIT 16 CNCE 48116], Roma, heirs of Antonio Blado & Giovanni Gigliotti, 1570; Opuscula Omnia, woodcut printer's device to title, woodcut head-pieces and initials, near contemporary ink ownership inscriptions to title, title lower edge with paper restoration (affecting date) and a few small holes, losses at lower edge ⴕ2-8 with some loss of text, MM5 onwards with small amount of worming upper fore-edge corner (touching text in a few instances, no loss), browning, Lyon, Heirs of Giacomo Giunta, 1562, book-labels to title versos, contemporary vellum, spines with gilt titles and manuscript ink shelf-marks, the second with some staining, folio (2) ⁂ The third and fourth volumes of this monumental edition of Saint Thomas Aquinas' works, composed of eighteen volumes in total. The third volume contains Aquinas' commentary on Aristotle, in particular the four books on the meteor, the treatise On the Soul (including the Parva naturalia) and the Metaphysics. The fourth volume contains 'De ente et essentia', with a commentary by the theologian Tommaso De Vio (1469-1534).Provenance: Ex Bibliotheca Patrum SS. Redemptoris Domus Casertae (book labels).

Golf.- Hoyle (Edmund) Hoyle's Games Improved, 2 engraved plates, scattered faint spotting, near contemporary manuscript note loosely inserted, contemporary calf, cracked joints, a little rubbed, housed in a modern drop-back box, 1790 § A History of Golf in Britain, first edition, colour frontispiece, plates, folding map at end, scattered faint spotting, contemporary cloth, slight bumping to corners and spine extremities, 1952 § Leach (Henry, editor) Great Golfers in the Making, frontispiece, plates, scattered spotting, original cloth, bookplate, previous owner's ink signature, original decorative cloth, gilt, slight mottling, a little bumped, Philadelphia, n.d.; and others, golf, v.s. (28)⁂ The first includes an early description of the game of "Goff or Golf", which is described as "the favourite Summer Amusement in Scotland ..."

Giovio (Paolo) Delle Istorie del Suo Tempo, 2 vol., woodcut printer's device to titles, woodcut initials, vol. 1 ink inscription to front endpaper, vol. 1 title and 2 following ff. with small amount of worming (affecting text), vol. 1 2C3-6 browned, vol. 1 text-block broken at 2F (stitching holding only at spine head), light foxing (mainly marginal), contemporary vellum, vol. 1 spine foot defective and worming to spine, vol. 1 two small ink annotations to covers, ink manuscript titles and later labels to spines, [Edit 16 CNCE 21243], 4to, Venice, al segno delle Colonne, 1581.

De Marsellis (Marco) Iconologia della Madre di Dio Maria Vergine, engraved additional architectural title, woodcut arms to letterpress title, additional gathering of 4ff. bound between a4 and b1 (browned), not recorded in other copies of this edition, single full-page engraved illustration, ink inscription to rear endpaper, c3 & c4 with closed tears repaired (affecting text), browning to some pages, otherwise some light scattered spotting, cracking to gutter in a few places, first few gatherings and B2-3 working loose, lacking front endpapers, upper hinge broken with back-strip away from text block, contemporary vellum with manuscript ink title to spine, toning and soiling, a few small worm holes to cover and spine, Naples, Onofrio Savio, 1654 § Montargon (Hyacinthe de) Dizionario Apostolico per uso de' Parrochi..., 5 vol., vol. 1 title in red and black, titles with woodcut ornaments, browning and foxing throughout, contemporary vellum, spines gilt, vol. 5 small tears at spine ends, a few small stains, Naples, Gaetano Castellano, 1784 § Franchis (Francesco de) Salvator mysticus sive Hoseas enucleatus opus.., 2 vol., engraved architectural titles, vol. 2 half-title, woodcut head-piece and initials, book-label and manuscript note to title versos, vol. 2 small amount of worming to final ff. (affecting text with minor loss), occasional light spotting, some ff. with light marginal damp-staining, later vellum-backed boards, rubbed, Salerno, F. Savio et al., 1647; and 13 others similar, v.s. (16)⁂ I. An uncommon work dedicated to the iconology of the Virgin of Montevergine, known as the 'Black Madonna', and often as 'Mamma Schiavona' [Mamma Slave]. Held originally by legend to have been painted by Saint Luke, the icon dwelled in Constantinople before being gifted in the 1300s to the Sanctuary at Monte Vergine near Naples, by Catherine II of Valois, the recognised Latin Empress of Constantinople. Rare in commerce.

Della Torre (Giovanni Maria) Scienza della Natura Generale, Parts 1 and 3 only (of 3) in 2 vol., 68 engraved folding plates only (a few with paper repairs at folds) vol. 2 lacking gathering a, some browning and foxing, including to plates, a few ff. and plates with light marginal damp-staining, contemporary half vellum, spines with morocco labels, rubbed, Naples, Donato Campo, 1774-78 § Cristini (Bernardino) Pratica Medicinale..., 3 parts in 1, woodcut printer's devices to titles, woodcut initials, ink ownership inscription to title, as well as ink manuscript inscriptions to pastedowns and endpapers, indistinct collector's seal on decoratively cut out paper laid down to part 1 title and rear endpaper, bookplates to rear, lacking engraved portrait frontispiece, part 3 lacking A1-B4, a few ff. with wormhole upper fore-edge corner (including part 1 title) affecting some text, some very light marginal browning or damp-staining, contemporary vellum, toned, lower cover fore-edge stained (?burn), a few small holes or tears, 3 loose contemporary leaves loosely inserted, one being verses in praise of the author, Venice, Angelo Bodio, 1681, 4to (3) ⁂ Third edition of Della Torre's encyclopaedic work on natural history, which has been described as the most complete and ordered picture of of the state of scientific knowledge at the time. Bernardino Cristini, meanwhile, is recognised as the most influential Italian physician of the 16th century, also playing an important role during the plague of 1565 in Rome. This is a rare edition of his medical treatises, scarce at auction.Provenance: Fabrica di profumaria di Carlo Capocci mercante in Roma (bookplate).

Supernatural.- Boaistuau (Pierre) and others. Histoires Prodigieuses extraictes du plusieurs fameux autheurs, 2 parts in 1, titles with woodcut printer's devices, woodcut illustrations, decorative initials and tail-pieces, front free endpaper with 19th century ink ownership inscription, bookplate of Charles Areskine of Alva laid down and used as frontispiece, title with "229" in manuscript to fore-edge, trimmed at head, very occasionally shaving headline, some slight browning or light spotting but a crisp copy overall, modern calf, with old calf upper cover laid down, rubbed, [Pettegree 5920; not in Adams], 12mo, Paris, Jean de Bordeaux, 1571.⁂ A work on demons, sea-monsters, serpents, monstrous births, comets, earthquakes and floods, amongst other unnatural and natural phenomena, with many of the bizarre creatures brought to life in the woodcuts. Part 1 is by Boaistuau, with part 2 by Claude de Tisserant and Francois de Belleforest.

