Leyden (Lucas van, 1494-1533). St. Anthony the Hermit, circa 1521, engraving, a very good impression printing with contrasts (New Hollstein 116 a), together with four other Old Master prints: Albrecht Dürer, Melencolia, 1514, engraving on laid paper, a late impression (Meder 75), & The Resurrection, from the Large Passion, 1511, woodcut, a good but slightly uneven impression (Meder 124), Hendrick Goltzius (1558-1617), Publius Horatius, 1586, engraving on laid paper, a good, clear impression (Bartsch 96) and Heinrich Aldegrever (circa 1502-1555/1561),Chastity, from the Virtues, 1552, engraving on laid paper, a fairly good impression (New Hollstein 120)QTY: (5)
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Dutch School. A collection of 17th century etchings by Dujardin, Both, Potter, Berchem and De Bye, including Karel Dujardin (1621/2-1678), Two Goats and Three Sheep, 1655, etching on fine laid paper with a partial Fool’s Cap watermark, a very good impression of the first state of three, & The Hinny with a little Bell, etching, 1653, on laid paper with a part of a Fool’s Cap watermark, a good impression of the second state, with the number (Hollstein 29); & The Two Mules, etching on laid paper, a good impression (Hollstein 2); together with seven other various etchings: Paulus Potter (1625-1654),‘Het Bullenboeckje’, one etching from the series, a very good impression on laid paper, inscribed on the support sheet verso in pencil ‘a very good Paul Potter in a / good state / opinion of Sir Frank Short / …. Of Paulus Pott. / Royal College of Art / South Kensington. / 1924’, framed; two etchings by Nicholaes Berchem (1636–1672), Sheep with Lamb Nursing, & Three Sheep, mid 17th century, on laid paper, before the numbers, very good impressions (Hollstein 44 and 47); Marcus de Bye (1639-1688), Sheep Grazing, plate 13 from the series of 16 Sheep, circa 1664, etching on laid paper, a good impression; two etchings by Jan Dirksz. Both (1618–1652), The Woman on the Mule, on laid paper with a Letters watermark, a good impression (Hollstein 1), and View of the Tiber in the Campagna, on laid paper with a Grapes watermark, a good impression; and two Heads of Rams, & A Ram with a Tree trunk, after Karel Dujardin, etchings on tissue-thin laid paperQTY: (11)NOTE:Comp to Two Goats and three sheep Karel DujardinTitleThe Cow, the Bull and the CalfDescriptionKAREL DUJARDIN (1626-1678) The Cow, the Bull and the Calf etching, circa 1641-78, on laid paper, partial watermark Foolscap with seven-pointed Collar, a brilliant impression of the rare first state (of three), the foul-biting in the sky printing very strongly, trimmed on or just inside the platemark but retaining a fillet of blank paper outside the borderline Sheet 194 x 218 mm.MediumetchingYear of WorkCirca 1641-1678SizeHeight 7.6 in.; Width 8.6 in. / Height 19.4 cm.; Width 21.8 cm.Cat. Rais.Hollstein, 34Sale ofChristie's London: Thursday, December 9, 2021 [Lot 00053] Old Master PrintsEstimate2,000 - 3,000 GBP (2,637 - 3,956 USD)Sold For2,500 GBP Premium
Hollar (Wenceslaus, 1607-1677). Five Hunting Horns, 1647, etching on fine laid paper with a circular watermark, a fine, delicate impression of the only state, with thread margins (Pennington 2053); Lady with ruff and muff, 1640, a very good impression of the second (final) state (Pennington 1795 ii/ii); together with Summer, and Winter, very good impressions (Pennington 611 ii/ii and 613); together with impressions of Pennington 82, 1883 and four others; and 35 Old Master prints including A. Dürer, Siege of a Fortress (the middle section), woodcut, cf. Hollstein 220; and nine School of Rembrandt etchings of which six copies, as well as J. Wierix after M. Schongauer, C. Dumonstier, Piranesi, P.W. Tomkins, V. Solis, H. Aldegrever, F.E. Wierotter and Captain BaillieQTY: (38)
Collaert (Jan or Hans, 1566-1628). Jupiter, (from the series Septem Planetae), 1581, trimmed to or on plate margin, sheet size 195 x 140 mm (7 3/4 x 5 3/8 ins), laid down on old laid paper, together with other various Old Master prints, including, Agostino Carracci, The Martyrdom of Sait Justina, after Paolo Veronese, first half 17th century, etching on laid paper, upper left corner with slight loss, sheet size 330 x 437 mm, William Byrne and Francesco Bartolozzi, The Calm, after Zuccarelli, published by Darling & Thompson, July 1779 [or slightly later], sheet size 420 x 510 mm, Nicolas Chapron (1612-1656), Blind Isaac and his son Esau, after Raphael, Markantonio Raimondi, Joseph Interpreting his Dreams, after Raphael, View du Chasteau Ste. Anne, after Van der Meulen (worn), Merian, Prospect de la Ville St. Denis (from Topographia Galliae, etc.), Jean Audran (1667-1756), Pierre Rubens, after Van Dyke, Paris, Gaspard Duchange, [1710], plate size 510 x 355 mm (20 x 14 ins), all unframed except the last two works framed and glazed, various sizesQTY: (14)
Attributed to Giovanni Andrea Carlone (Genoa 1639-1697).The Gathering of Manna, pen and brown ink and brown wash over red chalk, on fine laid paper, a couple of repaired tears at the right sheet edge, the extreme upper right corner tip made up, the sheet backed with translucent japan paper, 21 x 29.4 cm (8 1/4 x 11 1/2 ins)QTY: (1)NOTE:The characteristic use of strong, nervy outlines in pen and brown ink, together with fluidly applied wash over chalk and the use of the paper itself to represent light, is strongly reminiscent of The Adoration of the Shepherds by Carlone in pen and brown ink and brown wash over chalk (offered at Christie’s, New York, Old Master and 19th Century Drawings, 24 January 2006, lot 20).
Debucourt (Philibert-Louis, 1755-1832). La Fête de Village, circa 1780, oil on panel (cradled), 21.5 x 17 cm (8 1/2 x 6 3/4 ins), two early wax seals and label of Arthur Tooth & Sons, London to verso, French rococo gilt frame (35 x 28 cm)QTY: (1)NOTE:Provenance: Etienne Le Roy & Cie, Commissaire Expert du Musée Royale, Bruxelles, Belgium, their red wax stamp verso; a black armorial wax stamp verso, unidentified; Arthur Tooth & Sons Ltd of Mayfair, their label verso; Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, Day 2, 12 August 2021, lot 588.The present work is similar in treatment and subject matter to Scène de noces villageoises, oil on panel, sold Artcurial, Paris, Old Master and Nineteenth Century Paintings and Drawings, 27 March 2015, lot 153. In both paintings, Debucourt places the principal dancing couple, in front of the shadowed larger group of figures, emphasising the young woman's luminous ivory skin and white dress. The artist is represented in various museums, including the Louvre: La Façade du Louvre avec le Pavillon de l'Horloge, vue de la rue Fromenteau (RF 2005 19).
After Paulus Potter (1625-1654). The Four Bulls, by D. Cerruti of Torino, 1860, oil on canvas, depicting 4 horned cows in a landscape beneath a tree, one lying down, signed and dated in red lower right, overall craquelure, old Christie's stencil on stretcher, 51 x 68.5 cm (20 x 27 ins), gilt moulded frame (62 x 79 1/2 ins)QTY: (1)NOTE:Little is known about D. Cerruti except that he was an accomplished artist working in Turin, producing fine copies of classic Old Master paintings. Paulus Potter's The Four Bulls is in the Galleria Sabauda in Turin.
