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Lot 135
European Travel Journal.- T. (C.H.) A tour on the Continent..., autograph manuscript, 57pp. excluding blanks, original straight-grained morocco backed boards, slightly rubbed, gilt spine, rubbed and with a few small tears, m.e., sm. 4to, [1857].⁂ Paris. "We visited Les Invalides... each old man has a little piece of ground to himself, to cultivate as he will... one old man... had laid it out as a model of [Napoleon's grave on St Helena]. First there was the willow of St. Helena, with the supposed grave of his master below... . The soldiers around, all old men, more or less mutilated, had seen or spoken to him... the Emperor Napoleon." The traveller visits Belgium (Ostend, Bruges, Ghent and Brussels), the Rhine (Cologne, Drachenfels, Coblenz, Ehrenbreitstein Fortress, Pfalz, Mainz etc.), Switzerland (Basel), and Paris.
Lot 75
MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his cubist phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. A substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu Allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).
Lot 63
Old Master European School Painting Depicting Figures in a Landscape. With a nude woman drawing water from a well near the foreground, musicians beneath a tree, a shepherd leading his flock in the background and a village off in the distance. Oil on canvas. Appears to be unsigned, has not been examined out of frame. Provenance: Private New York City collection. Sight Size: 19.5 x 24 in. Overall Framed Size: 25 x 30 in.
Lot 231
1958 Triumph TR3A LHDMake: Triumph Model: TR3AYear: 1958Mileage: 74231VIN: 103759Configuration: Left Hand DriveRegistration: YSU397Transmission: ManualBuilt as left‑hand drive in 1958 for export to the USA. According to the Heritage certificate it was originally in Powder blue with black leather trim. It returned to the UK and was registered here in 1990 when it was issued with the period registration, YSU 397. Described by the vendor as appearing complete without modifications, except for the Motolita steering wheel, or signs of any accident repairs. The car runs and stops, although currently the clutch is stuck on. Sold as a rebuild project. Recently fitted new parts include overhauled fuel pump, fuel lines and hoses, battery, brake master cylinder, rear brake cylinders and some brake pipes. The engine has just been serviced and, the vendor advises, that the gearbox is in good order and that the overdrive is working. It comes with two side screens, a black pvc hood and supporting stick frame. Old parts off the car remain in the boot, these include the original steering wheel and the 48 spoke wires. Whilst the car starts easily and will run if started in gear, the clutch plate is currently stuck on through lack of use. The car is currently fitted with relatively new 72 spoke wires (TR6 spec) and four good Colway Road Plus tyres. Comes with V5 and Heritage certificate. The mileage is recorded at 74,231.
Lot 98
LENCKER (HANS)Perspectiva literaria. Das ist ein clerliche fürreyssung wie man alle Buchstaben des gantzen Alphabets... in die Perspectif einer flachen Ebnen bringen mag, FIRST EDITION, 21 (of 22) plates after drawings by Hans Lencker, engraved by Matthias Zündt (initialled on plate 19), ALL COLOURED IN A CONTEMPORARY HAND, plate 14 with an additional variant engraving of the perspective design (a sphere with pyramids emanating, similar in style to the other engavings but numbered 'G.IIII' in upper corner) pasted opposite, Gothic text, some light foxing, short tear to one plate, last leaf near detached, old German inscription in Gothic, in ink, on verso of last leaf (this near detached), modern limp binding using an old sheet of vellum [Thieme-Becker XXIII, 45; VD16 L-1149], folio (307 x 200mm.), Nuremberg, Ulrich Neuber, 1567Footnotes:EXTREMELY RARE HAND-COLOURED COPY OF THIS SPECTACULAR GERMAN TREATISE ON PERSPECTIVE - INCLUDING THE FIRST COMPLETE ALPHABET CONCEIVED BY HANS LENCKER. The very elaborate perspective figures were designed by the master goldsmith Hans or Johannes Lencker (1523-1585), and engraved by his colleague Matthias Zündt. Lencker was the eldest of a dynasty of goldsmiths and engravers from Nuremberg. He worked in many fields, including the design of tableware, glass cutting and the art of bookbinding, helping to inspire a whole generation of 'perspective' artists, including the renowned Jamnitzer.The Perspectiva literaria is extremely scarce, only two or three copies recorded as having sold at auction in the post-war period. USTC and World Cat locate a total of 8 copies, all in European institutions, mostly in Germany. The present copy, uniquely hand-coloured, contains 21 plates (of 22, a geometric figure plate is missing), comprising a frontispiece using the letters of the word 'perspectiva', 12 plates of intricate letters of the alphabet in various perspective arrangements, and 8 plates of geometric figures. Some of the latter are very complex, such as a spiral-shaped faceted shell, a cone made of triangular faces, a knot of twisted cylinders, and a hollow cube surrounded by a polyhedron.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 663
SALE CATALOGUES:- Sotheby & Co, The Collection of Rembrandt Etchings formed by the 10th Viscount Downe (1903-1965), 2 vols. 26/11/1970-7/12/1972. gold tooled green cloth. Christie's, Old Master Prints from Chatsworth, 1 vol. 5/12/85 d/w Christie's, The Hans Van Leeuwen Collection, 2 vols. d/ws. 24/11/92, Amsterdam Sotheby's, The Trumbull Papers, 14/12/89, 1 vol (7)
Lot 351
