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Post WWII Competition. A large quantity of some original but mostly copy and promotional photographs from various sources, about 200, average size being 8 x 10-inches. Images include a good selection of rear engine F1 cars, sports events, pits, workshops, starting grids, many with manuscript and typed captions verso. (Qty)

General Racing. A quantity of smaller monochrome photographs, most about 5 x 8-inches, all copy or promotional images, many from the Demaus, Goddard and Griffiths collections, most with manuscript captions verso. Also a good selection of postcard-size amateur photographs, mainly of post-WWII racing and circuits, monochrome and colour. (Qty)

BMW - Bristol. A boxed selection of mainly copy photographs, and appropriate cuttings. All in good condition, some images are by Klemantaski with a few manuscript captions verso, several sets. (Qty)

Racing - 1930s. Thirty original photographs of cars at various venues. The cars include Bentley, ERA, Riley, LSR - Thunderbolt and Bluebird, Lewes Speed Trials, Brooklands and Donington. Some with typed and manuscript captions verso, all in good fettle. (30)

James Grose Ltd. An unusual Journey-mans 1922 catalogue of 127pp with inserted lined note pages, some manuscript notes, otherwise in good order. Also, a Timson Bros catalogue for 1926, Speed on Salt by Bradley and Eyston, 1936 1st edition without DJ, The Wonder Book of Motors, and two other titles. (6)

A rare glazed ware "Tit-Bits" advertising Toby jug modelled as a gentleman reading the magazine of that name, circa 1917, glazed in two colours, height 23 cm, offered together with a manuscript letter from Titbits IPC Magazines Limited dated 28 November 1974 giving details of the piece as well as two photographic copies of the original magazine entries relating to the jug dating back to 1917. 

Buchdeckel. Holz, beschnitzt. Tibet. 18, Jh. Mit Darstellungen des Bodhisattva Avalokiteshvara in drei seiner Erscheinungsformen. Der in der Mitte thronende Lotosträger Padmapani wird links von Shadakshari Avalokiteshvara und rechts von Lokeshvara begleitet. Reste von Vergoldung.12 x 26 cmProvenienzPrivatsammlung, Aachen, erworben bei Lempertz, Köln, 2./3.6.1987, Lot 764, seitdem in Familienbesitz. Alte Rechnung vorhanden. A Tibetan carved wooden manuscript cover. 18th century With Padmapani, the lotus holder, at centre, flanked by Shadakshari Avalokiteshvara to the left and Lokeshvara to the right. surrounded by lotus petals. Remains of gilding.12 x 26 cmProvenancePrivate collection, Aachen, Germany, acquired at Lempertz, Cologne, 2./3.6.1987, lot 764, and thence by descent. With old incoice.

Sachbuch Drei Bände mit dem Titel: Mi hua tu kao und dem englischen Titel: Erotic Colour Prints of the Ming Period with an essay on Chinese Sex Life from the Han to the Ch'ing Dynasty, B.C. 206-A.D. 1644, R. H. van Gulik. Privat veröffentlicht in fünfzig Kopien, Tokyo 1951. Reproduktion der Manuskriptkopie, bestehend aus den drei Bänden: 1. Mi xi tu kao, 2. Mi shu shi zhong und 3. Hua ying jin zhen. Stoffbespannte Kassette.28 x 26 cm A reference book Three volumes titled Mi hua tu kao and Erotic Colour Prints of the Ming Period with an essay on Chinese Sex Life from the Han to the Ch'ing Dynasty, B.C. 206-A.D: 1644, R. H. van Gulik, Privately Published in Fifty Copies, Tokyo 1951. A reproduction of the manuscript copy, containing the three volumes: 1. Mi xi tu kao, 2. Mi shu shi zhong und 3. Hua ying jin zhen. Box case covered with linen.28 x 26 cm

Pour contrer tous les malheurs - Li-daf'i jamî al-balâyâ Copié par Shaykh KamâlIran, XVIIIe siècleManuscrit arabe sur papier, de huit feuillets, calligraphié en très beau "naskh" à l'encre noire sur six lignes par page, dans de filets d'encadrement en or, noir et bleu. Le manuscrit ouvre par un "unwân" où figure le titre en "ruqa'" or cerné de noir rehaussé de lapis lazuli, sur fond de rinceaux fleuris. Séparations de versets marquées par une pastille dorée rehaussée de points rouges et bleus.Signé au colophon Reliure moderne à rabat en maroquin brun estampé23x17,5 cmLi-daf'i jamî al-balâyâ, copied by Shaykh Kamâl, Iran, 18th centuryArabic manuscript on paper, 8ff., 6ll. To the page of very nice black naskh, illuminated title in gold ruqa’ lined in black and lapis

Coran ottoman Signé Hassan Ibn 'Abd al-ManânTurquie, XIXe siècleManuscrit arabe, de 316 feuillets, calligraphié en "naskh" noir sur 15 lignes par page, ouvrant par un double frontispice enluminé, titres de sourates en blanc dans des cartouches à fond or, séparations de versets marquées par des pastilles dorées, enluminures marginales florales marquant les "Juz" et "Hezb". Signé au colophon. Reliure à rabat en maroquin noir à décor de mandorles et écoinçons estampés et dorés. 24,5 x 14,5 cmAn Ottoman Quran, copied by Hassan b. ‘Abd al-Manân, Turkey, 19th centuryArabic manuscript, 15ll. Of black naskh to the page, opening illuminated double heading, sura titles in white on gold panels.

Kitâb Neshân Irân - Livre des médailles royales de l’Iran, 1258 H./1842Manuscrit persan, 68 feuillets sur papier de couleurs variées, calligraphié en nasta’liq et shekasteh à l’encre noire, divisé en trois parties. Le manuscrit débute par des vers de poésie « qasideh » et « ghazal », suivis d’un texte décrivant la politique et les coutumes régissant la direction de l'État. La troisième partie décrit les différents types et degrés de chaque médaille et insigne, les conditions d’attribution, description de leur forme, ornements, bijoux et pierreries employés. Chaque texte est accompagné des illustrations à la gouache. La dernière page est annotée ainsi : “ la calligraphie au-dessus est de Gholam-Hossein Khan fils de Ebrahim Khan (mort en 1306/1886) fils de ‘Abbas Qoli Khan Mir Panj l’auteur de ce livre. La calligraphie du livre est de Muhammad Hussein et date de 1258 H./ 1842.”21 x 13.5 cm‘Abbas Qoli Khan Mir Panj, Kitâb Neshân Irân - Book of decorations from Iran - Copied by Muhammad Hussein in 1258AH/1842ADPersian Manuscript, 68ff., in black nasta’liq and shekasteh on coloured paper, divided in 3 parts, illustrated with decorations. Last page gives the name of the author, the calligrapher, and the name of Gholam Hossein Khan, son of Ebrahim Khan, son of ‘Abbas Qoli Khan Mir Panj, as the owner of the book.15 000 / 20