Ruskin (John, 1819-1900). Study of a tracery window, Merton Tower, Oxford, circa 1874-75, watercolour with pencil and bodycolour, and touches of black ink, on wove paper, laid down on thick paper, depicting a Gothic tracery window, faint pencil inscriptions lower right 'about 1874 - or/75 J. R.' and 'R. 98', toned, sheet size 29 x 22.5 cm (11 3/8 x 8 7/8 ins), mounted (51.2 x 43.5 cm), with old framer's label Ryman & Co., Oxford, and manuscript title label from earlier mount mounted on verso QTY: (1)NOTE:Provenance: Paxford House, near Chipping Campden, Gloucestershire; RG and RB Williams, Ross on Wye, lot 1, 17th September 2020.John Ruskin lodged for a time almost opposite Merton Tower, and there is at least one other drawing by him of Merton Tower: 'Merton College and Magpie Lane, Oxford', drawn in 1838 (Ruskin Foundation, RF 967).Paxford House was in the ownership of the Odling family for 100 years. Its contents were sold after the death, in 2019, of Hilary Katharine Odling, widow of Thomas George Odling (1911-2002). There are two likely ways in which the drawing might have become part of the collection at Paxford. Firstly, Thomas's father, Doctor William Odling (1829-1921) was interested in art and was a prolific collector of old master prints. In 1868 he was appointed Fullerian Professor of Chemistry at the Royal Institute, a place where Ruskin gave many Friday Evening Discourses from the early 1860s to the mid 1870s. It is not unreasonable, therefore, to suppose that the paths of the two men may have crossed. Secondly, Thomas's grandfather was Thomas Case (1844-1925), an academic, philosopher, sportsman and author. He was Fellow of Brasenose College, Oxford, from 1868 to 1870, tutor at Balliol from 1870 to 1876, and subsequently on the staff of Corpus Christi College, Oxford. He also became Waynflete Professor of Metaphysical Philosophy at Oxford and President of Corpus Christi College. He was particularly interested in architecture and was involved in various restoration projects in Oxford. Since Thomas Case and John Ruskin were in Oxford around the same time and held similar interests, it is quite likely that they would have met.
Birket Foster (Myles, 1825-1899). Chestnuts by the Village Stream (illustration for Old England), pencil and watercolour with white bodycolour on paper, laid onto card, sheet size 22.4 x 16 cm (8 3/4 x 6 1/4), framed and glazed (33.2 x 26.8 cm), labels to verso for The Little Gallery, 5 Kensington Church Walk, LondonQTY: (1)NOTE:Exhibited: An Anthology of Trees, The Little Gallery, 5 Kensington Churchwalk, London, W8, 1971.Foster was born into a Quaker family in North Shields, and got his start as an apprentice wood engraver, eventually becoming a master draughtsman and illustrator for books and newspapers.
Dighton (Richard). Four caricatures, A Lawyer & his Client, Descriptions of Battles by Sea & Land in Two Volumes..., A Hero of the Turf & his Agent [and] A Master Parson & his Journeyman, 1801 - 12, four etched caricatures with contemporary hand-colouring, some spotting and staining, each approximately 270 x 210 mm, together with Cruikshank (Isaac). Frailties of fashion, S. W. Fores, 1793, etched caricature with contemporary hand colouring, old folds, some creasing and repaired closed tears, 290 x 520 mm, with Cruikshank (George). A Comic Alphabet, circa 1825, uncoloured etched caricatures representing each letter of the alphabet, old folds, some dust soiling and marginal closed tears, small area of loss to the lower margin, one short closed tear to image, horizontal margins strengthened on verso, 395 x 680 mm, plus another 10 caricatures and an 18th century Dutch broadside by or after Gillray (but later plagiarised examples from the Anti-Jacobin Review), Sherman, Cruickshank, Fores, Bunbury and Sutherland and two watercolour caricatures in the manner of Richard Newton, various sizes and conditionQTY: (19)
Gerard (John). [The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirurgerie: very much enlarged and amended by Thomas Johnson, citizen and apothecarie of London, London: Printed by Adam Islip, Joice Norton, and Richard Whitakers, 1636], bound without initial 20 leaves (including lacking title), also lacking leaves B3-B6 and final 10 leaves (7A3-6V6), illustrated with numerous botanical woodcuts throughout volume, erratic pagination, D2 torn to lower outer corner with text loss, leaves Q1-Q8 misbound, light offsetting, occasional marks and some light damp stains etc., front pastedown with 19th century bookplate of Corbet Corbet and Richard Corbet of Adderley (Shropshire), 18th/early 19th century marbled calf, gilt decorated spine with later morocco title label, joints splitting with old repair to upper joint, folioQTY: (1)NOTE:ESTC S122175; Henrey 156; Hunt I, 230; Nissen BBI 698; STC 11752.The third edition of Gerard's Herball, being the second edition of Thomas Johnson's expanded version of 1633, which corrected many of the errors found in Gerard's original edition of 1597.
George Bryant Campion, British 1796-1870- A horse and cart with figures, ducks and a pig beside a rural dwelling; pencil and watercolour heightened with white on paper, arched top, signed 'G. B. Campion' (lower right), bears old label attached to the reverse of the backing board, bears further (ownership?) label 'G. A. Forbes' attached to the reverse of the frame, 27 x 42 cm. Provenance: Private Collection, UK. Note: Campion was one of the earliest members of the New Society of Painters in Water Colours, having been elected in 1837, and was a frequent contributor to the exhibitions of that society. He also served as Drawings Master at the Military Academy in Woolwich.Please refer to department for condition report
Circle of Claude Corneille de Lyon, Dutch / French 1500-1575- Portrait of King Francis I of France, bust-length, wearing a feathered cap and gold chain around his neck; oil on panel, bears two wax seals on the reverse, bears old labels attached to the reverse of the black mount and frame, the former inscribed 'Corneille (Claude), Ecole francaise XVI siecle. Histoire Etabli à Lyon ou il mourit. Peintre des rois François Iier, Henry II, François II et Charles IX. (Liret, page 104)'., 16.8 x 14 cm. Provenance:Rouen, 1885.;Where purchased by the family of Sir John Hay Williams (1794-1859), 2nd Baronet of Bodelwyddan, and of Rhianva, Anglesey, June 1859.; By descent to the present owner. Literature:Catalogue of Pictures, Rhianva, p.12 (which mentions the Rouen provenance and date). Note:The subject, format, and technique, in particular the minute brushstrokes and subtle modulation of light in the present work are entirely reminiscent of the handling of Corneille de Lyon’s portraits. Cast on to the deep green background, that has become synonymous with Corneille’s art, the shadows of both the sitter and the frame are delicately rendered. The artist produced a large number of aristocratic and royal portraits which were often copied due to the illustrious identity of their sitters. The present work is presumably a contemporary copy of a lost original by Corneille or a period work heavily inspired by the master painter. It is also reminiscent of those by Joos van Cleve – see, for example, his c.1530 portrait of Francis I, held by the UK’s Royal Collection Trust [RCIN 403433]. Please refer to department for condition report