1992/2012 'Ducati' Sports Motorcycle 900cc TT944 (see text)Registration no. J269 RNBFrame no. ZDM906SC2-003884Engine no. ZDM904A2C*003834*• Hand-built with the blessing of Steve Wynne• Certificate of Authenticity confirming it as no. 1• Road legalWhilst Grands Prix were being taken over by Japanese two-strokes, Ducati had discovered their niche in larger capacity Formula and endurance races. Famously, with Mike Hailwood on board, Steve Wynne's Sports Motorcycles team took the 1978 Formula I Championship. Under Steve Wynne, Sports Motorcycles had graduated from dealers in modern motorcycles, particularly Italian ones, to become sponsors and race preparation specialists during the 1970s. In later years, Steve had utilised the skills of Glyn Robinson, a talented engineer from Yorkshire to solve some of the many problems inherent in motorcycle racing. Among his many skills was that of making race-type frames to house Ducati's wonderful engines. In 2012, Glyn decided to make a complete bike to showcase all the TT1/TT2 products that he, with the blessing and assistance of Steve Wynne, was producing under the Sports Motorcycles banner for use in classic racing.He made the frame from 4130 chrome-moly tubing, the total weight of frame and swinging arm being 11kg. A 900SS engine was obtained, and construction was started. Period Marzocchi magnesium forks were used; the petrol tank was made in alloy; brakes are AP Lockheed billet calipers, with adjustable master cylinder; wheels are 17-inch Dymags. The engine was later completely rebuilt by Paul Klatkiewicz of Ducati Technical Services in Wakefield. The rear cylinder head was reversed, new 41mm Dell'Orto carburettors were fitted, as was a new Spider clutch. A big-bore, free-flow stainless steel exhaust system was tailor-made for the bike. The machine was commissioned by the present owner, who has kept it since completion. A certificate of authenticity, signed by Steve Wynne and Glyn, accompanies the machine, verifying it as number 1. However, soon afterwards, Glyn decided to move his operation to New Zealand to join his mentor Steve Wynne, and whilst the Sports Motorcycles components are still manufactured, no more complete machines have been made.Since delivery, the TT has covered only approximately 58 test miles, and was last started in 2017. The owner now has decided to pass the machine to another enthusiast, as he wishes to pursue other projects. A new owner should only need to fit a battery, carry out light re-commissioning, basic safety checks, and obtain a new MoT before taking to the road. Documentation comprises a current V5C, two old MoT certificates, the aforementioned Certificate of Authenticity, a bill for the engine rebuild, a scan of a Classic Bike article, and a copy of Practical Sportsbikes magazine featuring this bike. Prospective purchasers should note that the year of the machine listed on the V5C is 1992, this being the year of the donor bike.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 457
1982 Bimota 1,099cc HB2Registration no. JVJ 113YFrame no. HB2 00109Engine no. SC05E2101920Combining Bimota's state-of-the-art chassis technology with the engine of Honda's CB1100-R, a machine then dominating production-class racing, this ultra-rare HB2 was one of the fastest, most exotic, and most expensive machines of its day. It was built and sold new in this form by the then Bimota importer, though how much the first owner paid is not known. The HB2's first owner was UK-based collector, from whom it was acquired by Chris Graham of Stuart Graham Ltd in March 1991 (see letter and V5C on file). The current vendor acquired the Bimota from Chris Graham in May 1999 and since then it has benefited from considerable expenditure and upgrading. Spondon fully floating disc brakes have been fitted front and rear, while the suspension has been up-rated with a Maxton cartridge conversion for the front forks and a Maxton shock absorber at the rear. Completing the front-end rebuild, the fork stanchions were re-chromed and the sliders powder coated. The rear brake master cylinder and rear suspension linkage have been replaced with new-old-stock parts, and the (calliper-matching) front master cylinder overhauled with a seal kit, while the new exhaust system was supplied by Bimota Classic Parts. Invoices for the aforementioned parts and services are on file and the machine also comes with MoT to January 2021. Described by the owner as starting first time and running well, this highly desirable piece of Italian exotica will have been ridden to the sale.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 233
Old master prints.- Wierix (Jan "Johannes") Knight, Death and the Devil, after Albrecht Dürer, engraving on laid paper without watermark, sheet 250 x 190 mm (9 7/8 x 7 1/2 in), mounted on paper support, repaired tear to centre right edge running into image, some wear to the impression, unframed, [1564]; together with over 35 miscellaneous old master and other prints, various sizes, [17th century and later] (c. 35)
Lot 218
Bourbon Whisky miniatures - Makers Mark Kentucky straight bourbon whisky, old style sour mash;Early Times Kentucky straight bourbon;Beam's Choice Kentucky bourbon; Jack Daniels Master Distiller, Tennessee Whisky, others; George Dickel Tennessee sour mash whisky; Bullet Bourbon frontier whisky; Jim Beam; Virginia Gentleman straight bourbon; Danzy Jones old style mellow whisky; Johny Drum; Buffalo Trace; Old Crow; Rowan's Creek; etc large qty
Lot 4167
Art, Old Masters - Auction and Dealers' Catalogues - P&D Colnaghi: Art in XVII Century Italy, April-May 1972 & Etchings by Giovanni Battista Piranesi, Decmber 1973 - January 1974, (2); further Piranesi catalogue; auction catalogues, principally Christie's and Sotheby's, from 1941 to July 2017, including Sotheby & Co:~ [...] Important Paintings by Sir Joshua Reynolds [...], 17th December 1941 (1), [...] The Portrait of George Washington, as Commander-in-Chief and B. Wilson's Portrait of Benjamin Franklin [...], 13th February 1946 (1), The Collection of the Late Bernard Houthakker, 17th-18th November 1975 (1), The Cremer Collection, 17th November 1980 (1), The Tobias Christ Collection of Old Master Drawings, 9th April 1981 (1), Mauerbach: Items Seixed by the National Socialists to be Sold for the Benefit of the Victims of the Holocaust, 29th-30th 1996 (1), Drawings by J.H.W. Tischbein, 22nd January 2003 (1), others, (30); Dilke (Lady), French Painters of the XVIIIth Century, numbered limited edition 111/200, London: George Bell and Sons, 1899, illustrated, contemporary cream cloth gilt, top-edge gilt, folio, (1); François Boucher, (1); Italian Drawings Exhibited at the Royal Academy, Burlington House, London, 1930, The Oxford University Press, 1931, illustrated, contemporary boards, d/j, 4to, (1); Messum's, British Impressions: The Progress of Impressionism 1880-1940, illustrated, 4to, (1); Wunder (P.), Architectural, Ornament, Landscape and Figure Drawings, 1975, 4to, (1); Treasures from Chatsworth, (1); Dictionary of Artists [...] Exhibited [...] Principal London Exhibitions from 1760 to 1893, h/b, d/j, 1973, 4to, (1); further reference works, etc., [approx. 50]