Bible, Latin. Biblia ad vetustissima exemplaria nunc recens castigata, woodcut architectural title, woodcut illustrations and decorative initials, lacking S8, X4-5 and all after 4A8 (3 leaves of index and final blank), title chipped at fore-edge and laid down, missing X4-5 supplied in later manuscript, 3D8 with loss to lower corner, affecting a couple of letters, tear to foot of 3G1, affecting a few words but with no loss, some light foxing and occasional soiling, water-staining towards end, 4A8 repaired at fore-edge with loss to a few letters, hinges cracked, contemporary vellum, manuscript title to spine, rubbed and soiled, restoration to spine and joints, endpapers renewed, [Edit 16 CNCE 5801], 4to, Venice, [Hieronymus Polus], 1587.

Medieval manuscript.- Single leaf from a French Bible on vellum, written in Latin in black ink in a regular gothic book hand, double column, 51 lines, headline (just trimmed) and chapter number in red and blue, one long initial extending over half the length of the column in blue and gold depicting a serpent, one small red ink decoration outline of a bird's head in preparation for another initial, some pepper-pot worming within text, small stains at top and bottom, small 4to (xxxxxxxxx), France, [13th century].⁂ From 1 Maccabees 47-67 (opening "et placationes..." to 2 Maccabees 64.Provenance: private collection, Midlands, England

Medieval manuscript.- Bifolium from a text of moral tracts on virtues and vices, manuscript in Italian, in black ink in a clear and fluent informal anticha corsiva, with numerous abreviations, 30 lines, guide-words in margins, foliation in upper right corner in a later hand (19, 20), foxing to lower right corner of both leaves, small marginal stain to upper right corner, holes from stitching at fold, 8vo (xxxxxxxxx), Northern Italy, possibly San Nazaro or Lago Maggiore, [c.1450].⁂ Provenance: Jan Tschichold (1902-74), German calligrapher, typographer and graphic designer (printed loose wrapper as if from an exhibition); Private Collection, Midlands, England.

Wales.- Townshend (Sir Robert, of Ludlow, Shropshire, Chief Justice of the Marches of Wales, d. 1557) Order to "the grave Counsell in the marches Wales one Stagge of this County to be taken out of her highness fforest of Snowdon...", D.s. "Robt Townshend", manuscript, 1p., stained in left margins, folds, 255 x 183mm., 8th July 1557; and 2 others, v.s., v.d. (3).

NO RESERVE Chapman (Thomas) A Journal of Memoranda and Observations on Rural Economy, autograph manuscript, 79pp. excluding blanks, in at least 2 hands, later manuscript to pastedown, printed leaf on 'The Utility of Bone Manure' folded and laid down to rear pastedown, occasional light browning, original half calf, worn, manuscript ownership name to lower cover, spine ends chipped with loss, 8vo, January - December 1826.⁂ Early 19th century recordings on rural economy, recorded by a shepherd. In April, he muses "this month is the most trying season of the year to the stock farmer; and on the due husbanding of his resources through the winter so as to have a plentiful supply of his best food left to carry him on to the period of grass...". He returns to the diary in a later hand: "These observations were committed to paper during the time I was with R. S. Ford esq., a tenant under the Marquis of Stafford on Newstead Farm, Trentham, and at the same time as Agent to Earl Granville for the Stowe Estate...when I was about 17 years of age". Includes notes on horticultural seeds, flower seeds, perennial and annual vegetables.

Soldier's commonplace book.- Stuart (William Tyler, soldier in the 36th Regiment of Foot, later Major) Commonplace book, autograph manuscript signed, title and 146pp. excluding blanks, some ff. loose, slightly browned, document signed by Henry Pelham loosely inserted, original half roan, rubbed, folio, 1831-51.⁂ Contents written in Malta, Barbados, Corfu and elsewhere include: "To attack a house without Artillery"; "Working a Gun"; "Parody on the Girl I left behind me"; "Malta"; "Forfeiture of Pay for Absence without Leave"; "Catalogue of Books"; "Lines on a Dead Soldier"; "Service Companies 36th Reg"; "Subalterns Lament"; "Ensign Stuart in account with the Paymaster Gn" etc.

NO RESERVE America.- Sale of public lands to William Beerwith "Subject to sale at Jackson Missouri", printed document with manuscript insertions, signed in the name of Martin Van Buren, paper seal with blind stamp, several small holes, 250 x 410mm., 15th March 1837.

Songs.- Buetow (Max) Lieder Samlung, manuscript in German, title and 79pp. excluding blanks, Samuel Marcus Gollancz's copy with his ink signature on title, slightly browned, original half calf, extensively rubbed, sm. 8vo, 1st January 1844.⁂ Rabbi Samuel Marcus Gollancz (1820-1900), cantor of the Hambro Synagogue, London.

NO RESERVE European Travel Journal & Diaries.- [Bailey (Christina, maiden name Thomson, married Henry Bailey, 1822-99, grandmother of James Lees-Milne, 1908-97, of Coates, near Cirencester, Gloucestershire, 1849-96)] [Travel Journal to France and Italy], autograph manuscript, 191pp., original blind-stamped cloth, 8vo, [14th March - 9th May 1872]; and 13 other volumes, including 1 volume diary of Henry Bailey, 1880, and 10 volumes of Christina Bailey's pocket diaries, many entries in pencil, 1884-89 & 1893-96 (14).⁂ First mentioned tour starting from London, then to Ostende, Paris (describing the extensive damage done to buildings by the Siege of Paris and the Paris Commune, "a melancholy sight was presented to our view - the magnificent Palace of the Tuileries a heap of ruins..., "At St Cloud we got a piece of bread baked during the siege & composed of cats & rats which cost 2d per square inch"), Lyon to Turin via the Mont Cenis tunnel, Genoa, an intensive sight-seeing of Rome ("The Princess of Wales was arriving with the Princess Margherite. One princess looked very pretty - the Prince walked about with his gentlemen in waiting & friends, he looked quite strong - strange to see him, so near of late to the brush of death going about in health & strength & others taken [the future Edward VII's recovery from typhoid in 1871]... went to the English Church but found a very different sermon from last Sunday. The Prince and Princess of Wales were there the former seemed gtly bored"), Naples (Vesuvius erupting, Pompeii, Pozzuoli, Lake Avernus), and back to Rome where the journal ends.

Antigua.- Visino (Vespasiano, member of the Academia de la Historica of Madrid) Historia Antigua [&] Notas filosoficas sobre la historia Antigua, yla zisiologia de la zierra, 2 vol., manuscript in Spanish, titles and c. 400pp., slightly browned throughout, 2 drawings loosely inserted, original half roan, rubbed, paper labels on upper covers, 1 vol. torn at tail of spine, folio, London, 1870-74.