AMENDMENT - Please note this lot has a revised description and estimate.Follower of Adriaen Jansz. van Ostade,Dutch 1610-1685-A study of a woman with her child;pen and brown ink and grey wash on laid paper, with William Esdaile's collection stamp (L.2617, lower right), 10.1 x 5.4 cm.Provenance:Collection of William Esdaile, 1758-1837 (Lugt 2617).;Collection of Bindon Blood, d.1855 (Lugt 3011).;Collection of Dr Fleischer.;Anon. sale, Sotheby’s, London, 19 June 1973, lot 60 (as ‘Attributed to Adriaen van Ostade’).;With Alfred Brod Gallery, London.;Private Collection, UK, since 1965.;By descent.Literature:Dusseldorf, C.G. Boerner exh. cat., 1965, no.6, as Adriaen van Ostade ‘Mutter und Tochter’.; Bernhard Schnackenburg, ‘Adriaen van Ostade, Isack van Ostade: Zeichnungen und Aquarelle’, Hamburg, 1981, p.217, no.F104 (Falsche Zuschreibungen).Exhibited: Dusseldorf, C.G. Boerner, 1965, no.6 (illustrated), as by Adriaen van Ostade.Note: The present work is by an unknown draughtsman and is presumably a late 17th / early 18th-century copy after a lost original by Adriaen van Ostade. Furthermore, it may be a loose interpretation of the mother and child figure group in his etching ‘Saying Grace’ (B.34)Similar drawings which are by the hand of van Ostade are reproduced in Schnackenburg’s book (nos 157 and 328). This intimate and confidently rendered sketch can further be compared on stylistic grounds with several by the artist in the Pierpont Morgan Library, New York and in the Louvre, Paris. According to Lugt, William Esdaile owned, amongst his large and illustrious collection of Old Master works on paper, at least 31 drawings by Adriaen van Ostade, which were sold in London on 18-25 June 1840, after his death.Please refer to department for condition report
Sigmund Freudenberger, Swiss 1745-1801- Musical Diversion; and Le Lever; the first black chalk, pen and black ink and grey wash on paper, the second black chalk, pen and brown ink and grey wash on paper, the first 14.8 x 11 cm., the second 9 x 7.8 cm., two (2). Provenance (the first): Collection of Le?on Decloux, Paris.; His sale, Paris, Ho?tel Drouot, 14-15 February 1898, lot 69.; With P. & D. Colnaghi & Co., London, 1959.; Anon. sale, Sotheby's, London, 5 July 2000, lot 343.; The estate of the late designer Anthony Powell. Exhibited (the first): London, P. & D. Colnaghi & Co., 'Old Master Drawings', 28 May-27 June 1959, no.42. Note: The first is a pendant in the same style and of the same dimensions to no.332 of the Musee Jacquemart-André, 'Le Lever', which was engraved in 1774 for the 'Monument de Costume'. Presumably it was intended but not used for the same series. The second bears similarities to the artist's sketches 'Le Lever' and 'Le Petit Jour' in which a maid assists her mistress with dressing.Please refer to department for condition report
Jacques Callot, French 1592-1635- The Pont Neuf and the Tour de Nesle, Paris; etching on laid paper, inscribed 'Callot fec.' (lower right), c.1630, the plate 16.8 x 34 cm. Meune 714, Lieure 668 ii/iv. Provenance: With Thomas Agnew & Sons, London.; Private Collection, UK.; By descent. Exhibited: London, Thomas Agnew & Sons, ‘Old and Modern Master Prints’, 27th June-28th July 1989, no.25. Note: A good, well printed impression before the publisher Silvestre's name has been added. With small margins all around the plate mark. Examples of the first and second states of this print are rare (the first extremely rare). Before the additions of Silvestre's name and privilege, they are, as it were, pre-publication proofs, remarkable, as here, for the richness of the impression. The Tour de Nesle, which dominates the subject, was part of Philip Augustus' fortifications of the city, guarding the point where the river broke the surrounding wall. It was destroyed in 1663. This print, and one Callot made of the opposite bank of the Seine including the Louvre, were known under the title 'Les Deux Grandes Vues de Paris'. Callot drew the scenes during his visit to Paris in 1629 and the plates were etched after his return to Nancy in 1630. Lieure comments: 'Pour les deux vues de Paris, les deux premiers états sont les plus beaux et les plus recherchés'.Please refer to department for condition report
No reserveAN EXTENSIVE ARCHIVE OF AUCTION AND GALLERY CATALOGUES, AND PERIODICALSThe majority for Old Masters and Works on Paper sales, with other miscellaneous categories including decorative art and furniture, 20th & 21st centuries, and a quantity of periodicals, including Master Drawings.(12 boxes)
JOSÉ ROYO (Valencia, 1945)."Young woman embroidering".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 38 cm; 90,5 x 68 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm shaped by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture or silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Harrington, James The Oceana of James Harrington and his Other Works; some wherof are now first publish'd from his Manuscripts. The whole collected, methodiz'd, and review'd, with an Exact Account of his Life prefix'd, by John Toland. London: to be sold by the booksellers, 1700. First collected edition, folio (30.8 x 19.4cm), contemporary calf, rebacked and relined, engraved frontispiece, portrait after Sir Peter Lely, plate ('The Manner and Use of the Ballot'), advertisement leaf, variable light spotting and browning [ESTC R9111; Wing H816]; Brady, Robert. An Introduction to the Old English History, comprehended in three several Tracts. London: by Tho. Newcomb, for Samuel Lowndes, 1684. First edition, folio (31 x 19.2cm), 20th-century quarter sheep, marbled sides to style, browning, 2N3 slit for cancellation (the cancel also present)[ESTC R34414; Wing B4194]; Thomas May. The History of the Parliament of England: which began November the Third, M. DC. XL. With a Short and Necessary View of some Precedent Years. London: by Moses Bell, for George Thomason, 1647. First edition, folio (28.8 x 17.6cm), contemporary panelled calf, rebacked and recornered, imprimatur leaf, title-page in red and black, light damp-staining to lower fore corners [ESTC R8147; Wing M1410]; Walker, Edward. Historical Discourses upon Several Occasions: viz. I. The Happy Progress and Succes of the Arms of K. Charles I [...]. London: by W. N. for Sam. Keble, 1705. First edition, folio (34.2 x 21.2cm), contemporary panelled calf, rebacked and recornered, engraved headpieces and initial, full-page engraved portrait of Charles I, engraved folding plate, bookplate (Thomas Bagnall, St Edmund Hall, Oxford) to title-page verso, variable spotting and browning; Hakewill, George. An Apologie or Declaration of the Power and Providence of God in the Government of the World. Oxford: William Turner, 1635. Third edition ('revised ... besides the addition of two entire bookes not formerly published'), folio (27.8 x 18.5cm), modern half calf, engraved additional title-page, letterpress explanation leaf ('The argument of the front and of the worke'), retaining medial blanks 3E4 and 4A4, contemporary ownership inscription ('Ex libris Thomas Wadland') to letterpress title-page, occasional light browning, a few marks [ESTC S120609; STC 12613]; and 3 others (these not collated): Arthur Collins, Letters and Memorials of State in the Reigns of Queen Mary [to] Oliver's Usurpation, 1746 (first edition, 2 volumes, large folio, modern quarter morocco, engraved frontispieces, all edges untrimmed, possibly a large-paper copy); William Howell, An Institution of General History, or the History of the World, 1680 (second edition, folio, modern cloth); Edmund Sawyer, Memorials of the Affairs of State in the Reigns of Q. Elizabeth and K. James I. Collected (chiefly from the Original Papers of ... Ralph Winwood, 1725 (first edition, 3 volumes, folio, contemporary panelled calf, rebacked and relined, without portrait) (11)Note: John Toland's influential edition of the works of James Harrington was an important component in his project to introduce republican ideas to an 18th-century audience, and 'provided a foundation for the whig intellectual tradition that influenced Maximilien Robespierre, Benjamin Franklin, Thomas Jefferson, and Thomas Paine' (ODNB). Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