Lot 206
TIM WIDDOWSON Tower Bridge and The Tower of London, 26cm x 36cm, watercolour, signed in pencil lower right together with a collection of further decorative pictures and prints including a still life of flowers by PM Owen, Poppies in a Wheat Field by Longden, French country scene by Michael Diew etc Condition: the modern watercolours generally in reasonable condition, in modern frames again in reasonable condition; the print of an old master fresco in a tatty frame
Lot 303
A rare, right-hand drive, manual gearbox car with just 30,375 miles.One of very few, UK-right-hand drive, manual gearbox 928 GT models5.0-litre V8, 326bhp, 5-speed gearbox, sports suspension and twin exhaustsWell presented in Velvet Red metallic with red-piped Linen leatherAir con, electric sunroof and windows, leather sports seats, alloy wheels30,375 warranted miles and four former keepers11 service stamps, most recent at Paragon Porsche, in November 2019 at 30,153 milesOver £5,000 recent spend by our vendor; new tyres, cambelt/all belts, clutch master cylinder, geometry set up, etc. All at Paragon PorscheOriginal stamped Porsche service book, many old invoices and MOTs and its original Porsche manualsThis GT provides a rare opportunity to purchase one of the last remaining low mileage examples of Porsche's flagship model1989 saw further development in the story of Porsche's 928 with the launch of the GT featuring a more powerful 5.0-litre V8 capable of a creamy 326bhp, but more importantly, the introduction of a 5-speed manual gearbox for those who wanted a more sporty driving experience. The GT also sported twin exhausts, uprated camshafts, and sports suspension - the ultimate 928 had arrived! We are delighted to be able to offer this very special, right-hand drive, 928GT. UK-supplied and first registered on 01/08/1990, it has been enjoyed by just four former keepers and in the care of our vendor for the last three years in which time he has covered around 4,500 miles. It continues to present well in Velvet Red Metallic with a lovely interior featuring Linen Leather seats piped in red, deep red carpets and a very smart dashboard. It's equipped with air conditioning, electric sunroof and windows, leather sports seats, alloy wheels, and central locking. Our vendor has been diligent when it comes to maintenance having spent £5,011 during his ownership including four new tyres, new cambelt, clutch master cylinder, all belts renewed, full geometry set up, new rocker cover gasket, and annual servicing with all the work carried out by Paragon Porsche. The original stamped Porsche service book is present with, 12 service stamps in the book, the most recent at Paragon in November 2019 at 30,153 miles. A fresh MOT was issued with no advisories in July 2020, and the car is accompanied by many old invoices, MOTs and its original Porsche manuals.A very rare manual example of the Porsche 928, this GT provides a real opportunity to purchase one of the last remaining low mileage examples of Porsche's flagship model. You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Richard Greenhalgh on 07948 152 921 / richard@classiccarauctions.co.uk to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: H242 RETYear: 1990Make: PorscheModel: 928 GTRHD/LHD: RHDChassis Number: WP0ZZZ92ZLS842087Odometer Reading: 30375 milesEngine Capacity: 4957Engine Number: 85L01266Body Colour: Red MetallicInterior Colour: Linen Leather
Lot 515
The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveIncredibly early Flat Floor E-Type Coupe. The 249th of just 399 left-hand drive cars built in 1961Completed in November 1961 in left-hand drive and despatched to California Retains all the important early production features including welded louvres, number stamped bonnet and Mk2-type round tin tool kitJust 49,319 miles from new and two previous long-term ownersRemarkably well preservedPart of a matching Roadster/Coupe pair of Cream 1961 E-TypesJust selected to be featured in the new, vastly expanded 'Original E-Type' book by Porter PressHere at Silverstone Auctions, we are delighted to offer an incredible pair of matching-number, 'time warp' survivors of the earliest E-Types, cherished in a museum together for nearly 20 years. They are for sale separately and with the E-Type's Diamond Jubilee next year, this is an appropriate time for these significant cars to become available. From a respected private collector, both these cars are, remarkably, being offered at No Reserve.In 1961, it was almost impossible to be able to actually obtain Jaguar's 'Supercar', which was so closely related to their triple Le Mans-winning D-Type racer, but with legendary comfort and practicality, offering perhaps the ultimate road car.The E-Type itself needs no introduction and it is no secret that company founder and chairman, William Lyons, desired to add a supremely elegant coupe to the original roadster in development and their combined launch literally stunned the world, at Geneva back in March 1961.For both the enthusiast and the dedicated collector, the desire to obtain the 'first of the breed' in its most original condition will always be the 'Holy Grail'. The problem with actually achieving this goal is that those first E-Types were seriously flawed. The body structure was never built with any intention to make it last and indeed many were succumbing to rust issues when just a few years old. The