Husayn ibn Muhammad b. Hassan al-Diyarbakri (m. 1582)Ta’rîh al-hamîs fî ahwâl anfas al-nafîsManuscrit arabe sur papier, 286 feuillets, calligraphié en fin «maghribi» brun sur 29 lignes par page en moyenne. Les mots importants sont mis en exergue en rouge. Nombreux commentaires en marges.Reliure à rabat moderne en maroquin brun estampé à décor d’arabesques.27 x 20 cmHusayn ibn Muhammad b. Hassan al-Diyarbakri (d. 1582), Ta’rîh al-hamîs fî-ahwâl anfas al-nafîs, North Africa, 18th centuryArabic manuscript, 286ff., 29ll. of brown maghribi on paper, catchword in red, several annotations on the margins.Références:La bibliothèque nationale de France conserve une copie de cet ouvrage sous la référence : Arabe 5435.L’ouvrage relate la vie du Prophète Muhammad et contient un bref exposé de l’histoire des premiers califes, des dynasties des Omeyyades et des ‘Abbassides, etc., en recouvrant la période jusqu’en 1574, année de l’ascension au trône du sultan Murad III.The work is about the Prophet’s life and contains a brief account on the early caliphs covering the period up to 1574, the year of ascension to the throne of Sultan Murad III.

Sirâj al-Din Abû Tâhir al-Sajâwandî (m.1203) Kitâb al-waqf wa-l-'ibtadâ fî'ilm al-qirâ'ât Copié par Ibn [N]âjî ? Daté dhû al-qa'da 1088 (= décembre 1677-janvier 1678) Manuscrit arabe de 104 feuillets sur papier crème, calligraphié en "naskh" à l'encre noire sur 12 lignes par page. Le manuscrit ouvre par le titre en rouge, d'autres phrases et mots importants sont en rouge tout au long du texte. Inscription postérieure dans les deux premières pages. Reliure à rabat couverte de papier à décor floral. 18 x 12 cmSirâj al-Din Abû Tâhir al-Sajâwandî (d.1203) ; Kitâb al-waqf wa-l-'ibtadâ fî'ilm al-qirâ'ât, copied by Ibn [N]âjî ?, dated dhû al-qa'da 1088AH/AD1677-1678. Arabic manuscript on paper, 104ff., 12ll. of black naskh to the page, titles and catchwords in red.Cet auteur est également connu sous le nom de ‘Abû Tâhir Muhammad al-Sajâwandî al-Hanafi était un érudit Hanafi, traitant de la jurisprudence, des mathématiques, de l'astrologie et de la géographie.

Waqfiyyah portant la tughra du Sultan Bayezid II (r. 1481-1512), Turquie, daté du 10 Muharram 897H. (= 13 Novembre 1491) Manuscrit arabe sur papier ivoire, de 35 lignes de cursive à l’encre noire, surmontées de la tughra du Sultan, et sept signatures. L. 108 cm Charte de donation pieuse, ce document établit une dotation pérenne après décès pour la tombe de Sitti Nefise Hatun, fille d’Oruç Bey. Le document mentionne l'organisation de la distribution de la nourriture aux pauvres, les prières et différents rituels annuels. Elle est financée par les 4/5 des récoltes d'un vaste champ de rizières.Sitti Nefise Hatune est la fille du célèbre chroniqueur et haut fonctionnaire du règne de Bayezid II, Oruç Bey. Il est l'auteur de l'une des premières histoires complètes de la dynastie ottomane et parmi les historiens les plus importants du XVe siècle. Les actes de chancellerie du XVe siècle sont relativement rares.A Waqfiyyah bearing the tughra of Sultan Bayazid II (r.1481-1512 AD), Turkey, dated 10 Muharram 897AH/ 13 November 1491Arabic manuscript on ivory paper, with the black tughra of Sultan surmounting 35 lines of black naskh. At the end, seven signatures. The content of this waqfiyyah setting up a « waqf » after Sitti Nefise Hatun’s death. The document mentions the distribution of food to the poor, prayers, and annual rituals. It is financed by the harvests of a vast fied of rice. Nefis is the daughter of the famous ottoman historian and high official of the reign of Bayezid II, Oruç Bey. He is the author of one of the first chronicles of the Ottoman dynasty and among the most important historians of the 15th century. 15th century chancellery records are relatively rare.

Coran d'époque ottomanePar 'Ali Al-Khulusi Turquie, daté 1279H. (=1862) Manuscrit arabe de 307 feuillets sur papier beige, calligraphié en délicat et régulier "naskh" noir sur 15 lignes par page, ouvrant par un très beau double frontispice enluminé. Le début de chaque sourate est précédé par un cartouche doré non titré. De nombreuses enluminures marginales ornent les pages du Coran, les versets sont séparés par des pastilles enluminées. Les titres des sourates et les inscriptions sur le double frontispice de début, manquent.Colophon signé Al-Sayed "Ali al-Khulusi, élève d'Al-Hajj Mustapha, et daté 1279H.Belle reliure à rabat en maroquin à décor végétal doré, avec étui.Dim: 13,5 x 9,5 cm An Ottoman Qur'an signed Al-Sayed 'Ali al-khulusi pupil of Al-Haj Mustapha, Turkey, 1279AH/1862AD. Arabic manuscript, 207ff., 15ll. to the page, written in very fine black naskh, opening illuminated frontispiece, surah headings - previously in white - missing on the gold backgrounds, signed and dated.