NO RESERVE Unpublished Victorian Novel.- Ryder (Edward Augustus, novelist, journalist and publisher, of 13 Pemberton Terrace, Upper Holloway, London, 1837-80) A New Arachne, 2 nos. in 1 vol., autograph manuscript signed, 78pp., numerous corrections, list of Contents on inside of upper cover, No. 2 loose, original cloth-backed boards, worn, manuscript lettered label on upper cover, corners and edges rubbed, lacks most of spine, 8vo, [c. 1880].⁂ Unpublished. Ryder published three novels, The Wheel of Fortune, a novel, 3 vol., 1875; Through Broken Brave, 3 vol., Chapman & Hall, 1877 [reviewed in The Times, 10 March 1887]; The Marble Queen, a novel, 3 vol., Bungay [printed], 1879.Ryder seems to have led a troubled life in the 1880s, being tried for Libel in 1883, and for Wilful Damage in 1887; at the time of his death he was in Friern Barnet Lunatic Asylum.

NO RESERVE Botany.- British Wild Flowers, c.130pp. manuscript in ink on paper, previous owner's presentation inscription to early blank, 7 pressed flowers wrapped in paper and loosely inserted, 2 autograph notes and 1 printed slip addressed to Mrs Allfrey, scattered spotting to early blanks, original vellum, rubbed, bumping to corners and extremities, 4to, c.1884-1910.

Royal Navy.- Foot (Cunningham Robert de Clare, naval officer, 1864-1940) Journal and Remark Book, manuscript log book, 106pp. excluding blanks, chart of the Atlantic printed on silk loosely inserted, original half morocco, rubbed, git upper cover, head and tail of spine chipped with small loss, sm. 4to, 1885-86.⁂ Record of service on Torpedo Boat No. 12, "with particular Service Squadron from Portsmouth to Portland to Bantry Bay"; "HMS Rover At Madeira - From Madeira to Barbados"; "HMS Rover at Trinidad. Trinidad to Grenada... HMS Rover At Syracuse. Syracuse to Girgenti. Repaired Palermo" etc. Also a piece at end, "Ships in Bottles."

Holy Land, Syria & Lebanon.- Tour in Palestine & Syria, manuscript diary, 101pp. excluding blanks, slightly browned, disbound, 8vo, n.d. [c. 1890].⁂ Gethsemane. "In the afternoon we went down to Gethsemane, found the wall broken down with the rain, & were climbing over, when a man appeared, who had been sent to guard the place. He had a very wild look altogether & a great club, which he flung about. However Gertrude argued with him & a little "backsheesh" soon got us through."Tour includes Jerusalem, Bethlehem, Damascus and Baalbek.

Manuscript Facsimile.- Great Domesday Book, 6 vol., comprising 2 vol. manuscript facsimile, 2 vol. translation, 1 introductory/index vol., and a drop-back box of maps, millennium edition, number 73 of 450 copies, manuscript facsimile in original calf, blind-stamped in the design of the Winton Domesday, housed in limp calf slip-case, all other vol. in original cloth-backed boards, all housed in original cardboard packaging, Alecto Historical Editions, 2000; and a 6 vol. set of the Little Domesday Book, also in original packaging, folio & 4to (12).

Charles I (King of England) [Gauden (John)] Eikon Basilike [graece]. The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings, woodcut royal coat of arms bound as frontispiece, trimmed, just touching image, with early ink notes to verso, engraved folding frontispiece laid down and bound after title, small loss at folds with a few words supplied in later manuscript, 2 engraved portraits, first and last few leaves repaired at inner margin (including portraits), closely trimmed at head, with loss to some headlines, occasional early ink marginalia, some browning and damp-staining, later ink notes to endpapers, later rexine, paper label to spine, lightly rubbed, [Wing E307; Madan 25], [?London], 1649.

Gilded harmonica manuscript. Thailand/Laos. 20th century. La Na writing. Religious script for temples. Probably Buddhist. Dimensions: 7 x 40 x 20 cm. In good condition.

ALBUM: a 19th century album containing various manuscript and printed ephemera, some loosely inserted, to include student transcriptions from the classics, 24 side late 19thc ALS sent from a commercial traveller in India, etc. (Album)

18TH CENTURY MANUSCRIPT RECEIPT BOOK: collection of manuscript cookery receipts assembled by Elizabeth Watson of Rochester, dated 1768 to upper pastedown: circa 170pp neatly filled in a legible hand, containing over 200 recipes for all aspects of culinary activity including homemade wines, puddings, cakes, pickles, preparation of meats, etc: included are Bishop of London's pudding: smutted rabbits: quaking pudding: cold posset; flummery: gooseberry wine and much else. Contemporary vellum binding, named and dated 1772 on upper cover, worn and scuffed, a few outer leaves loose but contents generally sound, 8vo. (1)

AMERICA, 18THC LAND TREATY: printed document on vellum with manuscript entries, relating to purchase of lands at Campden Pennsylvania, dated 2nd April 1797, approx 53 x 29cm, browned with old folds. (1)

ALBUMS & EPHEMERA: a quantity in box, to include late Victorian album of drawings and ephemera assembled by a child: small format cdv album with contents: some pen and ink sketches, photographs and sundry other printed and manuscript material. (Box)

POETRY: CLARK (Leonard, editor): 'Andrew Young...Prospect of a Poet', London, Rupert Hart-Davis, 1957: 8vo, original publishers cloth, dustjacket: with 10 line manuscript poem by Andrew Young to front FE, additional note from Leonard Clark in green ink below and letters from both author and editor tipped-in before title page, plus 2 signed woodcuts by Joan Hassell loosely inserted: together with approx 69 others over one shelf, 20th century poetry. (c70)

ANNOTATED BY PETER COLLINSON, FRS (1694-1768): MARTIN (Martin): 'A Description of the Western Islands of Scotland. Containing a full account of their situation, extent, soils, product, harbours, bays, tides, anchoring places, and fisheries...': London, printed for Andrew Bell, 1703: FIRST EDITION. Large folding map of the Hebrides (neatly repaired) and folding plate of heathen temple: this copy extensively annotated by naturalist and antiquary Peter Collinson (1694-1768) over some 90 pages, with 5 pages of manuscript index and additional notes at end. He relates, for instance, the experience of General Wade, who saw an eagle kill a deer by picking out its eyes and then hovering until the deer stumbled over a precipice. He also includes information given him by Dr Walker, who visited the islands in 1765, and who conveyed to Collinson his scepticism of the reputed second sight of some islanders as well as reporting that there were 'neither wild horses or buffaloes in Scotland as Mr Buffons asserts in his nat:hist: taken from ignorant writers': title leaf cropped at upper margin, some toning and scattered spotting, occasional light waterstains but a very good copy, later full calf gilt by Kerr & Richardson of Glasgow, teg, 8vo. (1)

MANUSCRIPT ESTATE PLAN: 'A Plan of Deepdale Tenements, the Property of JJ N. Mounsey Esq, surveyed by G Mounsey 1807': manuscript estate plan with coloured outline on board, approx 63 x 45cm, browned: together with a framed 19th century engraving. (2)

QUAKER INTEREST: a small quantity of printed and manuscript documents and letters related, 18th-19thc. (Small tray)

MISSAL LEAF: a large manuscript missal leaf on vellum, musical notation with large decorative initials in red and blue, approx 37 x 53cm, framed and glazed to both sides. (1)