majority of worldwide climates did not offer the kind of conditions in which an E-Type might thrive and Jaguar themselves often cited that, with such a low purchase cost, " It was far better to simply buy the new and improved model than repairing an older model with rust issues". Consequently, there was no real desire to preserve these first models, with their cramped flat floors and dangerously poor brakes for a car capable of nearly 150 mph, which resulted in many cars suffering accident damage, some on more than one occasion.In 1961, you genuinely 'had to be a name, and a name on a list' to acquire one of these first delivery cars. As always, Jaguar's primary market was the United States and this is where almost 90% of E-Type production ended up. Even there, to source an original, first-supply suffix chassis number coupe starting '885' is incredibly difficult to find in original condition if at all - this confirming it to be a genuine 1961 built car, of which just 399 left-hand drive cars were completed, the ultimate vintage for any serious collector.Enter Paul Webb, a passionate collector who has specialised in dealing with E-Types since the early 1970s and recalls that in those days, he would far prefer to buy a later and more expensive Series 2, 4.2 model to sell than an early car. But Paul's passion is originality and many decades of 'wintering' in California allowed the opportunity to bring back several amazingly rust-free cars from there. He was ideally placed and in the perfect 'hunting ground' to try to find that 'Holy Grail' - a super early 1961 E-Type that retained every original panel fitted by Jaguar when delivered new, back in 1961. Paul could not believe his luck when, in the mid-1990s, he discovered 885249, just the 249th Fixed Head Coupe produced. Built on 30th November, supplied new to Abbey-Scherer Co, El Monte, California on 14th December 1961 and allegedly still with its first owner, having resided in the ultimate climate to amazingly preserve this Jaguar.The owner was a private pilot and had covered just 49,000 miles from new in the car. It had been laid-up off the road since 1985 with that Californian dated registration plate still fitted, various Dyno-strips of instructions in the engine bay etc and even still retained the original brake master cylinders with their correct 'dated' tags. Paul immediately snapped up the car. Literally everything was correct; the early 'small ellipse' nose remained undamaged and the correct, separate spot-welded louvre panel bonnet, displayed the original factory-stamped numbers, almost never seen these days. This was 'The Car' - perhaps the ultimate surviving original 1961 E-Type Coupe in existence.Paul later imported the car into the UK, to take pride of place within his own private museum, some twenty-three years ago, back in 1997. As is always the case, the cost of being in such kind, 'bodywork preserving' conditions in that the leather does not survive well and totally dries out in the heat. As it was so unsightly, Paul commissioned ex-Jaguar factory trimmers, respected experts Suffolk and Turley to retrim the seats in their original colour of Beige, creating a warm ambience in the closed cars, where dark colours are less suited. It then sat proudly on display for those lucky enough to see Paul's amazing private Jaguar collection.Our vendor first saw this car in the late '90s, but it took a further fourteen years before his repeated efforts to acquire the car, by then as a matching pair, were finally rewarded with success.The car was recently recommissioned to fully running and driving condition after decades of museum preservation, but the braking system will need some attention before returning to the roads and transporting oneself back to that late autumn of 1961 when this dramatic coupé first turned heads and began its long life basking in the Calfornia sunshine.This is an important Jaguar that's being offered at No Reserve. We welcome enquiries from seriously interested parties and are happy to arrange appointments to view.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: NOVAYear: 1961Make: JaguarModel: E-Type Series 1 FHCRHD/LHD: LHDChassis Number: 8852249Engine Number: R 2929-9Body Colour: BeigeInterior Colour: Cream
Lot 365
* Italian School. Saint Sebastian, circa 1600-1650, sepia pen & ink drawing on laid paper, with crossed keys watermark, depicting a man tied to a tree, with shield, helmet, and spear beside, sheet size 22.9 x 17.7 cm (9 x 7 ins), together with: Male nude with putti, circa 1600, sepia pen & ink drawing, depicting a muscular bearded man with cavorting putti behind, circular collector's black ink stamp of Richard Cosway with monogram 'RC' to right-hand edge (Lugt 628), toned and soiled, with minor edge-fraying, laid down on a piece of contemporary Italian letterpress, 12 x 24 cm (4.75 x 9.5 ins), and an 18th century reproduction print on laid paper of an old master drawing of Mary anointing Jesus' feet, verso with collector's monogram stamp 'BW' in black ink (Lugt 4451: unknown mark, early 20th century, found on drawings in a number of museum collections, e.g. V&A, J. Paul Getty Museum)Qty: (3)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Provenance (second item): Collection of the portrait miniaturist Richard Cosway (1742-1821). Cosway was an important collector of old master paintings, drawings and prints, sculpture and objets d'art. A sale of Cosway's old master paintings, organised by Messrs. Hammersley and Co., Bankers, Pall Mall, was held in 1791, with a catalogue entitled: A catalogue of the entire collection of pictures of Richard Cosway, Esq. R.A. principal painter to His Royal Highness the Prince of Wales, in the great saloon, and eight other apartments, of his house in Pall Mall, containing the undoubted works of the great masters of the Florentine, Roman, Venetian, Lombard, Flemish, and Dutch Schools. There was another auction of Cosway's art collections by James Christie in March 1792, and further sales after the artist's death, in 1821, 1822 and 1828.