Jalal al-Din Muhammad Rumi (m. 1273) Copié par Jan Muhammad, fils de Khidr Inde ou Iran, daté 1029H. (=1620). Manuscrit persan sur papier poudré d’or, 356 feuillets calligraphié en beau « nasta’liq » noir sur quatre colonnes, filets d’encadrement en rouge, vert, or, noir et bleu. Le manuscrit contient 7 titres enluminés. Les marges sont réalisées au pochoir, alternant des coloris différents (vert, rose, bleu), décorées d’oiseaux et feuilles de saz à l’or sur fond d’arabesques fleuries. Reliure en maroquin brun estampé et doré. 42 x 25 cm Jalal al-Din Muhammad Rumi (d. 1273), The six books of the Mathnawi, signed by Jan Muhammad son of Khidr, India or Iran, dated 1029AH/1620AD Persian manuscript on gold speckled paper, 356 leaves, 21 lines to the page in 4 columns, written in fine nasta’liq in black, 7 illuminated headings, the outer margins filled with stenciled interlacing scrolls with birds of different colours outlined in gold. Une note de lecteur signée de Mirza ‘Aziz Khan, surintendant du mausolée de Shah-e Mardan à Kaboul, indique que le manuscrit a été acquis auprès de Hafiz ‘Ali Muhammad, résident de Lahore pour la somme de 200 roupies en l’année 1202 de l’Hégire (=1787-88). Œuvres en rapport : - Anthologie persane datée 1105H. (=1693) aux marges réalisées selon la même technique, est conservé au Walters Art Museum of Baltimore, inv. N°W.653 - Une copie du Gulistan de Sa’adi signée Jan Muhammad, dont l’époque pourrait correspondre, est passée en vente chez Bonham’s le 18 novembre 2020, lot 33 Le format, la qualité de la calligraphie et les marges richement décorées de ce manuscrit indiquent que son commanditaire était un personnage de haut rang. Les marges au pochoir ont prospéré en Turquie ottomane, en Perse safavide, et en Inde moghole. La richesse de ces marges reflète la richesse des mécènes qui commandaient ces manuscrits à des artistes de la cour, spécialisés dans cette technique. Les manuscrits avec des marges au pochoir produits à Boukhara ont voyagé en Inde à partir du milieu du XVIe siècle, ainsi que les artistes qui se mirent ainsi à travailler en Inde pour des mécènes moghols.

Folio de Shahnameh ilkhanideIran, ou Baghdad, vers 1300Gouache rehaussée d'or sur papier, encadrée de 34 lignes en régulier naskh noir reparti en 6 colonnes, filets d'encadrements et titre en rouge. (Usures, numéroté 22).35,5 x 25,5 cmAn illustrated and illuminated leaf from a manuscript of Firdausi's Shahnameh, Persia or Baghdad, Ilkhanid, circa 1300gouache heightened with gold on paper, 34 lines to the page, written in small naskh script in black ink in 6 columns, red intercolumnar rules, title in larger red script.

Abu'l-Qasim Firdawsi (m. 1024): Shahnama d’époque QajarIran, début du XIXe siècle Manuscrit persan, 610 feuillets, calligraphié en « nasta’liq » à l’encre noire sur 25 lignes par page sur quatre colonnes, tête de chapitre enluminées, ouvrant par un double frontispice enluminé. Le manuscrit comporte également des extraits de deux textes : Bahaman-nama, l’histoire de la famille de Rustam, attribué à Shahmardan b. Abi-l Khayr ou Hakim Azari selon certains ; Faramarz-nama qui raconte les aventures de Faramarz (un fils de Rustam) en Inde.26 miniatures dont : Bahram Gur tue un dragon ; Rustam tue son frère Shaghad avant de mourir dans la fosse ; Ardashir tue Harith, frère du roi de Syrie ; Rustam tue Isfandiyar ; Rustam et le Grand Khaqan de Chine; The supplice de Siyavush ; Rustam attrape le Div Akvan ; Bizhan à la chasse au sanglier ; Bataille entre les Iraniens et les Turaniens, etc…Reliure en maroquin brun. Quelques folios manquants. Manuscrit : 36,8 x 23,6 cmTexte : 26,5 x 15,3 cm Abu'l-Qasim Firdawsi (d. 1024): ShahnamaQajar Iran, early 19th CenturyWith parts of the Bahmannama and the Faramurznama interpolated, Persian manuscript on paper, 610ff., 25ll. of black nasta'liq to the page, divided into four columns with headings in red, text panel set red, blue and gold rules, 26 contemporaneous illustrations, the opening bifolio fully illuminated surrounding nasta'liq in white clouds reserved against gold ground. some folios lacking

Shaykh El Hadji Al Djezairi (actif vers 1630)Recueil de HadithsAfrique du Nord, XVIIIe siècleManuscrit arabe sur papier, env. 250 feuillets, calligraphié en « naskh » sur 27 lignes par page, dans un encadrement de filets vert et rouge. L’ouvrage ouvre par un « unwan « enluminé Les mots importants sont mis en exergue en rouge. Reliure en maroquin brun.Une note de lecteur indique que l’ouvrage daterait de 1637, son auteur étant actif à Alger vers 1628.29 x 20 cmShaykh El Hadji Al Djezairi (alive around 1630), Commentary on the quran, North Africa, 18th centuryArabic manuscript on paper, near 250ff., 27 lignes of black naskh to the page, illuminated opening, catchwords in red.A note on the 1st page says the work has been written around in 1637.

AL-JAZULI (Muhammad b. Sulayman, m.1465) Dalâïl al-Khayrat - Livre de prières Copié par Wali al-Din Sara'iTurquie, 1182H. = 1768Manuscrit arabe sur papier, de 105 feuillets, calligraphié en "naskh" à l'encre noire sur 11 lignes par page, à double encadrements noi, rouge et or, s"parations de versets marqués par une pastille dorée à 6 compartiments, deux frontispices enluminés, mots importants à l'encre rouge, illustré des représentations des sites de La Mecque et Médine (f. 10b et 11a). Reliure à rabat en maroquin bordeaux à décor estampé et doré d'une mandorle polylobée encadrée de fleurons animés d'arabesques florales. 15,5 x 10,5 cmAn illuminated Dala’il al-khayrat, signed by Wali al-Din Sara'i, Turkey, Ottoman, dated 1182 AH/1768 ADArabic manuscript on paper, 105 leaves plus 4 flyleaves, 11 lines to the page, written in naskh script in black ink, text separation represented by pointed gold roundels, 2 illuminated floral headpieces, illuminated ending, catchwords in red, ruled in red, black and gold, f.10b and f.11a with illustrations of Mecca and Medina, brown morocco binding with gilt-stamped medallions, with flap

Dalā'il al-Khayrāt – livre de prièresAfrique du Nord, XVIIe-XVIIIe siècleManuscrit arabe sur papier épais, 121 feuillets, calligraphiés en large « maghribi » brun sur 9 lignes par page en moyenne, les mots importants mis en exergue à l’encre rouge, jaune, ou bleu outre-mer (on notera l’absence de vert). Le manuscrit contient six titres enluminés en coufique ou en thuluth sur cartouches enluminés à décor d’arabesques, un frontispice enluminé, les représentations de La Mecque et Médine. Sur la première page, une note de dépôt en waqf partiellement coupée et peu lisible, au nom de 'Abd al-Raḥman b. 'Abd al-Wahāb Ibn [...]. Nombreuses annotations marginales. Reliure à rabat, en maroquin brun à décor estampé et doré. 22 x 16.5 cmDalaïl-al-Khayrat, Prayer book, North Africa, 17th-18th centuryArabic manuscript on paper, 121ff., 9 lignes of maghribi, catchword in blue, yellow and red, six illuminated titles in thuluth and kufi, one illuminated frontispiece and Mecca and Medina schemes.