ELIZABETH BOWES LYON, THE QUEEN MOTHER: a mid-20thc Christmas card, printed sentiment, 'With best wishes for Christmas and the New Year', signed below in black ink, 'From Elizabeth R', b&w silver gelatin photograph of the Queen Mother in domestic setting to opposite side: together with a press photograph of Lady and Sir Robert George greeting Viscount Althorp (creased), plus 2 further b&w photographs of the Queen Mother: a bound volume of manuscript music, upper board inscribed 'Tunes Played by the Massed Pipers and Drummers of the Caledonian Societies of South Australia..during the royal visit of Her Majesty Queen Elizabeth II and HRH The Duke of Edinburgh 1954': plus 7 vintage press photographs of Queen Elizabeth II at various functions. (Small quantity)

EALING MICROSCOPICAL & NATURAL HISTORY CLUB: a bound volume of printed reports, papers and ephemera related, 1877-1892, contemporary half calf, worn with front board detached, 8vo: together with 4 other albums of ephemera, manuscript and cuttings. (5)

ANTIQUARIAN: ENGELMANN (Dr C): 'Kreuznach, ses sources minerales et leur mode d'administration..' Heidelberg, Jos. Engelmann, 1839: with lithographic frontispiece, 2 plates and folding map: contemporary diced calf boards, gilt ruled, recently rebacked to match, 8vo: with 7 others, continental antiquarian, 17th-19thc, to include a 464 page 18th century Dutch devotional manuscript. (8)

SCRAP ALBUMS: an attractive 19th century scrap album of provenance Hibbert family, resident at Chalfont House (Bucks), numerous pasted in valentines, heraldic crests, prints, drawings and photographs, etc: contemporary half morocco over marbled boards, rubbed and scuffed, 4to: with another larger format 19thc scrap album, plus an early 20thc receipt book composed of cuttings with manuscript entries. (3)

CONWAY (SIR MARTIN, INTRODUCTION) THE HERMITAGE eighty-four photogravures directly reproduced from the original paintings in the Imperial Gallery at St Petersburg, by Authority of His Imperial Majesty the Tzar, published by the Berlin Photographic Company, London, late 19th century, full red Morocco bound with tooled gilt floral borders around a central Russian Imperial Coat of Arms; together with The Masterpieces of the Museo del Prado, one hundred and ten photogravures......in the National Gallery at Madrid, published by the Berlin Photographic Company, London, similarly bound in red Morocco with a central gilt Spanish Coat of Arms (2) Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Prado Museum £10.0.0. and Hermitage Museum £10.0.0.'

λ A FRANCO-FLEMISH TORTOISESHELL AND BRASS MOUNTED COFFRE FORT EARLY 18TH CENTURY the tortoiseshell with a gilt foil backing, with trefoil strapwork mounts terminating in fleur-de-lis and side carrying handles, the hinged lid enclosing a vacant interior fitted with a steel lock 19.5cm high, 31.5cm wide, 25cm deep Provenance Alfred de Rothschild (1842-1918) the Library, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'An old French coffre fort overlaid with tortoiseshell and mounted with brass bands terminating in fleur de lys, £10.0.0.''

AN EMBOSSED AND GILDED STEEL COPY OF THE GHISI PARADE SHIELD IN RENAISSANCE STYLE, 19TH CENTURY of convex circular form, relief decorated with a central scene of equestrian combat and four oval panels depicting the allegorical figures of Victory, Fame, Fortune and Prudence; the intervening space inhabited by warriors and satyrs from the Illiad and ancient mythology, with intricate gilt decoration to the cartouche frames around the panels, the figures' garments and other details, with a gilt border and a fringed velvet lining 58cm diameter Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'An Italian scircular shield, chiselled with battle scenes and emblematic figures and partly damascened with gold, Milanese 16th century, £300.0.0.'' Catalogue Note The original shield attributed to Georgio Ghisi was made in Antwerp in 1554. It was acquired by Baron Anselm von Rothschild at the Demidov sale in 1870 and then by inheritance to his son Baron Ferdinand Rothschild of Waddesdon Manor. It was left to the British Museum in 1898 by Baron Ferdinand Rothschild as part of the Waddesdon Bequest of over 300 objects. It is interesting that Alfred had a copy of his cousin's shield.

WILLIAMSON (E) LES MEUBLES D'ART DU MOBILIER NATIONAL two volumes, published by Baudry et Cie, Paris, late 19th century, bound by J Leighton, Brewer Street in blue Morocco with gilt tooled decoration centred by an 'AR' monogram for Alfred de Rothschild to front and back covers and repeated five times on the spine (2) Provenance Alfred de Rothschild (1842-1918) the Lady Bamflyde Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Williamson's Meubles d'Art, 2 vols, £10.0.0.'

A PAIR OF FRENCH RESTAURATION ORMOLU AND SEVRES PORCELAIN VASES AFTER THE MODEL BY PIERRE GOUTHIERE, C.1820-30 AND LATER each with a royal blue ovoid body with entwined serpent handles, with stiff leaf decoration and a band of laurel to the spreading foot, later fitted with lily flower and leaf three-light candelabra branches, on a later fluted plinth, later drilled and fitted for electricity (2) 110.2cm high Provenance Alfred de Rothschild (1842-1918) the Ante-Room to the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of Louis XVI candelabra, formed of gros bleu Sevres porcelain vases, mounted with ormolu serpent handles and lily branches for three lights.' Catalogue Note A related example is in the Jones Collection in the Victoria & Albert Museum, London accession no. (982 A-1882) and is illustrated in H. Ottomeyer / P. Pröschel, Vergoldete Bronzen, Vol.I, Munich, 1989, p.259, fig. 4.7.12.

MORGAN (JOHN PIERPOINT 1837-1913) PICTURES IN THE COLLECTION OF J. PIERPONT MORGAN at Princes Gate & Dover House, London, two volumes, English School and Dutch & Flemish, French, Italian and Spanish, with an introduction by T. Humphrey Ward and Biographical and Descriptive Notes by W. Roberts, Privately Printed, London, 1907, full brown Morocco with gilt tooled decoration to the covers, green watered silk to inside covers and end pages, gilt top edges (2) Provenance Alfred de Rothschild (1842-1918) the Entrance Hall, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Morgan Collection of Pictures, 4 vol, £80.0.0'

A FRENCH GOLD, ENAMEL AND AGATE TAZZA IN RENAISSANCE STYLE BY JEAN-VALENTIN MOREL (1794-1860), C.1838-1848 the agate bowl with winged lion handles above a strapwork, shell and leaf decorated stem above a domed foot, stamped with Jean-Valentin Morel maker's mark 'MV', with a compass and French eagle's head poincon de petite garantie 10.9cm high, 10.2cm wide Provenance Alfred de Rothschild (1842-1918) the Red Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A small agate tazza, mounted with enamelled silver gilt stem, £10.0.0.' Catalogue Note A similar cup by Morel, designed by Charles Nivillier and made for Maria Alexandrovna, wife of the future Tsar Alexander II of Russia, was shown at the Great Exhibition of 1851. The engraving of the design was published in The Art Journal Illustrated Catalogue, London, 1851,p.112. See. Lucas, Jean-Valentin Morel and the Revival of the Lapidary's Art," Apollo, January 2005, pp.51-52. Jean-Valentin Morel (French 1794-1860) was a celebrated French silversmith and goldsmith noted for his fine quality lapidary work. He trained under his father and was a student of Adrien Maximilian, maker of gold boxes to Louis XVI and Napoleon. He established his own business in 1818 and registered his own mark in 1827. He specialised in high quality inlay work and producing hardstone cups satisfying the demand from collectors for objects in the Renaissance and Baroque styles. From 1942-48 Morel was in partnership with the French architect Henri Duponchel (1794-1868), establishing themselves as Morel et Cie. They won a gold medal at the Exposition des Produits de l'industrie of 1844 in Paris, however, their partnership ended acrimoniously which resulted in a lawsuit that prohibited Morel from working in Paris. After the revolution of 1848 Morel fled to London and established a workship on New Burlington Street of over fifty staff, registering his London mark in 1849, The culmination of Morel's London career was his display at the Great Exhibition of 1852, there he displayed jewellery silver and numerous neo-Renaissance cups and he was awarded a Council Medal.