Law Group of English legal treatises, 17th-18th century comprising: Wiseman, Sir Robert. The Law of Laws: or, the Excellency of the Civil Law, above all other Humane Laws whatsoever. London: by F. G. for R. Royston, 1657 [i.e. 1658]. First edition, 4to (18.3 x 14cm), contemporary sprinkled calf, rebacked, large armorial devices gilt to covers, title-page in red and black [ESTC R204077; Wing W3113]; Swinburne, Henry. A Briefe Treatise of Testaments and Last Willes. London: for the Companie of Stationers, 1611. Second edition ('Newly corrected and augmented with Sundry Principall Additions'), 4to (17.8 x 13.2cm), 18th-century sprinkled calf, spine gilt with red morocco label, initial blank apparently original, terminal errata leaf, old ink inscription ('Norton Place') to front pastedown, front joint cracked, A8, 2G8 and 2X8-2Y1 stained, a few side-notes in quire A just shaved [ESTC S118063; STC 23548]; Foley, Robert. Laws relating to the Poor, from the Forty-third of Queen Elizabeth to the Third of King George II. London: for T. Woodward, 1739. First edition, 8vo (20 x 11.5cm), contemporary calf, advertisement leaf, contemporary bookplate (James Nelthorpe), rubbed, joints superficially cracked [ESTC T113188: 6 copies in UK libraries); Dalrymple, John. An Essay towards a General History of Feudal Property in Great Britain. London: A. Millar, 1757. First edition, 8vo (19.8 x 12.2cm), contemporary sprinkled calf, worm-track to foot of first few leaves not affecting text, corner of title-page excised [ESTC N9414]; Hale, Sir Matthew. The Original Institution, Power and Jurisdiction of Parliaments. London: Jacob Tonson [and others], 1707. First edition, 8vo (19.6 x 11.7cm), contemporary calf, rebacked, browning; Selden, John. The Historie of Tithes. [London: no printer], 1618. First edition, 4to (19 x 14cm), contemporary limp vellum, title-page in red and black, bookplate (Angus MacDonald, M.D.), lacking final leaf (f4) and free endpapers, damp-staining to front and rear, closed tear in P2 [ESTC S117046; Pforzheimer 857; STC 22172.3]; and 6 others: Richard Brathwait, The English Gentleman, 1630 (first edition, 4to, contemporary calf, rebacked, damp-staining, lacking additional engraved title-page and 'Draught of the Frontispiece' leaf, also without final part 'Three Choices of Marriage' as in the variant noted by ESTC); Richard Bradley, The Country Gentleman and Farmer's Monthly Director, 1732 (sixth edition, 8vo, contemporary calf, engraved frontispiece, bound after a defective copy of The Country Lady's Director, lacking prelims); [John Godolphin, Repertorium canonicum, 1680] (4to, contemporary calf, lacking at least the title-page); [Remigio Nannini, Civill Considerations upon many and sundrie Histories, 1601] (4to, contemporary calf, numerous leaves including title-page supplied in modern manuscript); Richard Burn, The Justice of the Peace, and Parish Office, 1762 (seventh edition, 3 volumes, 8vo, contemporary calf, small worm-track to front of volume 1 touching imprint in title-page, set not collated); and William Leybourn, Panarithmologia: or, the Trader's Sure Guide, 1727 (fourth edition, 8vo, browning and damp-staining) (14)Note: One other copy of The Law of Laws traced at auction, in 1965; the work is an argument for the revival of Roman law and for the recourse to civil law 'where our own law fails'. 'Unlike other contemporary reformers [Wiseman] also argued for the legalization of torture to extract confessions' (ODNB). Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
Law Collection of English legal treatises and reports, 17th-18th century comprising: Davies, Sir John. Le Primer Report des Cases et Matters en Ley, Resolves et Adjudges en les Courts del Roy en Ireland. London: for the Company of Stationers, 1628. Second edition, folio (28 x 17.3cm), 20th-century half leather, text mainly in black letter, woodcut title devices and initials, typographic headpieces, initial blank present, early marginalia, ownership inscriptions to title-page ('Robert Wm Osborne, November 1844' and 'Robt Molesworth'), damp-staining to lower margins, occasional browning [ESTC S123364; STC 6362]; Dalton, Michael. Officium Vicecomitum. The Office and Authoritie of Sherifs. London: for the Company of Stationers, 1623. First edition, folio (28 x 18.5cm), contemporary blind-ruled calf, strapwork woodcut border to title-page, damp-staining and concomitant softening and fraying in fore margins (causing slight loss to title-page border, text otherwise unaffected), either free endpapers or initial and final blanks discarded [ESTC S107284; STC 6212]; Sheppard, William. An Epitome of all the Common and Statute Laws of this Nation. London: for W. Lee [and others], 1656. First edition, folio (28.6 x 17.5cm), contemporary calf, rebacked and repaired, endpapers renewed, browning, old ink-stain to 5F1-2 obscuring a few words, [ESTC R10939; Wing S3184]; Blount, Thomas. Nomo-Lexikon [graece]. A Law Dictionary. London: for H. Herringman [and others], 1691. Second edition ('with some corrections, and the addition of above six hundred words'), folio (31 x 18.5cm), contemporary panelled calf, rebacked, worn, spill-burns in 2R2 and 3O1, closed tear in 3Y2 [ESTC R11153; Wing B3341]; and 7 others (these not collated): Les Reports de Sir William Jones ... un des justices del' Banck le Roy, 1675 (first edition, folio, modern half sheep, browning); Reports of Cases adjudged in the Court of the Exchequer ... collected by Sir Thomas Hardres, 1693 (first edition, folio, modern half sheep, imprimatur leaf, contemporary marginalia, browning); The Tryal of Thomas Earl of Macclesfield, 1725 (first edition, large folio, contemporary tan calf, imprimatur leaf, bookplate of Sir John Cope, Bart); Michael Dalton, The Country Justice, 1727 (folio, contemporary calf, worn, joints cracked, hole in half-title/advertisement leaf); Giles Jacob, A New Law-Dictionary, 1736 (third edition, folio, contemporary calf, worn, joints cracked); John Selden, An Historical and Political Discourse of the Laws and Government in England, 1760 (fifth edition, 4to, contemporary calf, bookplate of Thomas Dundas of Upleatham, Yorkshire); Daines Barrington, Observations on the more Ancient Statutes, from Magna Charta to the Twenty-First of James I. Cap. XXVII, 1769 (4to, contemporary quarter calf, front board detached, closed tear in title-page) (11)Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
Purchas, Samuel Purchas his Pilgrimage Or Relations of the World and the Religions observed in all Ages and Places discovered, from the Creation unto this Present ... The Second Edition, much enlarged with Additions through the Whole Worke. London: by William Stansby for Henrie Fetherstone, 1614. Folio (27.8 x 18cm), contemporary calf, blind panels to sides, woodcut head- and tailpieces and initials, loss to foot of spine, joints cracked at head and foot, corners showing, title-page with section excised from head to no loss of text, small interstitial spill-burn, and short closed tear in fore margin extending into text without loss, initial quires [par.]-A damp-stained and with minute worm-track in gutter, closed tear in H4, marginal spill-burn in T2, small hole in T3 costing a few letters, closed marginal tear T6, V2-3 with spill-burn in text, marginal excision to foot of 2V3, index (4H-I) damp-stained, 4I1 r. with old repair affecting text, a few old marks and stains [ESTC 111828; STC 20506; Sabin 66679]Provenance: 1) Front pastedown and free endpaper annotated with a 17th-century personal library catalogue, headed 'Febery 1696 my ffolio case' and 'Oxtavo case in Febery 1696', entries including '1577 a grate bibell with bras plate', '1681 dokter Crews Rarities of the Royell Society', and similar. 2) Various 18th-century ownership inscriptions including: 'John Tills sent his book 1754'; 'Hannah Wickens her book bought at Felix Smiths sale' (to front free endpaper; similar inscription repeated on title-page); 'This book was printed in the year 1614 / Newton Tills it is my name / And with my pen i write the same'; 'Elizabeth Parker'. 3) Joseph Forrest Fry and Susanna Fry, presented by their daughters to the Taylor Institution, University of Oxford, c.1950 (cancelled presentation plate to rear pastedown, Taylor ink-stamps to title-page verso and margin of p. 581, ink-stamped call number to foot of final page). 4) Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplate).