Mort de Rustam Iran, école de Chiraz, 2nde moitié du XVe siècle Feuillet extrait d'un manuscrit du Shahnamah (Livre des rois), calligraphié en "nasta'liq" à l'encre noire sur quatre colonnes, avec titre en or sur fond d'arabesques spiralées. Le texte est illustré d'une miniature peinte à la gouache rehaussée d'or, représentant le héros Rustam couvert de la peau de tigre blanc, décochant une flèche en direction de son frère Shaghard qui lui a tendu un piège dans lequel Rustam tombe. Le titre de l'épisode en bas de page, se réfère à Zal (père de Rustam et Shagard) lorsqu’il est informé de cette tragédie.Encadré sous verre. Page à vue : 20,5 x15 cmAn illustrated and illuminated leaf from a manuscript of Firdausi's Shahnameh: Rustam shoots Shaghard, Persia, late 16th centurygouache and ink on paper, written in nasta’liq script in black ink, within 4 columns, ruled in gold and black, framed

Bahram Gur Iran, XVIe siècle Feuillet extrait d'un Shahnama, calligraphié à l'encre noire en "nasta'liq" sur quatre colonnes. Le texte est illustré d'une gouache rehaussé d'or. Au revers, texte persan de 33 lignes en nasta’liq à l’encre noire sur quatre colonnes. Titres inscrits à l’encre rouge. Le titre de l’épisode en rouge se réfère à la générosité de Bahram Gour envers les Iraniens. (Repeints. Encadré sous verre). Cadre: 40 x 27 cm. Texte: 26 x 14,5 cmAn illustrated and illuminated leaf from a manuscript of Shahnama, Persia, 16th centuryGouache heightened with gold on paper, 33 lines of black ink nasta’liq within 4 columns.

Muhammad b. Sulayman Al-Jazuli (mort en 1465) Dalaïl al-Khayrat - Livre de prièresSigné et daté 'Abd al-Wahāb b. Muḥammad al-Dujān 1134H. (=1721)Manuscrit arabe de 89 feuillets sur papier ivoire, calligraphié en naskh à l'encre noire et rouge sur 11 lignes par page. Le manuscrit ouvre par une page de titre mentionnant différents propriétaires. Ouverture avec un frontispice "unwan" enluminé à décor floral. Les mots importants et les noms de Allah et Muhammad sont à l'encre rouge. Tableaux reprenant les Asma' al-Husna, double page illustrée représentant les sites de La Mecque et Médine. Les 5 derniers folios adoptent une écriture différente. Colophon : Achevé « le 4 ša'bān 1134 en la ville d'Acre, la Bien-gardée parmi les villes », « par la main de son scribe l'humble 'Abd al-Wahāb b. Muḥammad al-Dujānī »Note de lecteur sur la 1ere page sous le titre : "de la bibliothèque de Maḥmūd b. Ḥassan b. 'Alī Baṭḥīš[ī] al-Makkī al-ḤanafīReliure à rabat en maroquin brun à décor estampé. 17 x 12 cm Ce manuscrit est un précieux témoin de la vie intellectuelle et religieuse dans la Palestine des 18e et 19e siècles et des échanges de savoirs entre deux éminentes familles de savants de cette région. Sur le premier recto :Note de possession (en haut à gauche) : Maḥmūd b. Ḥassan b. 'Alī Baṭḥīš[ī] al-Makkī al-ḤanafīNote de possession (en bas à gauche) : "La propriété de ce livre béni fut transmise à l'humble Ḥussayn b. Salīm b. Salāma al-Dajānī le juge des fatwas en la ville de Jaffa" . Ḥussayn b. Salīm b. Salāma al-Dajānī (1820-1875) fut le premier mufti de Jaffa, poste auquel lui succédèrent trois autres membres de cette éminente famille palestinienne. Certificat de lecture (en bas à droite) : après formules introductives : « Manṣūr b. Muḥammad al-Dajānī al-Yāfāwī [de Jaffa] a lu l’intégralité des Dalā'il al-H̱ayrāt devant le Shaykh Aḥmad b. [Abī] Bakr b. Aḥmad Baṭḥīš[ī] al-Makkī al-Ḥanafī, mufti d'Acre, la première semaine du mois de Ramadan de l'an 1141 à la grande mosquée d'Acre au pays de la Palestine Bien-gardée, qui lui a remis un certificat (ijāza)»Aḥmad Baṭḥīšī (1095-1147) était un savant hanafite et le mufti de la ville d’Acre.Al-Jazuli (d. 1465) Dalaïl al-Khayrat – Copied by 'Abd al-Wahāb b. Muḥammad al-Dujān in the town of Acre, in 1134AH/1721AD.Arabic manuscript, 89ff. on cream paper, 11ll. To the page in balck and red naskh. On the 1st pages several owner mentions reveal the book passed through Aḥmad Baṭḥīšī (1683-1734), Hanafi scholar and mufti of Acre, to Ḥussayn b. Salīm b. Salāma al-Dajānī (1820-1875), first mufti of Jaffa.This manuscript is a precious witness of the intellectual and religious life in 18th and 19th century in Palestine and the exchange of knowledge between two eminent families of scholars from this region.

Commentaire du CoranTurquie, vers 1800Manuscrit turc, 28 feuillets, calligraphié en « naskh » de belle qualité, sur quinze lignes par page à l’encre noire, réparties sur deux colonnes, titres à l’encre rouge dans un médaillon nuagé en réserve, sur cartouches aux deux tons d’or ornés d’arabesques florales, filets d’encadrement en or, noir et rouge. Le manuscrit ouvre par un frontispice enluminé et commente plusieurs sourates mecquoises. Reliure en maroquin brun tendu de soie bleue. 18 x 12.5 cmA very fine ottoman Quran commentary, Turkey, circa 1800Turk Manuscript, 28ff., 15ll. To the page of black naskh on two columns, titles in red on illuminated cartouches, illuminated heading.

Muhammad b. Sulayman al-Jazuli (mort en 1465) - Dala'il al Khayrat ottomancopié par Muhammad Anis, daté 1302H. (=1884-85)Manuscrit sur papier, de 99 feuillets, calligraphié en "naskh" à l'encre noire sur onze lignes par page, les titres enluminés, les mots importants en rouge, les séparations de versets en forme de rosaces dorées rehaussées de polychromie. Le manuscrit s'ouvre par un double frontispice enluminé aux marges à décor floral, illustré par deux belles miniatures représentant les sites sacrés de La Mecque et Médine. Signé et daté au colophon enluminé : Muhammad Anis, daté 1302 de l'Hégire. Reliure en maroquin brun à décor doré d'un bouquet floral. 15 x 10,5 cmAn ottoman copy of Dala'il al Khayrat, Turkey, 1302AH/1884-85AD, signed Muhammad Anis. Arabic manuscript on paper, 99ff. , 11ll. in black "naskh", illuminated opening bifolio, illuminated titles, catchwords in red, with 2 illuminations depicting Mecca and Medina.