A SOUTH GERMAN GILT COPPER TABLE CABINET PROBABLY AUGSBURG, LATE 16TH CENTURY with engraved and pierced scrolling leaf mounts and conforming engraved borders, the hinged top engraved with a scene of Adam and Eve beside the Tree of Knowledge in the Garden of Eden, with attendant animals, the underside engraved with a Biblical scene of God in Heaven, a rainbow to one side and an inebriated Noah lying on the ground, revealing an etched Moresque decorated interior above an arrangement of five drawers decorated in relief with panels of classical scenes of processions of chariots and figures, with two hinged doors decorated with maidens in landscape settings, one probably of Diana, revealing gilt copper lined compartments, on later sphinx supports 31.2cm high, 32.2cm wide, 23cm deep Provenance Alfred de Rothschild (1842-1918) the Billiard Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A copper gilt casket, with lifting top and small drawers below, engraved with Adam and Eve, emblematic friezes of Amorini, supported by Sphinx, German, 17th century, £40.0.0.' Catalogue Note Kabinettkaestchen, literally 'cabinet box', of this type were produced in a variety of metals and woods and where often given as gifts for significant events such as betrothals, weddings and baptisms. It is perhaps significant that the example being offered here and the other two referenced below each feature a scene of a baptism on the underside of the top cover. Given the detail of the decoration and the locks to the two small cabinets it is likely that they were meant primarily for the storage of precious objects such as jewellery as described in R. Baarsen, 17th-Century Cabinets, Rijksmuseum Dossiers, Zwolle, 2000. Although perhaps a little tenuous, it is possible to interpret the use of the scenes of Adam and Eve being tempted by the Serpent and Noah a little worse for wear after drinking a bit too much wine as warnings against being tempted to steal what was being stored within the cabinet. The scene of Adam and Eve is after a 16th century German woodcut by an artist referred to as ‘Master SHF’, a version of which is held at The Minneapolis Institute of Art. The engraved depiction of Adam and Eve is very much in the style of Virgil Solis who produced a series of illustrations for the Bible from 1560.Nuremburg and Augsburg were renowned for making small scale and highly decorative objects in a variety of metals and it is highly likely that the example offered here was made in a workshop in one of these two cities. Their history and production is discussed at length in G. Summlung, Kostbar und geheimnisvoll - Miniaturmöbel und Schatzkästchen.. For similar items see Christie's, From Roentgen to Faberge: A European Private Collection, 20th May 2015, lot 9 and The Rijksmuseum, Object Number NK-17523. The casket offered by Christies, as well as the Italian example being offered as part of the Exbury Collection lot 219, are both covered in velvet and it is possible that this example may also have had velvet laid around the scrolled decoration. For similar etched decoration see a 16th century close-helmet in the Wallace Collection attributed to Conrad Richter of Augsburg, inv. A188.

'THE BARON LIONEL DE ROTHSCHILD GERMAN SILVER SOLDIERS' A VERY RARE PAIR OF GERMAN SILVER-GILT FIGURES OF SOLDIERS PROBABLY AUGSBURG, UNMARKED, LATE 16TH / EARLY 17TH CENTURY both kneeling, one holding a crossbow the other with a sword, each with articulated hands, on raised naturalistic rocky bases on a circular pierced foot with trefoil decoration, wear to gilding 12.3cm and 12.5cm, 12.3oz (385g) Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Lawrence Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed as 'Two kneeling figures' and recorded as going to Alfred. Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two German silver figures of men, on circular plinths pierced with Gothic foliage, late 16th century £100.0.0.' Charles Davis, 'A Description of the Works of Art Forming the Collection of Alfred de Rothschild', 1884, p.262, no.365, 'Two silver-gilt soldiers in early sixteenth-century costume. They are both kneeling, one has an arquebus and the other a sword. The stands are decorated with a diagonal pattern border, German work of the beginning of the sixteenth century. Height 5in' Catalogue Note These exquisitely modelled silver figures depict soldiers wearing early 16th century costume. The detail is quite astonishing with incredible attention to detail to the folds of the clothing, the feathers in their hats and the characterisation in their faces. The rocky bases were perhaps originally enamelled and they are very unusual in having articulated hands. They recall a much larger German silver automaton figure by Wolf Christoph Ritter now on display at the British Museum as part of the Waddesdon Bequest. The base has a clockwork mechanism which propels the figure across a table and perhaps our figures had some mechanism to move the articulated hands. The soldiers being offered were formerly in the collection of Baron Lionel de Rothschild (1808­ 1879). Lionel Nathan de Rothschild was the eldest son of Nathan Mayer Rothschild (1777­ 1836) and after spells working for the family bank in Paris, London and Frankfurt, he became the head of the London house of NM Rothschild & Sons in 1836 at the age of 28. His London home was 148 Piccadilly which had sumptuous French Louis XVI style interiors. 148 Piccadilly was home to Lionel's fabulous art collection which he had developed during his apprenticeship in Europe. The collection which was divided amongst his three sons was dominated by Old Masters, many of which were acquired from the Van Loon collection, but also featured fine French furniture and Renaissance works of art including silver and early rock crystals. The collection is mentioned by Waagen in 'Art Treasures in Great Britain', 1854.

A FINE ITALIAN EMBOSSED AND GILDED STEEL PARADE SHIELD IN MILANESE RENAISSANCE STYLE, 19TH CENTURY of convex circular form, with acanthus detail to the centre with a projecting boss of leaves and berries, the main field decorated in relief with an elaborate arrangement of strapwork and foliate scrolls inhabited by winged beasts, putti and grotesque masks, with four oval panels with depictions of biblical and apocryphal stories comprising: Judith and Holofernes, David and Goliath, Samson massacring the Philistines, and Samson and Delilah with a sunken border richly embellished with mythical creatures and with trophies of arms on a gilded ground, with a rope twist edge and a fringed velvet lining and later wooden mount 62cm diameter Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular shield chiselled with panels of scriptural subjects, trophies and arabesques on a gilt groundwork, 16th century, £250.0.0.'' Catalogue Note This shield shows design influences from the parade armour made by Giovanni Battista Panzeri and Marco Antonio Fava, 1559 for Archduke Ferdinand II in the Kunsthistoriches Museum, Vienna.