Lot 369
* Picart (Bernard, 1673-1733). Jesus with the Samaritan Woman at Jacob's Well, brown and grey wash and pencil with black ink, on pale cream laid paper, inscribed in pencil to verso in a later hand 'Jesus & la Samaritaine', sheet size 323 x 215 mm (12.75 x 8.5 ins), tipped-on to old laid paper backing sheet, with ruled wash border, watermarked D&C BLAUW IV [circa 1750 or later], inscribed in another later18th century or early 19th century hand to lower right corner 'B. Picart'Qty: (1)NOTESProvenance: Possibly Collection of Alfred Beurdeley (1847-1919), French cabinet maker, whose collections were sold in over twenty auction sales between 1920 and 1921 (later pencil inscription to lower left corner of backing sheet); Friedrich Winkler (1888-1965), German art historian, director of the Kunstbibliothek Berlin, later curator of the Kupferstichkabinett Berlin, and author of Die Zeichnungen Albrecht Durers (1936-39); Eva Winkler Dencker (1923-2017), Los Gatos, San Jose, California (information on the Winkler ownership supplied in the catalogue entry for this work by Swann Galleries, Old Master Drawings, November 5, 2019, lot 98). This accomplished wash drawing depicts the crucial moment in this famous bible story (St. John's Gospel, Chapter 4, Verses 1-40), when Jesus reveals himself to the Samaritan woman as the messiah, with her dawning realisation of his message as the disciples return with food from the nearby village of Sychar. The present drawing is likely to have been intended for engraving and subsequent publication, possibly in one of Picart's many folio historical publications, such as the Ceremonies et Coutumes Religieuses , published in Amsterdam between 1723 and 1743.
Lot 393
* Gole (Jacob, 1660-1737). Two Dancers in Costume, mezzotint on laid paper, with Strasburg Lily watermark, three marginal tears with slight loss to upper right corner (slightly affecting engraved area), and lower right corner (blank margin only), with collector's manuscript mark in pencil to verso 'TN7' (Lugt 2415), and with inscription below the image, also in pencil, possibly in the same hand 'Dancers in the reign of William & Mary', and further collector's manuscript mark to lower left corner below the image 'HCE 22' (Lugt 1299a, unidentified), plate size 260 x 340 mm (10.2 x 13.5 ins), sheet size 282 x 347 mm (11.15 x 13.75 ins), together with: Bang (Hieronymus, 1553-1630). Suite of 8 Putti, 8 copper engravings printed on 4 sheets, with watermark of a serpent coiled around a flower with letters NMH below, plate size 128 x 92 mm (5 x 3.7 ins), sheet size 119 x 330 mm (7.9 x 13 ins), plus other various Old Master prints, including Hendrick Goltzius (1558-1617), The Entombment, 1596 [or later], copper engraving on laid paper, trimmed to plate margins, Virgil Solis (1514-1562), Socrates Ridden by His Wife Xantippe, miniature copper engraving on laid paper, trimmed just inside the plate mark, a late copy after Federico Barrocci's Annunciation, 1585, without cat to left foreground, or engraved name of the artist to lower right corner, Pieter van Lisebetten (circa 163-1678), The Flaying of Marsyas after Jacopo Palma, and 26 later 18th and 19th century reworked or copied etchings after RembrandtQty: (40)
Lot 413
* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337 mm (8.7 x 13.3 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243 mm (6 x 9.5 ins), sheet size 233 x 317 mm (9.2 x 12.5 ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277 mm (7.1 x 10.9 ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizesQty: (30)
Lot 414
* Scolari (Stefano, active circa 1650-1687). The Wedding Feast at Cana, etching on two sheets of laid paper, some marks and scattered water stains, trimmed to the image, laid down on old backing paper, sheet size 399 x 644 mm (15.7 x 25.3 ins), together with other various Old Master prints, various, including Wenceslaus Hollar, Spring, and Winter, from The Four Seasons, 1641, etching on laid paper, with watermark, both trimmed inside the plate mark, some overall browning and one or two marks to margins, sheet size 247 x 176 mm (9.75 x 6.9 ins), two further etched portraits of Lady Guildedord and Lord Anthony Denny by Hollar after Holbein, 1647, Sebastien Vouillemont after Raphael, The Supper at Emmaus, 1642, A.V. Hoorn after Rubens, Venus and Mars, Pieter van der Borcht (1530-1608), Adam Naming the Animals (Genesis II, 20), Lucas van Leyden, Saint with a Setsquare (with some damage), Johann Theodore de Bry after Abraham Bloemaert, The Golden Age, etc., mostly 16th & 17th centuryQty: (19)
Lot 229
Antoine Berjon (French, 1754-1843)Melons, grapes, peaches and a glass of wine on a table-top signed and dated 'Berjon 1822' (lower right)watercolour on vellum50.1 x 43.2cm (19 3/4 x 17in).Footnotes:Provenance: Sotheby's, Monte Carlo, Important Old Master Paintings of the 19th century, 2 July 1993, lot 110This 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
Lot 97
A pair of large 17th century and later carved oak architectural elementsFormed as scrolling acanthus leaves surmounted by profile busts of ladies adorned with olive leaf and berry garlands and tied fruiting pomegranate branches, 55cm wide x 7cm deep x 260cm high, (21 1/2in wide x 2 1/2in deep x 102in high) (2)Footnotes:Provenance: Francois de Ricqlès, 29 April 1998, Drawings, Old Master Paintings & Beautiful Furnishings, lot 148This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 1011
Thangka des Padmasambhava Buthan 18. / 19. Jhd.Persönlichkeit und Wirken des Buddhistischen Meisters Padmasambhava ,Tempera und Goldmalerei auf Baumwollgewebe, In der Mitte erscheint eine Darstellung Padmasambhavas die ganz und gar im Kontext meditativer Konzeption gehalten ist. Sie stellt dar, was der Heilige für den Buddhisten ist und repräsentiert Ihn in seiner Einheit von Existenz und Geistlichkeit. Maße: 86,5 cm x 57,5 cm, Provenienz: alte Sammlung BerlinThangka of Padmasambhava Buthan 18th / 19th centurypersonality and work of the Buddhist master Padmasambhava, tempera and gold painting on cotton fabric, in the middle a representation of Padmasambhava appears, which is entirely in the context of meditative conception, it represents what the saint is to the Buddhist and represents him in his unity of existence and spirituality.dimensions: 86.5 cm x 57.5 cm,provenance: old Berlin collection
Lot 381
Dutch Old Master painting on wood panel. Condition commensurate with age. Overall size: 18 x 19 1/2 in. Sight size: 7 1/2 x 9 1/2 in. Please note that all sales are final and no refunds will be given under any circumstances. Sarasota Estate Auction provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Online images can sometimes be poor quality due to the uploading process, original high-resolution images can be requested via email at sarasotaestateauction@gmail.com.