Cinquième volume d'un rare coran en 12 volumesAfrique du Nord, XVIIIe siècleManuscrit arabe sur papier à vergeures, calligraphié en "maghribi" à l'encre brune sur neuf lignes par page, signes diacritiques et vocalisation en rouge, vert, bleu et jaune, titres en "ruqa'" rouge ou bleu, triple filets d'encadrement rouge et bleu. Reliure en marocain brun estampé. 24x17,5 cmFifth part of a North African Quran, 18th centuryArabic manuscript on paper, 9ll. of brown maghribi to the page, titles in red or blue ruqa’. This is a rare example of Quran divided in 12 sections. Inscriptions : Coran, de Sourate IX, verset 93 à Sourate XIII, verset 18. Soit les hizb-s 21 à 25.

Anam-i sharifTurquie, XIXe siècle Manuscrit arabe de 22 feuillets, calligraphié en régulier naskh de 9 lignes par page. Le manuscrit est richement illustré : Asma' al-Hosna (4b-7a), calligramme au nom d’Allah et Ali, Dhulfiqar, attributs du prophète (manteau, empreintes, bannières), nom des quatre 1ers califes en « thuluth », tulipe. Belle reliure sans rabat en maroquin brun peint de guirlandes florales en deux tons d’or.14 x 10 cmAnam-i Sharif, Turkey, 19th centuryFine Arabic manuscript, 22ff., 9ll. of nice black naskh, with 12 illustrated and illuminated pages.

Coran ottoman Copié par Khalil al-ShukrîTurquie, datée 1191H. (=1777)Manuscrit arabe sur papier, de 306 feuillets, calligraphié en "naskh" noir sur 15 lignes par page, dans des filets d'encadrement noir et or. Le manuscrit ouvre par un double frontispice enluminé à décor floral. Les titres de sourates sont en "ruqa'" blanc sur cartouche rectangulaire à l'or, séparations de versets marqués par une pastille dorée, enluminures marginales en forme de fleurs indiquant les "juz" et "hezb". Le coran est suivi de prières et du colophon. Reliure à rabat en maroquin brun estampé et doré, à décor de croisillons. 23x16,5 cmAn Ottoman Quran, copied by Khalil al-Shukri, in 1191 AH / AD 1777Arabic manuscript on paper, 15ll. Of black naskh to the page. Illuminated opening double frontispiece, sura titles in white ruqa’ on gold rectangular panel. Quran text followed by prayers.

An unusual Indian manuscript tube with relief work decoration on stand - length 33cmCONDITION REPORTAs per images

A collection of Victorian embroideries and other items, comprising : a 19th century wedding dress sash with corresponding manuscript note; a blue ribbon with fold thread and two embroidered cotton panels

FITZGERALD, Edward, Rubaiyat of Omar Khayyam. Siegle, Hill & Co, London, c1910. Reproduced from a manuscript written and illustrated by Sangorski & Sutcliffe. Rebacked in quarter vellum. [1]Condition report: Rebacked in new vellum, original endpapers skilfully relaid.Decorative gilt work to front board a little dulled.Intermittent foxing throughout.

A Manuscript Calligraphy Pen Set, pen desk stands, Autograph fountain pen etc:- One Tray, together with a William Mitchells pedigree pens Card No 13

Dorothy Newsome [later Newsome-Glenn] (1900-1980), Two illuminated religious texts, each illustrated with a Modernist / Art Deco depiction of a fish, one framed under glass, together with a children's book "The Bushy Tail Family" illustrated by Kathleen Nixon, with manuscript dedication within, dated 1963, In the late 1920s Newsome and fellow artist Kathleen Irene Nixon [who she met while studying book illustration at the Birmingham School of Art] were commissioned by the Oxford University Press to visit India and produce a series of drawings. While there, the Indian State Railways also commissioned them to design tourism posters, for which Newsome, and her colourful style, is most well-known.

A Regency Dublin silver pocket snuff box, of waisted form and decorated in a diaper flowerhead pattern, Law, Dublin, 1814, 7.5 x 4.5 x 2.5 cm. [The lot is accompanied by extensive old manuscript provenance relating the box, apparently anachronistically to Admiral Lord Nelson]

VINCENT SELLAER (attributed) 1490 - 1544: ALLEGORY OF PERFECT LOVE Ca. 1540 Oil on wood 140 x 109 cm Vincent Sellaer excelled among Flemish painters in his ability to combine Flemish and Italian influences into monumental allegorical works. It is believed that his refined manuscript was influenced by two main Italian traditions - Lombard-Leonardian, represented by Moretto da Brescia and Girolamo Romani, and Florentine-Roman, namely represented by Andrea del Sarto and Rafael Santi's school. The work is marked: "PERFECTA CHARITAS / FORAS MITTIT / TIMOREM / IOH, ACA". The designation refers to the biblical text - IOH - John, First Epistle of John: "Love does not know fear, perfect love dispels fear, for fear causes torment, and he who fears has not perfected in love." Love - charitas, belongs to the seven Christian virtues, Vincent Sellaer portrayed her in the traditional form of a naked woman surrounded by children, similar to, for example, Lucas Cranach. The theme of charitas is one of the author's iconical. Restored.

JOSEF LADA 1887 - 1957: WINTER 1941 Ink, watercolour, gouache on cardboard In frame 37,5 x 59 cm Signed: Upper right "Jos. Lada 41" Josef Lada established himself as undoubtedly one of the most important painters of the Czech countryside. Recognized as a typical figuralist in the 1940s, Lada also more often focused on village motifs with almost or no figural staff and sought the optimal position of expression between drawing and painting. Josef Lada sticks to his linear stylization and translates landscape motifs into simple characters, from which he composes a new pictorial reality. Lada's original painting, in which he fully applied his drawing experience, significantly enriched the expressive register of contemporary Czech landscape painting. The artistic conception of the presented work, characterized by particularly fine contours and a more pronounced application of the painter's handwriting, is characteristic of the period of the 1940s, when Lada's painting reached its peak phase. The arrangement of the composition, the drawing stylization, the method of coloring and the type of signature coincide with the documented originals from the given period. Thanks to his uniqueness of the manuscript, Josef Lada became one of the icons of Czech fine art, and the Czech winter in the countryside is often referred to as "Ladovská."The work comes from the restitution of the National Gallery and an expert assessment is written on itby PhDr. Pavla Pečinková, CSc.Published: Olič, J .: Lada, Slovart 2008, p. 499. Exhibited by: NG - Heritage of Folk Art in Czech and Slovak Painting, in the Karlovy Vary Art Gallery, inventory label of the National Gallery K33910.