Sarpi, Paolo The Historie of the Councel of Trent London: by Robert Barker, and John Bill, 1620. First edition in English, folio (33.5 x 21cm), contemporary calf, rebacked and recornered, woodcut head- and tailpieces and initials, colophon leaf present, blanks and endpapers discarded, inner hinges strengthened, quires 2M-N transposed, C3 with short closed tear at foot [ESTC S116698; STC 21761]; Fuller, Thomas. The Church-History of Britain, from the Birth of Jesus Christ, to the Year M. DC. XLVIII. London: for John Williams, [1655]. First edition, folio (33 x 21.5cm), contemporary panelled calf, rebacked, engraved folding map of Cambridge, 4 engraved plates (one double-page), rear board detached, loss to lower fore corners of first 2 leaves to partial loss of imprint in title-page, occasional browning, a few damp-stains and other marks, folding map laid down, old repair and early annotations to final leaf verso [ESTC R14493; Wing F2416]; [Adams, John]. Index Villaris: or, an Exact Register, alphabetically digested, of all the Cities, Market-Towns, Parishes, Villages, the Hundred, Lath, Rape, Ward, Wapentake, or other Division of each County, London: for T. Sawbridge, 1690. Second edition, large folio (37 x 22cm), contemporary mottled calf, rebacked at an early date, no pp. 265-8 but text continuous, closed tear to foot of E2, light worming in gutter towards rear [ESTC R4927; Wing A480]; [Commonwealth of England]. Original Letters and Papers of State, addressed to Oliver Cromwell ... Found among the Political Collections of Mr. John Milton. London: by William Bowyer, and sold by John Whiston, 1743. Folio (35.5 x 21.5cm), contemporary calf, rebacked and recornered, contemporary bookplate (Lt. Colonel Pechell), Castle Goring book-label, heavy craquelure to sides, variable browning [ESTC T56123]; and 8 others, 17th and 18th century folios (these not collated): [John Stow, The Annales, or Generall Chronicle of England, 1615] (first edition, contemporary calf, lacking all before [par.]7 and all after 4Q2, ex library, covers near-detached); John Walker, An Attempt towards Recovering an Account of the Numbers and Sufferings of the Clergy ... in the late Times of the Grand Rebellion, 1714 (contemporary panelled calf, joints cracked); Tracts, being a Collection of Several Treatises relating to the Government. Privately Printed in the Reign of K. Charles II, 1693 (contemporary mottled calf, front board detached); [John Oldmixon], The History of England during the Reign of the Royal House of Stuart, 1730 (first edition, contemporary panelled calf, joints cracked); Sir Robert Baker, A Chronicle of the Kings of England, 1643 (first edition, 19th-century tan half calf, engraved portrait frontispiece and title-page, both laid down, early text-leaves remargined, browning); Peter Heylyn, The Historical and Miscellaneous Tracts, 1681 (first edition, contemporary panelled calf, worn lacking frontispiece); idem, Ecclesia Restuarata: The History of the Reformation of the Church of England, 1674 (third edition, contemporary mottled calf, rebacked and recornered); Isaac Barrow, A Treatise of the Pope's Supremacy, 1683 (contemporary mottled calf, joints cracked, browning, worming) (12)Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
Selden, John Titles of Honor London: by William Stansby for Richard Whitaker, 1631. Second edition, folio (27.8 x 18cm), contemporary calf, rebacked and relined retaining old label, title-page in red and black, frequent Anglo-Saxon, Arabic and Hebrew types, woodcut illustrations throughout, 6 full-page engravings depicting the ceremonial dress of ranks in the English peerage (from baron to the prince of Wales), corners worn, front inner hinge gone, browning, damp-staining to gutter of prelims and occasionally to fore margins later on, title-page with closed tear in gutter, 5Y3 torn (most of text intact), final blank discarded [ESTC S117044; STC 22178]; Willis, Browne. A Survey of the Cathedrals of York, Durham, Carlisle [etc.]. London: for R. Gosling, 1727. First edition, 4to (24.5 x 19cm), contemporary panelled calf, half-title, 20 engraved plates (all but one folding), engraved armorial bookplate of the Barons Kenyon, 'Peel Library' inscribed above, old reinforcement to inner hinges [ESTC T93608]; Weever, John. Antient Funeral Monuments of Great-Britain, Ireland, and the Islands Adjacent. London: by W. Tooke, for the editor, 1767. Second edition (first published in 1631), 4to (26.5 x 20cm), contemporary marbled half calf, gilt spine with red morocco label, engraved portrait frontispiece, 5 engraved plates, folding table, woodcuts in text, bookplate of Henry Carington Bowles (1763-1830), publisher and map- seller [ESTC ST28052]; and 5 others (these not collated): John Evelyn, Silva: or, a Discourse of Forest-Trees ... With Notes by A. Hunter, 1786 (2 volumes, 4to, modern half leather, engraved plates); Roger North, Examen ... into the Credit and Veracity of a Pretended Complete History, 1740 (first edition, 4to, contemporary calf, frontispiece, worn, joints cracked); [John Hughes, editor], A Complete History of England, 1719 (second edition, 3 volumes, folio, contemporary panelled calf, engraved portraits, joints cracked); John Tillotson, The Works, 1728 (mixed editions, 3 volumes, folio, contemporary calf, engraved portrait, spines worn); John Brand, Observations on Popular Antiquities, 1813 (2 volumes, 4to, contemporary sprinkled calf, rebacked) (13)Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
Stafford, Sir Thomas Pacata Hibernia, Ireland Appeased and Reduced or, an Historie of the Late Warres of Ireland, especially within the Province of Mounster. London: printed by A[ugustine] M[athewes], 1633. First edition, second issue, folio (32.5 x 20.5cm), 20th-century half calf, 16 engraved plates (of 19: without the 2 portrait frontispieces and 'Map of Mounster'), extant plates comprising views of battles, castles and cities (Limerick, Yougal, Cork), 'A Map of the Siege of Kinsale' folding, 'A Map of Muskrey' single-page, the rest all double-page, title-page laid down, marginal repair to final leaf of prelims, small hole in 2D3, plates sometimes closely trimmed or frayed along edges, marginal damp-staining to pp. 1-50 and approx. 377-391 (end) affecting 3 plates, folding plate with discreet old repairs verso [ESTC S117457; STC 23132a]; Sprigg, Joshua. Anglia Rediviva; Englands Recovery: being the History of the Motions, Actions, and Successes of the Army under the Immediate Conduct of His Excellency Sr. Thomas Fairfax, Kt. Captain-General of all the Parliaments Forces in England. London: by R. W. for John Partridge, 1647. First edition, folio (28 x 18.2cm), contemporary blind-ruled sheep, armorial woodcut frontispiece, folding engraved portrait, folding letterpress table, extremities worn, lacking plan (Battle of Naseby) and text-leaf L2, damp-staining to title-page and final few leaves, spill-burn in D1, short closed handling tears to folding portrait and table [ESTC R18123; Wing S5070]; [Davies, John]. The Civil Warres of Great Britain and Ireland. Containing an Exact History of their Occasion, Originall, Progress, and Happy End. By an Impartiall Pen. London: by R. W. for Philip Chetwind, 1661. First edition, folio (29 x 18.5cm), contemporary sprinkled sheep ruled in blind, rebacked and relined, front board detached, title-page in red and black, ownership inscription to front pastedown ('A. W. G. Lowther F.S.A., 1957'), browning [ESTC R9924; Wing D393]; and 7 others similar (these not collated): John Nalson, An Impartial Collection of the Great Affairs of State, from the Beginning of the Scotch Rebellion in the Year MDCXXXIX to the Murther of King Charles I, 1682 (first edition, 2 volumes, folio, contemporary calf, engraved frontispiece, 'Mind of the Frontispiece' leaf present, old repairs to spine-ends); Edward Hyde, Earl of Clarendon, A Collection of Several Tracts, 1727 (first edition, folio, contemporary panelled calf, joints cracked); Henry Hyde, Earl of Clarendon, The State Letters of Henry Earl of Clarendon, Lord Lieutenant of Ireland during the Reign of J. James the Second, Oxford, 1763 (first edition, 2 volumes, 4to, contemporary cat's-paw calf, volume 2 rebacked, inscribed 'The gift of the Right Honourable Lord Milton to John Armstrong of Tipperary July 1766' on initial blanks), [William Dugdale], A Short View of the Late Troubles in England, 1681 (folio, contemporary panelled sheep, rebacked, portrait discarded); Thomas Wentworth, Earl of Strafforde, Letters and Dispatches, Dublin, 1740 (2 volumes, folio, contemporary tree calf gilt, worn, endpapers renewed); Richard Musgrave, Memoirs of the Different Rebellions in Ireland, Dublin, 1801 (first edition, 4to, contemporary marbled calf, 10 engraved folding maps and plans, a few closed tears, binding worn, front board near detached); [Philip Yorke, Earl of Hardwicke, editor], Miscellaneous State Papers from 1501 to 1726, 1778 (first edition, 2 volumes, 4to, contemporary tree calf, joints cracked, volume 2 front board detached, frontispiece offset) (14)Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).