Lot 328
English School, c.1810 Portrait of Sir Robert Chester, Master of Ceremonies to King George III, King George IV, King WIlliam IV and Queen Victoria, head and shoulders, in court dress Oil on canvas 74 x 62cmProvenance: Watsons, Broome End Sale, Stansted, Essex, 13 September 1983, Lot 106;Wood Hall, Arkesden, Essex.Sir Robert Chester of Bush Hall, Hertford, was Assistant Master of Ceremonies from 1796-1818 and then Master of Ceremonies from 1818-1847.The Master's duties were to receive foreign dignitaries and present them to the monarch at court.Condition report: Oil on canvas which is unlined and has an artist supplier's stamp for C.E. Clifford of London on the reverse. The canvas tension is slightly slack but in plane. There are a few scattered losses at the edges of the painting but overall the paint layer appears stable. Textural phenomena associated with the drying of the paint layer is evident across the surface with wide drying cracks and an uneven surface. The drying cracks in the face reveal the white ground layer below. The varnish is old and degraded; it has become yellowed, dull and no longer saturates the paint layers below. There is a light layer of surface dirt present. There are scattered losses to the gilded surface of the frame and old areas of damage have been covered in metallic paint.
Lot 37
Various editions of Mother Goose Nursery Rhymes including:-"Mother Goose's Nursery Rhymes and Fairy Tales", ills by Sir John Gilbert, John Tenniel, Harrison Weir, Walter Crane, W McConnell, J B Zwecker and others, George Routledge & Sons nd, numerous ills throughout text, front hinge cracked, red pictorial cloth and gilt titles"Mother Goose Rhymes" with colour pictures by S B Pearce and line drawings by Winifred M Ackroyd, J Coker & Co Ltd, reprinted October 1932, colour frontis, vignette on tp, black and white ills throughout, colour plates, pastedown pictorial boards, pencil inscription on ffep, dj repaired and cut at bottom end of spineRobinson, Charles (ills) "Mother Goose Nursery Rhymes, Proverbs and Rhyme Games", forward by Lawrence Alma Tadema, The Children's Press, colour frontis, colour plates, black and white ills throughout, pictorial boards, very clean and bright, glassine cover, with its original dj - chipped and worn but not price clipped,in a slip coverFisher, Arthur O. and Hart, Frank"Master Toby's Hunt", Country Life 1934, black and white ills, vignette on tp, frontis, yellow cloth, black pictorial image and black titles, dj not price clipped within a glassine coverWillebeek Le Mair (ills) "Little Songs of Long Ago ...", the original tunes harmonised by Alfred Moffitt, publ Augener Ltd, London 1912, colour plates, oval pictorial pastedown with gilt titles, small oblong folio "Old Dutch Nursery Rhymes", publ Augener Ltd 1917, colour plates, music scores, blue cloth, pictorial pastedown to front board, gilt titles, small oblong folio (6)
Lot 129
Xanthus Smith (American, 1839-1929) watercolor and gouache on paper maritime painting, titled "A Ship Bombarding the Shore," depicting a nighttime battle between two United States Naval ships and a seaside fort with men with cannons the shore, rendered in shades of black and white. Likely depicting a Civil War era engagement. Monogram signature "XS" lower left. Schwarz, Philadelphia gallery label, en verso. Housed and matted under glass in a gilt wood frame with carved five-pointed stars. Sight - 8 7/8" H x 13 3/8" W. Framed - 16 1/2" H x 21" W. Biography: Xanthus Smith was born to artists William Thompson Russell Smith and Mary Priscilla Wilson Smith, who lead him to study art at a young age in his household. From 1851-1852, he accompanied his family in Europe to study old master paintings and became particularly influenced by naturalism in English landscapes. In the outbreak of Civil War, Smith enlisted in the U.S. Navy, where he made small drawings during his time on the USS "Wabash". These were recognized by Admiral Du Pont, who promptly commissioned Smith to paint the ships in the fleet. At the end of the war, Smith began exhibiting his paintings of federal vessels, and maintained popularity for both his paintings and sketches in the years following as his accounts provide a unique glimpse of the Civil War through the eyes of an artist. Note: Xanthus Smith was a member of The Pennsylvania Academy of Fine Arts and The Royal Academy in London. (source: The Johnson Collection, Spartanburg, SC). CONDITION: Overall very good condition with slight waviness to paper. Not examined outside of frame. Few areas of loss, largest 1 1/2"
Lot 241
72 pieces Reed and Barton Marlborough pattern sterling silver flatware, including 8 hollow handle dinner knives (9 1/8" L), 8 dinner forks (7 1/4" L), 8 salad forks (6 1/4" L), 8 teaspoons (5 3/4" L), 8 iced tea spoons, 5 tablespoons, 1 sugar spoon, 1 cream soup spoon, 9 demitasse spoons, 1 gravy ladle, 1 medium cold meat serving fork, 1 old style pickle fork, 2 piece carving set, 1 master butter knife, 10 flat handle butter spreaders. Not monogrammed. 67.645 total weighable troy ounces. CONDITION: Overall good condition with normal surface scratches. Dents to handles of three dinner knives.