BEDŘICH (FRIEDRICH) WACHSMANN 1820 - 1897: MOUNTAIN LANDSCAPE 1852 Munich Oil on canvas 68 x 101 cm Signed: Lower left "F. Wachsmann" Bedřich Wachsmann (nee Friedrich) first made a living from lithographic works, but in 1848 he moved to Innsbruck and painted landscapes steadily. His works were well received and he also became a teacher of painting. He often worked for the church and noble families. Among his most important clients were the Archbishops of Prague Bedřich Schwarzenberg and Cardinal František Schönbornand his work was appreciated by Pope Leo XIII. The mountain landscap is one of Wachsmann's most important works, which is almost a prime example of his precise manuscript. The composition is balanced, brought to the smallest detail and at the same time represents a dramatic play of light on the road in the middle of the mountain massif.

Chester, Saint Francis's R.C. School.  School Diary or Log-Book. 2 detailed manuscript quarto vols. 1882-1907.

Ephemera, Legal Documents - West Cumbria.  35 plus manuscript indentures, conveyances, mortgages & other documents relative to the Workington Estate, Curwen family, Harrington, etc., the earliest being a brief tenancy document, 1713 & an indenture, 1714 (each signed by H. Curwen); also a 1745 indenture signed by E. Curwen & J. & M. Parkin & various others, late 18th & early to mid 19th cent.

Goddard, Charles. Charges, Sermons and Tracts, 17 bound as one, 1816-1844. Presentation copy, 'Charles Betham, from the author, 1846', with manuscript list of contents. Octavo, contemporary half-calf with marbled boards and black title label lettered in gilt. Contents generally good and clean with discolouration/spotting in places; binding tight and solid with bumping to corners and very light wear to extremitiesProvenance: By descent. Vendor's late husband was descended on his mother's side from noted artist Benjamin West PRA (American, 1738-1820)

Printing & Typography. Collection of five books, comprising: American Line Type Book, catalogue issued by American Type Founding Co., 1906, ex-library (Rowntree Mackintosh Technical Library, York), quarto, embossed green cloth; Wood Letter, catalogue, Sheffield: Stephenson Blake & Co. Ltd., 1949, quarto, paper covers; The Layton Type Book, catalogue, no date, quarto, quarter-cloth, presentation label for R. M. James Esq., plus separate folder of Supplementary Sheets; Lettering of To-Day, London: The Studio Ltd., no date, quarto, bespoke full crushed morocco binding with manuscript title on upper board; Colour as a Medium: A Souvenir of the Opening of the New Ink Factory of Lorilleux & Bolton Ltd., London, 1929, paper covers (5)

The Miser of Acton. Archive of correspondence relating to the famous William Jennens case, together with a manuscript copy of The Great Jennens Case, by Harrison & Willis, Sheffield, 1879. The archive includes approximately 150 letters, mostly from Mrs William Johnson, Hamstead Mill Road, Norwich, 1880s to 1900s, addressed to her son and daughter. The letters also pursue the wills of Robert Jennens, and William Thomas Jennens of Shottle, Derbyshire, 1803. Some examples of the content: 'they want to keep us out of the money because we should claim the estates. Father said if I succeed to think of my children so I shall. I cannot do anything till I know about having some money by.'; 'I feel sure we'll shout Victory Victory.'; 'I have just received a letter from Mr Side this morning he wants me to send him 1£ to search for the registers for the Salop estate...poor fathers money is getting very low I have done my best to spin it out as long as I could.'; 'Yesterday Acton Place near Sudbury Suffolk the seat of the famous Miser Jennens or Jennings was taken possession of by one the many claimants to the estate.' The archive includes two letters from the Record Keeper at Somerset House on headed paper (Probate Registry), confirming an unsuccessful search for the will of William Thomas Jennings in 1803 (27 June 1890), and stating 'there is no will of Wm Thos. Jennings attached to the second Grant in the estate of Robert Jennens' (9 July 1890). There is also a three-page letter from Mrs H. Hope of New South Wales, addressed to Mrs Johnson, 3 April 1900, 'Kindly excuse the liberty I am taking in writing to you, but having heard from some of my relations in England who have often mentioned your name in this case, I thought it would be as well to write to you, to ask you how much you know about the case. I have often heard my mother say, there was a great deal of money in the family and she fully expected the money to come to her before she died which was in October 1898 at the age of 84 years, she said as the money did not in her time, it would be sure to come in mine...I think between us all we might be able to employ a real good solicitor to work our case.'William Jennens (or possibly Jennings), known as "William the Miser" and "The Miser of Acton", was a reclusive financier who lived at Acton Place in Suffolk. He died unmarried and intestate in 1798, leaving behind a fortune estimated at two million pounds, which became the subject of legal wrangles (Jennens vs Jennens) in the Court of Chancery for over a century until the estate had been swallowed up by lawyers' fees. This may have been the inspiration for Jarndyce vs Jarndyce in Charles Dickens' novel Bleak House. In 1798, The Gentleman's Magazine reported, 'A will was found in his coat-pocket, sealed, but not signed; which was owing, as his favourite servant says, to his master leaving his spectacles at home when he went to his solicitor for the purpose of duly executing it, and which he afterwards forgot to do.'

Collection of books on printing, typography, bibliography. To include Contributions Towards a Bibliography of The Taylors of Ongar and Stanford Rivers, by G. Edward Harris, London: Crosby Lockwood, 1965, limited edition numbered 103 of 350, octavo, quarter-cloth; British Modern Press Books, by William Ridler, London: Covent Garden Press, 1971, signed and numbered 2 of 100, small quarto, half crushed morocco; Type Specimen Book, Amsterdam: Typefoundry Amsterdam, 1960, octavo, gilt blue cloth; Manuscript & Inscription Letters, by Edward Johnston, with five plates by Eric Gill, London: Pitman, 1938, card wrap-around folder housing 17 sheets, pasted advertisement in folder; The Daniel Press: Memorials of C. H. O. Daniel, London: Dawsons of Pall Mall, 1974, octavo, worn green cloth, and others, including booklets (46)