'THE ROTHSCHILD MILANESE ARMOURER'S CABINET' A RARE NORTH ITALIAN DAMASCENED STEEL AND GILT BRONZE ARMOURER'S TABLE CABINET IN THE MANNER OF THE WORKSHOP OF GIOVANNI BATTISTA PANZERI, MILAN, THE PLAQUES LATE 16TH / EARLY 17TH CENTURY, THE CABINET 19TH CENTURY fitted with eleven drawers around a central cupboard hinged door, decorated in relief with scenes from Roman history before cityscapes, with swags of fruit and leaves, soldiers, satyr masks, war trophies and term figures, the cupboard with the story of Gaius Mucius Scaevola, revealing a gilt lined vacant interior, the cabinet with a pierced scrolling leaf silver gilt border and green damask velvet panels, on sphinx supports, on an associated and later French 'Japonisme' stand (2) cabinet: 42.5cm high, 59.8cm wide, 35.5cm deep the stand: 80.8cm high, 65.7cm wide, 42.5cm deep Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian cabinet with architectural front, overlaid with steel plaques chiselled with classical warriors and partly damascened with gold, Milanese, 16th Century, on stand, £300.0.0.' Catalogue Note In Milan during the second half of the 16th century skilled craftsmen who produced damascened armour and weapons for noble patrons began to expand their production into furniture. Creating mainly cabinets with drawers, some of architectural form but also tables, mirrors, picture frames and tabernacles tailored to the tastes of wealthy patrons desiring one-of-a-kind masterworks epitomizing luxury. These objects made by the Milanese armourers were decorated with steel or iron plaquettes, embossed and damascened with gold and silver, depicting subjects inspired by Roman history or mythology. Sometimes they were embellished with small sculptures. One of the prominent makers to capitalise on this luxury market was Giovanni Battista Panzeri, called Zarabaglia, who also specialised in devotional objects. His masterpiece is arguably the reliquary tabernacle in the form of a church, made for Spain's El Escorial, kept in its Monastery of San Lorenzo. For comparisons to our present cabinet, see the Victoria & Albert Museum for a cabinet with very similar panels and subject matter gifted by Dr. Hildburgh, accession no. M.22:1-1952, dated to 1550-1600. In the Waddesdon Bequest at the British Museum there is an architectural cabinet formerly belonging to Alfred's cousin Baron Ferdinand de Rothschild, reg. no. WB.16. See also three cabinets in the Museo Poldi Pezzoli and a wiring cabinet in the Philadelphia Museum of Art, accession no. 1930-1-187. Literature For a discussion of these cabinets, see Silvio Leydi, Mobili Milanesi in acciaio e metalli preziosi nell'eta del Manierismo, in Fatto in Italia. Dal Medioevo al Made in Italy, ed. by Alessandra Guerrini, with Barbara Brondi and Marco Raino. Catalogue of the exhibition at Reggia di Venaria, 19th March - 10th July 2016. The Iconography The central panel depicts Gaius Mucius Scaevola in front of the Etruscan king, Lars Porsena. Scaevola, a young Roman, formed a plan to save Rome from the intruder Etruscan army by assassinating their king but he mistakenly killed the king's secretary. When Scaevola was captured, he bravely declared "I am Gaius Mucius, a citizen of Rome. I came here as an enemy to kill my enemy, and I am as ready to die as I am to kill. We Romans act bravely and, when adversity strikes, we suffer bravely." Scaevola then thrust his right hand in a fire to prove he meant his words. Lars Porsena was so impressed by his actions that he allowed Scaevola to leave and soon after sought to make a treaty with Rome. Some panels surrounding this legendary scene are also connected to the siege of Rome, depicting Roman heroes standing up to the Etruscan king: bottom left showing Horatius Cocles who, first accompanied by two fellow soldiers, but eventually singlehandedly held off the advancing army at the foot of the bridge over the Tiber. The panel above shows a female figure, standing in front of the king on horseback. The female is probably Cloelia who escaped from the Etruscan camp and led away a group of Roman virgins. Cloelia later voluntarily returned to Lars Porsena who then praised her for her heroism and allowed her to walk away again with half of the Roman hostages. And the bottom right panel depicts the ultimate sacrifice of a Roman hero with the story of Marcus Curtius: when a bottomless chasm mysteriously opened on the Forum, the augur declared it will not close until the most precious possession of Rome was sacrificed. Curtius responded that the the soldiers' courage and arms were what made Rome exceptional, before, on horseback and fully armed, he threw himself into the pit which then promptly disappeared. These panels are consistent with the Renaissance period which saw a shift towards more historic and Biblical themes. A return was made to classical Greek and Roman ethos of society and this also appeared on furniture. Many pieces showcased intricate artwork depicting historic scenes. Similar trends can be observed on parade armour created in the 16th and 17th century for the high nobility.

A PAIR OF FRENCH ORMOLU AND SEVRES PORCELAIN VASES AFTER THE MODEL BY PIERRE GOUTHIERE, SECOND HALF 19TH CENTURY each with a royal blue ovoid body applied with leaf and flower swags, with entwined serpent handles, with stiff leaf decoration and a band of laurel to the spreading foot, later fitted with lily flower and leaf three-light candelabra branches, later drilled and fitted for electricity (2) 104cm high Provenance Alfred de Rothschild (1842-1918) the Ante-Room to the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of Louis XVI candelabra, formed of gros bleu Sevres porcelain vases, mounted with ormolu serpent handles and enriched with ormolu festoons of flowers, lily branches for three lights.' Catalogue Note A related example is in the Jones Collection in the Victoria & Albert Museum, London accession no. (982 A-1882) and is illustrated in H. Ottomeyer / P. Pröschel, Vergoldete Bronzen, Vol.I, Munich, 1989, p.259, fig.4.7.12.

PREZIOSI (AMADEO) STAMBOUL: RECOLLECTIONS OF EASTERN LIFE, 1858 first edition, Lemercier Paris, a tinted lithograph title page and twenty-nine chromolithograph plates, each titled in English and French, showing scenes and characters from Istanbul, gilt edged and bound by J. Leighton of Brewer Street with marbled end pages, in blue Morocco with tooled gilt decoration, each plate 540 x 405mm approx. Provenance Alfred de Rothschild (1842-1918) the Library, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Preziosi Stamboul £1.0.0.' Catalogue Note Paper label applied to inside page, inscribed 'To Baron Alfred de Rothschild, 20th July 1889, from J.C.G.'. A second paper label with an inscription in Arabic applied beneath. Amadeo Preziosi (1816-1882) was a popular Maltese painter and traveller. He was a resident of Istanbul and was famous for views and depictions of local culture and costumes. His workshop was routinely visited by tourists wishing to return home from Istanbul with a souvenir, Edward VII visited him in April 1869.