FRANCIS II: (1768-1835) Last Holy Roman Emperor 1792-1806, who dissolved the Holy Roman Empire after the defeat against Napoleon at Austerlitz. Founder of the Austrian Empire, ruling from 1804 to 1835 as Francis I, first Emperor of Austria. An excellent and cleanly written A.L.S., `Le tres affectionné frere et neveu - François´, one page, 4to, Vienna, 1st of July 1794, to Prince Albert of Saxony, in French. Francis II, in his capacity as Holy Roman Emperor, sends a close letter to his uncle reporting on the birth of his child, stating `..by announcing to Your Royal Highness that the Empress, my very dear spouse, has given birth to an Archduchess, I flatter myself knowing that Y.R.H will share the satisfaction that I feel for such a joyful event..´ With blank integral leaf. Very small repair to the verso and fold, otherwise VG Prince Albert Casimir August of Saxony (1738-1822) Duke of Teschen. Son of King Augustus III of Poland. His spouse Archduchess Marie Christine was the sister of Holy Roman Emperor Leopold II, father of Francis II. Prince Albert was a notorious Art collector, founder of the Albertina in Vienna, with the largest collection of old master prints and drawings in the world. On 8th June 1794 Empress Maria Theresa of Naples gave birth to Archduchess Marie Caroline who died nine months later in childhood on 16th March 1795.
A fine Henry VIII silver Apostle spoon, The Master, by William Simpson, London 1530, fig-shaped bowl, the reverse with scratch initials 'G' over 'IE', 'faceted stem, gilded finial with a pierced nimbus, length 18cm, approx. weight 1.7oz. Provenance: A Private Collection. Woolley and Wallis, Salisbury, A Private Collection of Early Silver Spoons, 25 October 2000, lot 32. The Cookson Collection. Sotheby and Co., 6 March 1952, lot 31. C.G. Rupert Collection. The Staniforth Collection. Literature: Illustrated in How, Volume II, Chapter III, Section II, Plate 29, where How writes of this spoon that it 'is one of the most famous of all master spoons'. Rupert, C.G: Apostle Spoons. This spoon is illustrated as the frontispiece. Illustrated in A Collection of Early English Spoons of the 15th, 16th & 17th Century formed by The Rev. Thos. Staniforth, The property of E.W. Staniforth Esq. Kirk Hammerton Hall, York 1898, published by the Critchton Bros. Illustrated in Gask, N., Old Silver Spoons of England, 1973 edition, page 74/75, plate X.
Large collection of old master prints.-Albrecht Dürer (1471-1528)Samson fighting with the LionWoodcut, circa 1496, but a later compromised Meder g impression [S.M.S 127]; together with a good group of 19 prints from the 16th to the 19th century, including Jusepe de Ribera's (1591-1652) The Penitence of Saint Peter, [Bartsch 7]; four vertical landscapes engraved by Fabio Berardi after Giuseppe Zocchi, Giovanni Domenico Tiepolo's S. Petrus Regalatus, [DeVesme 70 ii/ii], and others by or after Agostino Carracci, Maerten van Heemskerck, and others, all unframed [Together with]Claude Goyrand (circa 1610-1662) and others.Collection of 20 etchings, from four separate suites after Jacques Callot, and Paul BrilEtchings, circa 1633-48, excellent impressions on uniform fine laid paper, bound together in original vellum, each leaf approx. 190 x 280 mm (7 1/2 x 11 in), scattered ink marginalia and doodles to endpapers, some blank leaves with losses, oblong 4to(in total: 20 loose prints and 1 bound collection of 20 etchings)
Anthony van Dyck (1599-1641), Attributed to.Double-sided sheet of studies of Christ in Glory, surrounded by puttiPen and brown ink, brush and ink, over black chalk, early 17th century, on laid paper with armorial watermark, bears numbering in brown ink, top centre 'A#63' and inscription in brown ink, lower right: 'Va. Dyck', sheet 295 x 200 mm (11 3/4 x 7 7/8 in), some small losses and nicks to extremities, spotting and surface dirt, perforation to heavily inked putto in lower right (framed)Provenance:Prosper Henry Lankrink (L.2090)Sale. Sotheby's, New York, Old Master Drawings, January 27th, 2010, lot 70 [sold for 25,000 USD incl. premium]Exhibited:Frankfurt-am-Main, Städelsches Kunstinstitut, Handzeichnungen alter Meister aus deutschem Privatbesitz, 1924, cat. no. 35, reproduced (as Van Dyck)⁂ Likely a sheet of studies for the top part of the same altarpiece, but no corresponding painting has yet been identified.
Omega Seamaster Aqua Terra Automatic Coaxial Master Chronometer Stainless Steel Wrist Watch. Ref. No. 2201041210300. Watch No. 89980056. Calibre No. 8900. Date of Purchase 07.01.22. Features blue dial, silver luminous markers. Six months old, never worn, brand new condition. With Omega cream leather wallet, extra links. Sales tag £4,910.00. Comes with box and outer box, Omega silk bag. Operating instruction book, security card, warranty card etc.
Old Master drawing. The Destruction of Pharaoh's Host in the Red Sea, unsigned, pen, brown ink & wash, 35cm by 70cm, framed & glazed, bearing label verso, Hal O'Nians, Old Master Drawings, 25 November - 17 December 1964, with a catalogue entry, numbered 126, attributing the piece to (School of) Titian, and describing it as a 'preparatory study for the varying composition engraved in an outsize woodcut by Domenico delle Grecche in 1539', also two barcode labels, 'Old Master Drawing'. Toning, fold-lines, wear & slight loss, unexamined out of frame
Ɵ The Bishop Carr Bible, in Latin, decorated manuscript on parchment [most probably England, mid-thirteenth century]To view a video of this lot, click here. 471 leaves (including one medieval endleaf at front and two medieval endleaves at back; last leaf of final gathering once blank, but filled with medieval annotations; the whole volume foliated in modern pencil including all medieval endleaves and two modern parchment at front and three at back, but this foliation followed here), occasional contemporary quire signatures, collation now impractical (but collated by Oliver in 1985) but text collated and wanting a leaf from beginning with the opening prologues and a single leaf from Psalms, a leaf cancelled between fols. 138-139 but text continuous, else complete, double column of 47-50 lines of a series of accomplished university hands, capitals touched in yellow or red, rubrics in red, versal numbers and running titles in alternate red and blue, small initials in same with contrasting penwork (these mostly scrolling and filling borders, but later in volume some of these looping penstrokes with crosses and circles overlaid in cruder style), larger initials in colour with white penwork enclosing tightly wound sprays of acanthus leaves, the larger of these with foliage ending in animal masks or human faces and terminating in occasional drolleries (including one with a crowned animal mask on 353r, a human-headed dragon on fol. 80v, and a drollery musician playing a pipe and tabor on fol. 311v), one full-page initial 'I' (fol. 4r, "In prinicipio creatavit ...") containing nine roundels separated by acanthus leaf sprays and enclosing drolleries, four big-cat faces facing each other, another big-cat, birds (one wearing a pointed hat) and a basilisk, all on coloured grounds, some leaves faded with text hard to read and at one point overwritten for a few