Collection of miscellaneous private press, to include Portable Pleasures, by Margot Coates, Marlborough: Libanus Press, 1992, limited edition numbered 142 of 250, quarter-cloth; Letters to Oliver Simon of the Curwen Press, by Paul Nash, Front Street, 2016, numbered 18 of 125, bound in quarter goatskin with slipcase; Tea: An Historical Sketch, by Robert O. Mennell, London: Effingham Wilson, 1926, Kynoch Press, presentation copy signed by the author, paper boards; Four Tales of the Clyde, Greenock: Black Pennell Press, 1983, numbered 119 of 200, hand-bound with glassine wrappers; By the Brook, by Richard Jefferies, London: Eric & Joan Stevens, 1981, Daedalus Press, 112 of 170, quarter-cloth; Smeekelingen, by P. C. Boutens, Rotterdam: 1930, Aischylos, one of 600, quarter-cloth; Kynoch Press Diary for 1940, loosely inserted compliments slip; The Dark, by Leonid Andreev, Richmond: Published by Leonard and Virginia Woolf, Hogarth Press, 1922, loose as found, and others, together with a manuscript list of subscribers, Shrewsbury Technical College, 1941, presented to Arthur Ernest White on his retirement from the Principalship, vellum covers with ties (28)

Plough Press. Wallis, Lawrence. George W. Jones: Printer Laureate, Nottingham: Plough Press, 2004. Special limited edition, signed by the author and numbered 10 of 15. Octavo, half crushed morocco lettered in gilt with marbled boards, hand-bound by The Fine Bindery of Wellingborough. Complete with portfolio housing eight samples of printing by Jones, and manuscript note from Lawrence Wallis thanking recipient for 'the support and help given during the research stages'. The whole housed in a fitted slipcase. Very well-preserved, clean, bright

Cambridge University. Manuscript notebook, 'Lectures on Aeschines', featuring several humorous ink cartoons. 'J. Kempthorne Esq., Trinity College, Cambridge...Lent Term 1854...with embellishments by R. E. Thompson, Trin. Coll.' (presumably illustrator of the cartoons). Octavo, marbled boards, 78 leaves (most pages well-filled with notes in black ink). Contents good, clean, bright, but pages loose and binding detached as found

French Revolutionary Wars. Manuscript copy of a letter from Captain Euler, Commander of the Arona to the Cirie administration of Novara, 30 December 1799, with additional statement regarding material for a fortification, two sheets (folded), plus a more recent English translation/transcript. Together with a vellum indenture, 17 October 1803, conveyance, signed by William Lord Auckland and Sylvester Lord Glenbervie, and Palaeography: Genealogy and Topography, 1930 Catalogue, with autograph letter signed from Herbert R. Moulton (3)

Manuscript. Education. Specimens of Penmanship, by John Farrer, copied from Mr Richard Kemplay's select and original pieces at his Academy, Leeds, 1809. Handwritten essays on various subjects (Commerce; Newspapers; The Rein-Deer; Royal Duties and Privileges, and others), executed in classical penmanship style, the titles in varying fonts/decoration, each essay signed 'John Farrer' and 'W. W.'. The final page (following the Conclusion), signed and inscribed, 'John Farrer, W. W. Midsummer Vacation, Leeds, June 22nd 1809.' Bound in its original marbled paper covers

Napoleon III & Empress Eugenie, pair of Baxter prints, mounted, framed and glazed. Together with New Forest Farm, colour lithograph, limited edition numbered 25/75, indistinctly signed, and a brass rubbing (as found) bearing manuscript label dated 14 March 1882 (4)

Jones, Owen (Illus.). Gray's Elegy, Illuminated by Owen Jones, London: Longman & Co., 1846. Octavo, ornate Relievo binding, 18 card leaves with chromolithographic designs in imitation of illuminated manuscript, all page edges gilt. The 18 leaves are well-preserved with general toning and some pale dampstaining; the binding is solid with some wear/loss at corners/headcaps/spine; the opening blank leaves are heavily annotated in blue ink with quotes

Arthur Wellesley, 1st Duke of Wellington (1769-1852). Lock of hair, tied with thread and lightly stitched onto scrap of paper, housed within a slip of laid paper, inscribed in black ink, 'Wellington, 1832, Given by Mr Preston who saw it cut off', the whole enclosed in a paper packet, inscribed, 'a Lock of the Duke of Wellington's Hair, cut off in 1832, June 1840.' Together with a small collection of correspondence, comprising: manuscript letter from Wellington, not signed, addressed to H. P. Briggs, 24 Charles Street [Henry Perronet Briggs RA (1793-1844), painter, registered at this address in the 1831 census], complete with envelope, 5 October 1835, in which he states that he will endeavour to find a house in the country at which he can receive Briggs during the Recess of Parliament; autograph letter signed by Henry Perronet Briggs, addressed to Mr Howard of Sheffield, 7 January 1839, in which he discusses a painting of Wellington, 'It was always my intention to introduce a Horse in the Picture of the Duke of Wellington & I have made sketches accordingly - The head of the Duke is as far finished as it can be without sitting, which I am waiting for an opportunity to obtain. For the painter you mention, his name is entirely unknown to me, which would hardly be the case if he were qualified to undertake such a work as that proposed. I think before a painter is employed on a public work, he ought to have obtained a public reputation.', with additional inscription on facing page signed 'Sam Cooper'; Henry Perronet Brigg's calling card, 33 Bruton Street, Berkeley Square; autograph envelope (empty), bearing Wellington's abbreviated signature (5)Provenance: By descent. Vendor's late husband was descended on his mother's side from noted artist Benjamin West PRA (American, 1738-1820)

CHARLES JOHN PALMER (ED): A BOOKE OF THE FOUNDATION AND ANTIQUITYE OF THE TOWNE OF GREATE YERMOUTHE FROM THE ORIGINAL MANUSCRIPT WRITTEN IN THE TIME OF QUEEN ELIZABETH WITH NOTES AND AN APPENDIX, Great Yarmouth, Charles Sloman, 1847, printed for the editor, frontis, plan and 2 plates as called for, 4to, original blind stamped cloth gilt, rebacked

CARL GUSTAV JUNG: FUNDAMENTAL PSYCHOLOGICAL CONCEPTIONS, A REPORT OF FIVE LECTURES BY C G JUNG GIVEN UNDER THE AUSPICES OF THE INSTITUTE OF MEDICAL PSYCHOLOGY, LONDON, SEPTEMBER 30 - OCTOBER 4 1935, eds Mary Barker & Margaret Game, London, [Analytical Psychology Club], 1936, 1st edition, "printed as manuscript for private circulation only", numbered (74), limitation not stated, mimeograph text from a typescript, original cloth backed boards, original book post packaging addressed to Dr Leonard F Browne (1887-1960)