A FINE FRENCH LOUIS XV KINGWOOD AND ORMOLU MOUNTED SERPENTINE BOMBE COMMODE ATTRIBUTED TO GILLES JOUBERT (FRENCH 1689-1775), C.1755-60 the rouge griotte marble top with a moulded edge, above parquetry trellis panels and scrolling Rococo mounts, fitted with two drawers, on cabriole legs terminating in lion's paw feet, with alterations 90.7cm high, 125cm wide, 53.4cm deep Provenance Alfred de Rothschild (1842-1918) the Bamfylde Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A Louis XV parqueterie commode with two drawers inlaid with panels of trellis and cube pattern, in kingwood borders mounted with ormolu borders and corners chased with scroll work entwined with branches of flowers and with lion's claw feet, surmounted by a veined red marble slab, £2,500.0.0.' Catalogue Note Gilles Joubert (French 1689-1775) was born in Paris to a family of joiners. He was apprenticed at the age of thirteen to a marqueteur and went on to marry Michelle Collet in 1714, the daughter of Edmond Collet, an ebeniste of the Faubourg and also a cousin of Pierre II Mignon who was a favoured cabinet maker of Madame Pompadour. Joubert began supplying furniture to the Garde-Meuble Royal in 1748 and his deliveries to the court became more significant after 1751 when Gaudreaus the Younger ceased to work for the Crown. From this time on Joubert was the principal supplier of furniture for the Royal court and remained so for nearly twenty-three years. To satisfy the high demand from the Crown, Joubert often sub-contracted work to his fellow ebenistes, including Antoine-Mathieu Criaerd, Leonard Boudin and especially Roger Vandercruse. Joubert's work is difficult to identify, as stamping was not mandatory in his early career there are only a dozen or so items with his signature. Once he became ebeniste de la Couronne in 1763, he was free from guild regulations and no longer had to sign his work. As a result, Joubert's work cannot be studied before his first deliveries to the Garde-Meuble Royal in 1748 when he was already nearly sixty. Nothing is known of his production before this date. Joubert's design can be characterised by a restrained Rococo style, with scrolling ormolu mounts in a symmetrical pattern, the marquetry in a geometrical arrangement of lozenges, often tulipwood veneers framed by strips of kingwood. 'The same cartouche is found on the front of several of his commodes, as well as the lacqueur ones made by Marchand for the Queen's Bedchamber at Fontaineblau in 1755 and those produced in the previous year by Criaerd for the Pavilion at La Muette. The corner mounts of these pieces often have large symmetrical motifs, often a pierced bouquet of flowers.' (French Furniture Makers p.212) Joubert retired in 1774 aged 85 and was succeeded in the post of 'ebeniste du Roi' by Riesener. Joubert died in 1775. The attribution to Joubert is based on a recently discovered Royal commode by Joubert now in the collection of the Chateau de Fontainebleau which has almost identical front mounts to our commode. It was originally made for the Louis XV's bedchamber at the Chateau de Fontainebleau and it was installed by Joubert in 1754. Declared a national treasure, it was acquired for the nation at the price of EUR 1,000,000. Literature Alexandre Pradere, French Furniture Makers, The Art of the Ebeniste from Louis XIV to the Revolution, pp.208-215.

AN EMBOSSED STEEL PARADE SHIELD IN THE STYLE OF ELISEUS LIBAERTS OF ANTWERP, 19TH CENTURY of cartouche form, with a central oval panel depicting a classical battle with a cavalry action to the foreground, a clash of infantry beyond and a fortress in the distance; further panels depicting warriors and the allegorical figure of Victory; a horned mask with snakes above and a serene face below; the remaining field inhabited by bound captives and trophies of arms, with a scrolling border set with gilt and fluted studs 71.5 x 40cm Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'An Italian steel shield, chiselled with a battle scene, warriors, masks and strapwork and the ground damascened with gold 16th century, £200.0.0.'' Catalogue Note Another example of this form of shield, purported to be after an original in the National Museum of Denmark, Copenhagen, is held by Museo Stibbert, Florence. It may be compared to an example of Libaert's work produced for the coronation of the Holy Roman Emperor Maximillian II in 1564 and which is held in Skokloster Castle in Sweden.

A FINE VICTORIAN MATCHED SILVER CANTEEN OF BEADED PATTERN FLATWARE the majority by George Adams, London 1858 and 1863, and Francis Higgins, 1882, some other dates, the terminals with the monogram of Alfred de Rothschild, comprising: sixty-four table forks, twenty-four dessert forks, twenty-two silver-gilt dessert forks, thirty-one tablespoons, twenty-four dessert spoons, twenty-three silver-gilt dessert spoons, nineteen teaspoons, eleven egg spoons, two butter knives, a pair of fish servers, a crumb scoop, a pair of silver-gilt grape scissors, six sauce ladles, two soup ladles, a pair of salad servers. eight silver-gilt fruit serving spoons, a pair of silver-gilt ice cream spades, two pairs of silver-gilt ice tongs, twenty-four silver-gilt ice cream spoons, a pair of silver-gilt sugar sifting spoons, a pair of silver-gilt ladles, twenty-four table knives, twenty-six dessert knives (some modern), twenty-two silver bladed fruit knives, eleven fruit knives and forks, plus nine odd silver and electroplated beaded teaspoons (A lot) approx. weighable 602oz. Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A silver gilt beaded dessert service consisting of 118 pieces and a silver beaded service'.

A RARE SMALL GOLD MOUNTED AGATE URN IN THE MANNER OF THE MISERONI FAMILY, THE AGATE POSSIBLY ANCIENT BUT CARVED IN THE 17TH CENTURY the 'U' shaped body with reeded bands and carved with acanthus leaves, the cover carved with a petal collar and spiral twist band with a gold finial, the stem with a lobed collar on a spreading foot (detached) with a gold rim 6.4cm high Provenance Alfred de Rothschild (1842-1918) Bedroom no.12 in show cabinet, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A small vase and cover carved in striated onyx mounted with gold feet £5.0.0.' Catalogue Note The decoration and shape recalls the works in agate by the Miseroni Family the important jewellers and gemcutters from Milan. They specialised in carving rock crystal and hardstones and gained international recognition in the mid-16th century. Imperial patronage from the Hapsburgs prompted the re-establishment in 1588 of the workshop to Prague, where it flourshed until 1684. Girolamo and his brother Gasparo entered the service of Cosimo I de' Medici. Giulio worked in Spain from 1582 and Ottavio worked from 1588 in the court of Rudolf II in Prague and was succeeded by his son Dionysio who became Imperial Treasure Warden in the Prague Castle. For a related agate urn attributed to Gasparo Miseroni, see the Museo del Prado, Tesoro del Delfin, inv. O000015.