Lot 459
8 sterling silver hollowware items, including 2-piece Towle Old Master pattern double handled sugar bowl and cream pitcher, both with gilt wash interiors; 2 lobed candy bowls, each with 1 1934 Lima Republica Peruana 5 Decimos Fino silver coin inset into the bottom of the bowl; 1 bread tray with lobed body, marked "Sterling"; 1 Lunt porringer, monogrammed "Anne"; 1 Gorham round candy dish; and 1 porringer, marked "Sterling". Ranging in size from 5/8" H x 4 1/4" W to 5 1/2" H x 5" W. 46.5 total troy ounces. CONDITION: All items in overall very good condition with light surface wear. Sugar bowl does not include a lid.
Lot 743
Group of 34 pieces Gorham Chantilly pattern sterling silver flatware including 8 knives (5 - 8 3/4" L, 2 - 9 1/2" L, 1 - 9" L); 8 dinner/lunch forks (6 - 7 1/2" L, 2 - 7" L); 7 salad or dessert forks (6 1/2" L); 8 teaspoons; 2 table/serving spoons, and 1 master butter knife. Some with old patent 1895 and lion-anchor-G marks. No monograms. Combined weight 35.24 oz troy excluding knives. CONDITION: Very good condition, no monograms.
Lot 811
Grouping of 38 pieces assorted sterling flatware. 1st item: 1 Kirk & Son Repousse solid shell berry or casserole spoon, 7 1/2" L. 2nd-17th items: 16 pieces of Towle flatware in French Provincial pattern, including 6 dinner knives (8 3/4" L), 7 tea spoons (6" L), 2 dessert or oval soup spoons (6 1/2" L), 1 cocktail fork (5 1/2" L). 18th-37th items: 1 Towle Old Master pattern pierced serving spoon (8 1/2" L); 1 Towle King Richard pattern serving spoon (8 3/4" L); 10 Durgin demitasse spoons in Empire pattern, 4 1/4" L; 1 Gorham Strasbourg pattern solid serving fork (8 1/2" L); 1 Reed and Barton sugar shell spoon in Spanish Baroque pattern (6 1/4" L); 1 twisted handle butter knife marked Wm. A. Rogers Al (7 1/4" L); 1 Lunt tea spoon in William & Mary pattern (6" L); 1 Heirloom short-handled olive fork (5 1/2" L); 2 knives unmarked but presumed to be silver (7 3/8" L). 27.210 total weighable troy ounces. CONDITION: All pieces overall good condition with normal surface scratches. Some pieces monogrammed.
Lot 28
Ɵ Conflictus veris et hiemis, a verse in hexameters on the debate between Spring and Winter, attributed to Alcuin of York, with the translations and miracles of St. Lomer, with further additions of Carolingian music, in Latin, decorated manuscript on parchment[France (most probably Blois), c. 873 and tenth century]Fourteen leaves (plus a nineteenth-century parchment endleaf at each end), all conserved in nineteenth century and many remounted on guards and thus uncollatable, wanting 2 leaves after fol. 4 and another 2 leaves after fol. 12 as well as an 8-leaf gathering (now Vatican, Reg. Lat. 479: see below), last 4 leaves smaller than others (measuring 245 by 167mm.), the verse added to original endleaf at front in double column of 41 and 20 lines in a small and legible Carolingian minuscule with an extended ct-ligature and the characters' names in margin, one descender in lowermost line extended to form an ornate penwork leaf with a bauble mounted in its stem, and main texts relating to St. Lomer in single column of 29-36 lines in two closely related precise and refined Carolingian minuscules, both with et-ligature used integrally within words (but variant forms of capital 'q'/'Q'), the second with an NT-ligature and an uncial 'N' used in main text, crucial names in capitals, some capitals touched in red and others infilled with yellow wash, text opening major sections in capitals touched with red, rubrics of elongated red capitals, small red initials, larger initials in penwork, some with baubles set within their bodies or coloured in green and red, one large initial in delicate blank parchment penwork touched in red and set within dark brown initials terminating in floral flourishes, seventeenth-century scholarly marginalia, endleaf at front reused from a sixteenth-century French choirbook with music on a 4-line red stave, some stains to areas of text, spots from old mould damage at head, margins trimmed often to edges of text, overall good and solid condition on heavy and good quality parchment, 300 by 190mm.; nineteenth-century French brown calf over pasteboards, gilt-tooled with arched frames with floral sprays at corners, with spine gilt with "De S. Launomaro - MS IXe S" An important Carolingian monastic codex, containing a celebrated verse attributed to Alcuin, the leading intellectual light of the Carolingian renaissance, as well as the earliest witnesses to prose and musical texts relating to the Merovingian saint Lomer; this probably one of the last ninth-century codices to appear on the market Provenance:1. The main texts here on St. Lomer (also Laumer and Laudomarus) must have been written immediately after the translation of the saint's relics to a church in Blois in 874 (an event these leaves record), but before the foundation of the Benedictine abbey dedicated to the saint there in 924. Another eight leaves from the centre of this manuscript are the first part of a sammelband assembled in the seventeenth century in Italy (now Vatican, Reg. Lat. 479; A. Wilmart, Codices reginenses latini, 1937, pp. 651-2, with the whole manuscript reproduced online). Those contain the opening of the life of the saint, which ends abrubtly and is completed by the two words at the top of fol. 10r here.Crucially the opening of the text in the Vatican leaves refers to the saint as 'our patron'. In addition, there