FREDERICK WALPOLE: FOUR YEARS IN THE PACIFIC IN HER MAJESTY'S SHIP "COLLINGWOOD" FROM 1844 TO 1848, London, Richard Bentley, 1849, 1st edition, vol 2 (of 2 only), engraved frontis, probably from a ship's library as verso or half title a manuscript list of officers and the dates the book was borrowed and returned, original blind stamped blue cloth, spine gilt lettered with small part loss at head and foot

PLAN FOR THE IMPROVEMENT OF THE TURNPIKE ROAD LEADING FROM AYLSHAM TO NORWICH IN THE COUNTY OF NORFOLK, early 19th century manuscript and watercolour plan, approx 280 x 590mm, together with a manuscript and watercolour rough plan for the same improvement, approx 320 x 400mm (2)

JAMES STANIER CLARKE AND JOHN M'ARTHUR: THE LIFE OF ADMIRAL LORD NELSON, KB, FROM HIS LORDSHIP'S MANUSCRIPTS, London, printed by T Bensley for T Cadell and W Davies, 1809, 1st edition, 2 vols, plates, plans, facsimiles, pedigree etc collated complete, extra illustrated with 28 plates, mainly early 19th century engraved ports and a set of 4 folding engraved views "Victory of the Nile" published 1799, comprising a contemporary manuscript copy of remarks sent to Captain Locker and 2 manuscript sheets in a clerk's hand from Nelson's journal with Britton's relevant manuscript note, James Stanier Clarke (1766-1834) autograph letter signed circa 1809, 3 pages mounted on card "…for the Nelson's Life that has been omitted, the fault does not rest with me…"; George Rose (1744-1818), autograph letter signed dated July 5th 1796, 3 pages re Lt Gen Giles Stibbert (1743-1809); Sir William Hamilton (1730-1803) autograph letter headed "Naples" and dated May 17th 1785, 4 pages but incomplete as final leaf excised at foot; Admiral Edward Vernon (1684-1757), autograph letter signed dated 15th Sept 1708, 2 pages, Sept 17 Bishopmark, some browning, part losses and repairs; General Thomas Graham, 1st Baron Lynedoch (1748-1843), autograph letter signed headed "Citadel of Messina" and dated 22nd June 1799 to Sir William Hamilton (1730-1803), 3 pages "…Nelson has been ordered to come here…"; James Stanier Clarke (1766-1834), another undated autograph letter signed, 3 pages listing various personages to whom proof prints and copies of the work are to be sent; Rear-Admiral Sir John Lockhart Ross (1721-1790), autograph letter signed headed "Royal George Spithead" and dated May 20th 1781, 2 pages "…we are returned after supplying the garrison of Gibraltar with plenty of provisions, the Spanish fleet of 30 sail of the line hearing of our force, got into port 4 days before…have only taken 2 privateers…"; Richard Howe, 1st Earl Howe, (1726-1799), signed printed notice with added manuscript dated 9th October 1790 respecting the signal flag, white with blue cross, folio, modern half calf marbled boards gilt, morocco gilt spine labels, Ron Fiske's note at front of vol 1 "this fine copy comes from the library of C J Britton, the Nelson author and authority, it comprises a good copy formerly belonging to Edward Charles Fletcher and some leaves salvaged from a poor copy formerly belonging to Nelson's old "sea-daddy" Capt William Locker. These leaves have brief annotations by Locker…" (2)

Elizabeth Barrett Browning (1806-1861) and Robert Browning (1812-1889). Autograph note. A slip of paper, folded twice, signed in dark brown ink by Elizabeth, and inscribed and signed in bold black ink by Robert, 6 June 1858, Casa Guidi [Elizabeth and Robert Browning lived on the first floor of the Palazzo Guidi in Florence between 1847 and 1861, and wrote some of their most famous poetical works here - including Elizabeth's Casa Guidi Windows]. Together with a manuscript letter addressed to a Miss Walker from E. Heaton, headed 31 Park Square, Leeds, 'I enclose the Autographs of which I spoke - I should like to know whether the writing agrees - or is in harmony, - with your idea of the writers.' The letter goes on to describe Elizabeth Browning's nature and talent, 'I think she has the intellect of an angel, & the heart of a child.' (2)Provenance: By descent. Vendor's late husband was descended on his mother's side from noted artist Benjamin West PRA (American, 1738-1820)

A group of five stained glass panels of mythical beasts, possibly 15th century, probably French or English, each of shaped oval outline, the coloured panes depicting gryphons and a lion respectively, within marginal borders, each approximately 20cm high, 35cm longMythical animals made regular appearances in Medieval life, and are widely known in the form of gargoyles and manuscript marginalia. That cycles of beasts also appeared as part of the 14th/15th century secular Interior and not only in an ecclesiastical context is illustrated by the coffered ceiling at the Chateau de Tarascon, in the old apartments of the Princes of Anjou, where sections of the cornice are painted with mythical beasts not unlike those presented here. It is there theorised that the creatures, particularly those combining human and animal features, may have reminded visitors that the line between man and monster was easily blurred, and that they must always remain vigilant. The unusual oval outline and small proportions of the present panels may indicate that they were once part of a larger window, or perhaps originated in a domestic setting. A panel of shaped oval outline and also representing a mythical beast (accompanied by a Saint), dated to the 14th century, is in the collection of the Loyola Museum of Art, Martin D'Arcy, S.J. Collection, 77.10.Condition Report: The panels have repaired cracks and small spider cracks overall, some showing clear adhesive residue. The panels are a little mottled overall and there is plaster-like residue, possibly dirt, on some of the lead, and between the glass and some of the lead seams.The lead is a bit bent overall, in one case more significantly where there is also a section of glass missing (to the lower portion of the panel).We believe it is possible that these panels are Medieval, as catalogued.Condition Report Disclaimer

Benedictional of Saint Aethelwold, The,Benedictional of Saint Aethelwold, The, Vollstä Benedictional of Saint Aethelwold, The, Benedictional of Saint Aethelwold, The, Vollständige Faksimile-Ausgabe des Codex British Library, ms. add. 49 598 aus dem 10 Jahrhundert u. Kommentar von A.Prescott. 2 Bde. London, The Folio Society 2001. Kl.Fol. u. Gr.8°. Mit 28 im Goldruck gehöhten ganzseitigen Miniaturen. 120 Bll., 48 S. Brauner Ziegenganzledereinband mit goldgepr. Deckeltitel u. Goldschnitt u. Ohlwd. (Kommentarband) in Olwd.-Kassette. Eines von 1000 Ex. - Colour facsimile manuscript, all edges gilt, original publisher's giltdecorated dark brown goatskin, with separate volume of commentary, contained in original drop-over book box.