lines, leaves at each end with slight damage to upper margins and some signs of old water damage there, small burn hole in fol. 54 removing a few characters from 8 lines of text, many of larger initials slightly scuffed or washed out, trimmed at head (but outer vertical edge with some leaves with original prick marks surviving), overall in good and robust condition, 173 by 120mm.; modern brown leather tooled with simple fillet and crosses at corners over thin bevelled wooden boards (perhaps early), sewn on five large double thongs, marbled endleaves (a paper endleaf from an earlier binding now pasted to second paper endleaf at front), red edges, front board loosening and split at head of spine, else robust in binding, in fitted cloth-covered box (made for Society for Biblical Research) A charming bible, most probably of English origin, and with a long and noble history of ownership, unseen on the open market since the mid-nineteenth century Provenance:1. A number of the hands here, the simple decoration (avoiding gold and with penwork in dull red and blue penwork) and the gaps left before the beginning of Mark's Gospel and the Interpretation of Hebrew Names all indicate that this volume was copied and decorated in a university setting in England, almost certainly Oxford, for use by a student or master there. It remained in use in England through to the close of the Middle Ages, and perhaps beyond, with hands of the thirteenth to the fifteenth century (some certainly English) adding notes for its liturgical use on endleaves and a list of Hebrew names with short descriptions added before the Interpretation of Hebrew names.2. Anthony Tomyson: his late sixteenth-century inscription beginning "this is my hand" upside-down on fol. 472v. He may be identifiable as the namesake who is recorded at Pembroke College, Cambridge, in 1555, or less likely another who was as St John's, Cambridge c. 1596, and was a fellow there in 1603 (J. Venn, Alumni Cantabrigienses, 1927, I: 222). The short notes in English added by a sixteenth-century hand to a few margins are perhaps his (fol. 22v "her mother", 102v "Be yt ... unto" and similar).3. Bishop Robert Carr of Chicester (1774-1841; bishop of Worcester from 1831): inscription in hand of Thomas Joseph Pettigrew (see below) at head of paper endleaf from earlier binding, recording it as his and its gift to its next owner on 24 December 1830, presumably as a Christmas present.4. Prince Augustus Frederick (1773-1843), Duke of Sussex, the sixth son of King George III, who built a large library of theological books from 1819 onwards in Kensington Palace. By 1827 his library had reached approximately 50,000 volumes, all shelved together along one wall of a vast corridor joining the older and more modern parts of the building. This volume with his smaller bookplate annotated by Thomas Joseph Pettigrew, the duke's librarian and surgeon, noting its contents and an erroneous date of "1400"; additions at the foot of the same bookplate recording the shelfmark "VI H l. 10" (i.e. Latin 10), and it is recorded under the same in his Bibliotheca Sussexiana, A Descriptive Catalogue, 1827, I,1, p. lxxiii (that written by Pettigrew). The duke died leaving substantial debts and his library was sold by Evans in a series of sales, with this volume in part II, 31 July 1844, lot 12 (the pencilled measurements at the foot of the bookplate matching those of the Evans catalogue).5. Thomas Thorpe, London bookdealer: his catalogue for August 1844, no. 33: with a clipping apparently from this rare sale catalogue pasted to the front pasteboard here.6. John A. Murphy (d. 1900), a medical doctor of Ohio (on him see Gwara, p. 54), who also owned the Leonardo Bruni codex now Beinecke, Marston MS. 90: his bookplate.7. The Society for Biblical Research, Boston, MA., acquired by them from Otto Ege in April 1949 (see Gwara, pp. 54 and 161 where this book is HL 129), then MS. 2 of their endowment collection: with their marks "Zion MS. 2" on front modern paper endleaf.8. Acquired by the present owner in the London trade in the 1990s. Text:The volume here comprises a Vulgate Bible, with the standard prologues of Jerome as in Lambeth Palace MS. 1364 (see N.R. Ker, Medieval Manuscripts in British Libraries, 1969, I:96-97), but with "Multorum nobis et ..." used as a prologue to Ecclesiasticus. The Interpretation to the Hebrew Names is in the common form "Aaz apprehendans ...".English thirteenth-century Bibles are far rarer than their French cousins, and come to the open market much less frequently. Another with only penwork decoration was sold in our rooms, 9 December 2015, lot 111 realising £62,000 hammer. The last offered by Sotheby's was the William Ketyl Bible with very simple penwork decoration, on 4 December 2018, lot 14, and before that the finely decorated Northumberland Bible on 8 July 2014, lot 49, and another example from the Bergendal collection: 5 July 2011, lot 50. The last ones offered by Christie's were those once owned by J. Paul Getty, offered 20 November 2013, lot 42, another sold 2 July 2010, lot 203, and another two once in the Cornelius J. Hauck collection, sold in New York, 27 June 2006, lots 91 and 94. Published:J. Oliver, Manuscripts Sacred and Secular from the Collections of the Endowment for Biblical Research and Boston University (1985), pp. 17-19.S. Gwara, Otto Ege's Manuscripts, 2013, HL 129.
Studio of Wolf Huber (Feldkirch circa 1485-1553 Passau)Saint Jerome in prayer bears monogram 'Aa' (lower centre)pen and brown ink on paper, heightened with white, watermark serpent around a cross (close to Briquet 13847)18.7 x 11.7cm (7 3/8 x 4 5/8in).Footnotes:ProvenanceCollection Landau Finaly (L. 1334c (on a separate label) Sale, Christie's, London, 4 July 1984, lot 136 (as follower of Wolf Huber).Sale, Christie's, London, 9 December 1986, lot 344 (as follower of Wolf Huber)Private Collection, USALiteratureF. Winzinger, Wolf Huber: Das Gesamtwerk, Munich and Zurich, 1979, vol. I, no. 39, vol. II, ill. (as Wolf Huber).A.J. Elen, Missing Old Master Drawings from the Franz Koenigs Collection , The Hague, 1989, under no. 225The present drawing was published by Franz Winzinger in 1979 as by Wolf Huber (see literature). Winzinger includes The Crucifixion, dated 1514, previously in the Franz Koenigs Collection, now in the Boijmans Van Beuningen Museum (Inv. D.I. 112) as a copy of the present sheet (see: ibid, cat. no. 39a). Another drawing of the same subject, signed and dated 1517, now in the Kupferstichkabinett, Berlin (Inv. 4325) shows Huber's distinctive style and meticulous hatching on the cross.Modern scholarship has advanced in recent years and many works accepted by Frans Winzinger in 1979 have now been given to artists in Huber's circle or to his followers, who often produced extremely fine copies of his drawings.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Follower of Salvator Rosa (late 18th Century) Mercury and the dishonest woodsman (After the painting in the National Gallery, London) watercolour with body colour and scratching out, indistinctly signed, 10.5" x 17.25". Provenance: Anonymous Sale, Bonham's, Bond Street, Old Master Pictures, 09.04.2003, Lot 153 (As 'Follower of Salvator Rosa').