A PAIR OF FRENCH ORMOLU CANDLESTICKS IN LOUIS XV STYLE AFTER A DESIGN BY JUSTE-AURELE MEISSONNIER (FRENCH 1695-1750) the detachable sconces with rose head details on shafts of Rococo style scrolling with a coronet set amongst the foliate scrolls and on a spreading foot (2) 31cm high Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XV ormolu candlesticks chased with compositions of scrollwork, £30.0.0.' Catalogue Note Juste-Aurele Meissonnier (1695-1750) was the leading and most extravagant pioneer of the Rococo style. He was born in Italy, the son of a silversmith and sculptor, but moved to Paris to work for the Royal Gobelins Manufactory. He received his warrant as master goldsmith from Louis XV in 1724. Described by one of his contemporaries as an 'unruly genius, and what's more, spoilt by Italy', he produced designs for chairs, tables, lanterns, candlesticks, clocks and even crucifixes. Meissonnier rendered three drawings of these candlesticks to show their exuberantly asymmetrical design. The drawings were engraved by Gabriel Huquier (1695-1772) and published in Deuxieme Livre des oeuvres de J. A. Meissonnier: Livre de chandeliers de sculpture en argent (1734-35). See an almost identical pair of candlesticks in the Metropolitan Museum of Art, New York, accession number: 1999.370.1a.b,.2a,b. Literature Juste-Aurele Meissonnier: Livres d'ornements en trente pieces and Ornements de la carte chronologique. Jonathan Bourne and Vanessa Brett, Lighting the Domestic Interior Renaissance to Art Nouveau, p.62. Hans Ottomeyer / Peter Proschel, Vergoldete Bronzen, vol. 1, p.104, figs. 2.1.5 and 2.1.6.

'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.

'THE BARON LIONEL DE ROTHSCHILD CANDELABRA' A PAIR OF FRENCH LOUIS XVI ORMOLU AND PATINATED BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY PHILLIPPE CAFFIERI, LATE 18TH CENTURY each modelled with a cherub seated on a rock, one holding his hands aloft, the other blowing a shell, issuing three acanthus wrapped branches with fluted vase shaped nozzles decorated with stiff leaves, the stepped base with fluted, guilloche and leaf decoration, later drilled and fitted for electricity, with faux candles and shades (8) 45.8cm high (excluding fittings) Provenance Baron Lionel de Rothschild (1808-1879) at 148 Piccadilly, London Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript 000/176/11, 'The Division of the property of the late Baron Lionel de Rothschild between Sir Nathaniel de Rothschild, Leopold de Rothschild, Esq., and Alfred de Rothschild, Esq., 1881'. Listed as 'A pair of fine small Louis XVI bronze three light candelabra' and recorded as going to Alfred. Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of Louis XVI, candelabra, with bronze figures of boys playing conch shells and supporting ormolu branches, for three lights each. ' Charles Davis,' A Description of the Works of Art forming the collection of Alfred de Rothschild', 1884, p. 228, no. 244, listed as 'A pair of three-light candelabra, of the period of Louis XVI, each is formed by a bronze figure of a kneeling boy blowing a trumpet and supporting the branches, which are chased metal, and designed as foliated scrolls. The stands are square, and each has a hollow border enriched with a bead moulding'. Catalogue Note Although the design of candelabra has traditionally been attributed to Philippe Caffieri (1714-1774) with the rights to their production held by Simon-Phillippe Poirier and his business partner Dominique Daguerre, the putti themselves have a longer history with an attribution to Alessandro Algardi (1595-1654) and his circle, a pair of which are now held in the Wallace Collection having been acquired by the 4th Marquess of Hertford. This attribution by the Wallace Collection is further enhanced by Jennifer Montague in her publications on Algardi (1985) and Bronzes in the Wallace Collection (2002). Poirier delivered a pair of candelabra incorporating porcelain figures among three gilt bronze branches, to Madame du Barry in 1770. It was soon after this date that the design appears to have gained popularity amongst the English Gentry with examples appearing in inventories of country house collections from the early 19th century. In recent years, closely related examples have appeared at auction, see Christie's Lord St Helens and Sir William Fitzherbert, 22nd January 2009, lot 541 and Christie's, The Gothick Pavilion, Byron to Beaton, 9th December 2010, lot 111.

λ AN IMPORTANT NEAR PAIR OF FRENCH ROSEWOOD AND ORMOLU MOUNTED TABLES DE MILIEU IN LOUIS XVI STYLE, ATTRIBUTED TO LOUIS-AUGUSTE-ALFRED BEURDELEY, C.1850-60 each with a rectangular Sarrancolin opera marble top with a moulded edge, above a breakfront frieze, one mounted with two 17th century Florentine pietra dura tablets inlaid with figures after engravings by Callot, the other mounted with a pair of micromosaic plaques, decorated with scrolling foliage and flower mounts, on tapering column legs with Ionic capitals, laurel leaf bands, on acanthus toupie feet, damages to marble tops (2) 87.5cm high, 138.2cm wide, 76cm deep and 88.2cm high, 143.5cm wide, 76cm deep Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of side tables, of Louis XVI design, mounted with ormolu friezes richly chased with foliage and with mosaic plaques in the centre, the tops formed of fleur-de-peche marble'. Catalogue Note These impressive tables were potentially bespoke made for the hardstone and mosaic plaques found on their friezes. They were displayed pride of place in the Central Hall / Salon at Halton Hose, see the photographs of them in-sitU C.1888. The quality of their ormolu mounts and their 'improved look' point to an attribution to the Paris firm of cabinet makers, Beurdeley. The business was established in 1804 by Jean Beurdeley who was noted as a 'marchand de curiosites'. Louis-Auguste-Alfred Beurdeley (French 1808 - 1882) took over the firm in 1840 and relocated the business to rue Louis-Legrand where he elevated the quality of their manufacture. Not only did they produce grand furniture but they became prominent dealers in French furniture and objets d'art. According to Christopher Payne in his book 'Paris Furniture: the luxury market of the 19th century', the Beurdeley dynasty was 'one of the best makers, their work is always of a very high quality, technically superb'. The Pietra Dura The two Italian pietra dura panels mounted on one of the tables depict dwarf caricatures taken from designs by Baccio del Bianco (1604-1657) based on engravings by Jacques Callot (1592-1635) from his book, titled 'Varie Figure Gobbi' (1612-1622). Del Bianco worked extensively for the Medici, designing objects in various media and organising spectacles. Callot's book, which was published in 1616, depicts a 16th century travelling troupe of performing dwarfs who were at the court of Cosimo II. Similar plaques can be found on a table formerly in the collection of Alfred de Rothschild and now in the Gilbert Collection in the Victorian & Albert Museum. It stood (with its pair) in the glass domed Salon opposite our present tables at Halton House, Buckinghamshire. Four plaques can be found on the Hume / Beckford cabinet at Charlecote Park, Warwickshire and further examples can be seen on a tabletop at Versailles. Alvar Gonzalez-Palacios in his book 'The Art of Mosaic: Selections from the Gilbert Collection', originally dated these pietra dura plaques to the 18th century of Opificio manufactory but more recently in his work 'Il gusto dei Principi' he has attributed them to the first half of the 17th century. Annamaria Giusti noted in her book 'Pietre Dure: L'arte europea del mosaico negli arredi e nelle decorazioni dal 1500 al 1800', most of the 17th century plaques with this subject matter are mounted in 18th and 19th century furniture. The Micromosaic The other table is mounted with a pair of early micromosaic plaques, worked with scrolling foliage on a black ground. The colouring of the mosaic matches the colouring employed on the magnificent micromosaic table top by Don Giacomo Pellicea of poultry that stood opposite it at Halton House.