A COLLECTION OF OLD MASTER PRINTS comprising approx. 129 examples by or after F. Barlow, C. Bega, B. Beschey, Claude, L. De La Hyre, S. Della Bella, F. Floris, Guercino, W. Hodges (Captain Cook), W. Hogarth, W. Hollar, Le Prince, G. Reni, B. Spranger, Rembrandt, S. Rosa, T. Rowlandson, C. Schut, D. Teniers, A. Van Der Cabel, A. F. Van Der Meulen, A. Van Ostade, P. Veronese. T. Worlidge and others, unframed, in a modern album ++ Generally fair-good but the Barlow subjects worn and damaged
A MID 20TH CENTURY NORTH AMERICAN PART CANTEEN OF FLATWARE & CUTLERY with decorative King's shape stems, (Old Master Pattern) to include: 8 dessert forks, 8 cake forks, 10 large teaspoons, 8 butter spreaders, a sauce ladle, a tablespoon, a small pierced slice, 3 various small forks, a carving knife, 8 table knives with stainless steel blades, by Towle Silversmiths, of Massachusetts 1950-70; 47.2 oz weighable silver
Louis XV-Kommode gestempelt „DAUTRICHE“ und „JME“ (Jurande des Menuisiers Ébénistes)Höhe: 89 cm.Breite: 140 cm.Tiefe: 64 cm. Paris, um 1765.Zweischübiger, leicht bombierter Eichenkorpus mit reicher Marketerie in verschiedenen Hölzern. Üppiges Beschlagwerk in feuervergoldeter Bronze. Die allseitig schräg gestellten Füße laufen gratig in die Ecken ein, unten säbelförmig sich verjüngend. Das Frontfeld, in heller Wirkung mit V-fömig verlegtem Furnier, wird dunkel gerahmt. Im hellen Mittelfeld, das sich über die beiden Schübe hinweg ausbreitet, in zarten Holztönen eingelegte Blütenzweige, Rosensträuße, größere und kleinere Blätter. Die Blattformen grün getönt, die Blüten in zarten Farben bis hin zu violett-rot abgestuft. Die Mitte wird betont durch ein in großzügigem Schwung eingelegtes Bandwerk, das eine leicht nierenförmige Mittelfeldbegrenzung umschließt, in geschickter Weise seitlich unterhalb der vergoldeten Henkelzüge durchlaufend. Zughenkel und Schlüsselbeschläge braun unterlegt, wie auch die Applikation an der mittleren Zarge, die in äußerst eleganten C- und S-Bögen mit eingearbeiteten Blüten gearbeitet ist. An den Seiten der Kommode ebenfalls V-förmige Verlegung des hellen Bildfeldes, darauf jeweils ein Blumenstrauß. Abschließende Marmorplatte in höchst seltener Ziegelrot-, Gelb- und Grausprenkelung. An den Rändern fein profiliert und gerundet. Zarge mit Schlagstempel „DAUTRICHE“ für Jacques van Oostenryk (Meister ab 1765, gest. 1778). Alte Schlösser und Schlüssel. Rest., erg.Literatur: Vgl. Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris 1989, S. 221 ff. (12901425) (10)Louis XV commode stamped "DAUTRICHE" and "JME" (Jurande des Menuisiers Ébénistes)Height: 89 cm.Width: 140 cm.Depth: 64 cm.Paris, ca. 1765.Two-drawer, slightly cambered oak structure with rich marquetry. Opulent fire-gilt bronze fittings. Apron with embossed stamp “DAUTRICHE” for Jacques van Oostenryk (master from 1765, died 1778). With old locks and keys. Restored, mended.Literature:cf. Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris 1989, p. 221 ff.
Marc Chagall (1887-1985)Plate 5, from Four Tales from Arabian Nights (Mourlot 40; Cramer books 18) Lithograph in colours, 1948, on laid paper, signed, annotated and numbered 'Pl.5 57/90' in pencil (the total edition was 111), published by Pantheon Books, New York, the full sheet, in overall very good condition, framedImage 372 x 280mm. (14 5/8 x 11 1/8in.); Sheet 430 x 330mm. (16 7/8 x 13in.)Footnotes:ProvenanceSotheby's, Old Master, 19th and 20th Century and Contemporary Prints, London, 29 June 1993, lot 394.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
After Marc Chagall (1887-1985) By Charles SorlierLa Tribu d'Issachar, from Douze Maquettes de Vitraux pour Jerusalem (Sorlier 17) Lithograph in colours, 1964, on Arches wove paper, signed and numbered 40/150 in pencil, published by Mourlot, Paris, the full sheet with deckle edges at right and below, with the palest of light-staining, the colours bright and fresh, in good conditionImage 536 x 464mm. (24 1/4 x 18 1/4in.); Sheet 755 x 522mm. (29 5/8 x 20 3/4in.)Footnotes:ProvenanceSotheby's, Old Master, Modern & Contemporary Prints, London, 6 December 2001, lot 132.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
After Marc Chagall (1887-1985) By Charles SorlierCarmen (Sorlier 39) Lithograph in colours, 1966, on Arches wove paper, signed and inscribed 'H.C' in pencil, an hors commerce impression aside from the edition of 200, the full sheet with a deckle edge below, in good condition, the colours strong and vibrant, framedSheet 1017 x 665mm. (40 x 26 1/4in.)Footnotes:ProvenanceSotheby's, Old Master, 19th and 20th Century and Contemporary Prints, London, 2 December 1993, lot 351.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Marc Chagall (1887-1985)One Plate, from Sur la Terre des Dieux (Mourlot 535; Cramer books 72) Lithograph in colours, 1967, on Arches wove paper, signed and numbered 68/75 in pencil, published by A.C. Mazo, Paris, with wide margins and deckle edges at right and below, in overall good conditionImage 450 x 370mm. (17 3/4 x 14 1/2in.); Sheet 645 x 495mm. (25 3/8 x 19 1/2in.)Footnotes:ProvenanceSotheby's, Old Master, 19th and 20th Century and Contemporary Prints, London, 29 June 1993, lot 399.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Marc Chagall (1887-1985)Acrobate et Violoniste (Cramer 64) Etching and aquatint in colours, 1968, on wove paper, with Hand and Branch watermark, signed and numbered 26/50 in pencil, the full sheet with deckle edges at left and right, with very pale light-staining, the colours slightly attenuated but still strong, in good conditionPlate 350 x 400mm. (15 3/4 x 13 3/4in.); Sheet 499 x 577mm. (19 5/8 x 22 3/4in.)Footnotes:ProvenanceSotheby's, Old Master, Modern & Contemporary Prints, London, 6 December 2001, lot 128.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan Miró (1893-1983)Onésime (Mourlot 1075) Lithograph in colours, 1975, on Arches wove paper, signed and inscribed XIII/XV, published by Maeght Éditeur, Paris, with wide margins and a deckle edge above, in overall good condition, the colours bright and fresh, framedSheet 901 x 630mm. (35 1/2 x 24 7/8in.)Footnotes:ProvenanceSotheby's, Old Master, 19th and 20th Century and Contemporary Prints, London, 2 December 1993, lot 551.Acquired from the above sale by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Andy Warhol (1928-1987)Queen Elizabeth II, from Reigning Queens (see Feldman & Schellmann IIB.334-337) Unique screenprint in colours, 1985, on Lenox Museum Board, signed and numbered TP 26/30 in pencil, one of 30 colour variant trial proofs aside from the edition of 40 (there were also 10 artist's proofs), printed by Rupert Jasen Smith, New York, with their blindstamp, published by George C.P. Mulder, Amsterdam, the full sheet, in overall very good condition, the colours strong and vibrant, framedSheet 1001 x 799mm. (39 3/8 x 31 1/2in.)Footnotes:ProvenanceBelgravia Gallery, London (with their label).Sotheby's, Old Master, Modern & Contemporary Prints, London, 19 March 2013, Lot 177.Acquired from the above sale by the current owner.In 1985 Warhol produced his largest portfolio Reigning Queens, containing screenprint portraits of the four ruling female monarchs of the day: Queen Elizabeth II, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark and Queen Ntombi Twala of Swaziland. The image of Queen Elizabeth II was based on a photograph taken by Peter Grugeon at Windsor Castle on 2 April 1975 and released to celebrate Her Majesty's Silver Jubilee in 1977. Warhol was fascinated by fame and celebrity. He was the first artist to really comprehend the appeal of celebrity culture and how to harness this appeal to his advantage by producing iconic images of the famous and the glamorous which had an immediate impact and charisma. Warhol's decision to produce an image of the monarch took this up a level. A royal likeness stood apart from other portraits as the ultimate image of fame, celebrity and glamour and was treated with a certain reverence. On the other hand, Warhol was also well aware that this image would be instantly recognizable and attractive to collectors, thereby increasing his own fame by association, notably quoting 'I want to be as famous as The Queen of England'.Having worked as a commercial illustrator, Warhol understood how to present an image to attract attention. He favoured the screenprint process, which produced a precise defined image with hard edges and flat areas of colour, to achieve maximum impact for his radical and glamorous Pop art portraits. The use of this method is pertinent for the Queen as the most depicted woman in the world and indeed the bust length format and vibrant colours call to mind another iconic item of mass production, the postage stamp.Warhol has pared down the original image, removing some of the finer detail which gives character to the face, to leave an inscrutable façade. He has highlighted outlines on areas such as the crown and sash with the Royal Family orders, thus focussing the viewer's attention on the image of Her Majesty as a symbol of royal power; the public face and figurehead of the Royal House of Windsor. In this year of the Platinum Jubilee, we are delighted to be offering a unique version of this screenprint outside the standard edition, which can be regarded as truly iconic, both in subject and within the Warhol repertoire.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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