is a hitherto unnoticed contemporary or near-contemporary name added to the foot of the first of the present leaves, probably identifying "Raginoldus feldracanum" as an early user or perhaps donor of the codex. The second part of his name is hard to decipher, but a late medieval hand has added "Raginoldus feldra carutasis", suggesting Carnutum/Carnotum or Chartres as his town of origin (the monastery of Saint Martin au Val du Chartres was one of the temporary resting places of the relics and the community on their way to Blois: see N. Mars, Histoire du royal monastère de Sainct-Lomer de Blois, 1646, p. 29). His name does not occur in the published research of Dom Mars, but there is an unpublished and mostly unstudied six-volume cartulary of the eighteenth century for the house in the Archives départementales de Loir-et-Cher, ms. 11 H. 128, and search for this name there may reveal much.St. Lomer was born c. 530 at Neuville-la-Mare, north of Chartres, where he was ordained as a monk, before withdrawing into the forest of Perche where he founded the monastery of Corbion in 575, becoming its first abbot. He died in 593 while visiting Chartres and was buried near there, until monks from Corbion stole his relics a few years later to return him to his own community. Following a Viking attack on Corbion in 873/4 the community and their relics fled to Parigny near Avranches and then Le Mans before being offered sanctuary within the walled town of Blois. In the tenth century they moved outside the city walls to the church of St-Lubin, and then again in 1186 to the larger adjacent site they occupied for the remainder of the Middle Ages.2. Dom Noël Mars (1612-1702), the Benedictine monk and Maurist historian of Blois; with his marginal notes and signature, including one on fol. 10r referring to the Acta Sanctorum ordinis S. Benedicti, Paris, 1668, in which footnote 'a' on p. 338 evidently refers to this manuscript: "Haec ex MS. Historia S. Launomari Monasterii Blesensis a nostro Natale Mars erudite composite didicimus". The central leaves of the manuscript may well have become detached by the seventeenth century (see below), and Dom Mars conducted much antiquarian research in the archive of St-Lomer in the last decades of that century, and this may explain this section of it ending up in his possession. In 1789 the revolutionary government of the region suppressed the abbey, and seized its church for the parish of St-Nicholas two years later. Its goods and library were dispersed at the same time, with the Vatican leaves then beginning their journey towards Rome. Delisle notes four manuscripts in the BnF. as well as another in the collection of Herzog August in Wolfenbüttel from this medieval library (Le cabinet des manuscrits, 1868, II, p. 406).3. Louis de la Saussaye (1801-1878) of the Château de Troussay, near Blois, local historian, archaeologist, and numismatist, with a note of "un manuscrit du Xe siècle ... dant la bibliothèque de M. de la Saussaye" in Dom Mars' Histoire du royal monastère de Sainct-Lomer de Blois, p. 66, n. 2 and 7, n. 2, doubtless referring to these leaves. His sale, 30 September 1887, lot 1148.4. Schøyen Collection, London and Oslo, their MS 5577; acquired Sotheby's, 5 July 2016, lot 57.Text:Alcuin of York (c. 735-804) was the central intellectual figure of the Carolingian renaissance, and was educated in the renowned cathedral school at York under Archbishop Ecgbert (himself a pupil of Bede). By the 750s he was teaching in the school and came to the court of Charlemagne at the emperor's invitation, serving as 'master of the palace school' from 782, taking over the teaching of the emperor himself and his children, and becoming a guiding hand of the religious and intellectual revolution that was to follow. In 796, when entering his old age,... read more.... To view a video of this item, click here.
Lot 39
Ɵ Small cutting from Sulpicius Severus, Life of St. Martin of Tours, in Latin, manuscript on parchment[England (St Albans Abbey, Hertfordshire), mid-twelfth century] Rectangular cutting, with remains of single column of 12 lines of Anglo-Caroline minuscule by 'scribe B' of the St. Albans' scriptorium during the abbacy of Ralph Gubiun (1146-1151), one large initial 'I' in blue on reverse, recovered from reuse as an endleaf in a sixteenth-century printed book (8o), slight darkening to edges through contact with leather of binding, one small split along old fold, else good and presentable condition and on strong and heavy parchment, 90 by 120mm.; in cloth-covered binding A fine example of English twelfth-century monastic script, written by a hand securely identified as the head scribe of St Albans Abbey Provenance: 1. The parent manuscript of this cutting was written by Scribe 'B', probably the head of the scriptorium of the Benedictine Abbey of St. Albans, in the mid-twelfth century, and the book presumably remained in use there until the close of the Middle Ages. The site of the monastery was Roman in origin, and an Anglo-Saxon church stood there by the time of Bede. A double-monastery was founded there in 793 by Offa of Mercia. Apart from some decades in the tenth century when it was abandoned after a Viking attack, it grew steadily to rank as one of the wealthiest English religious sites of the Middle Ages. Its scriptorium in the twelfth century produced such glorious examples of the book arts as the St Albans Psalter, and a century after the present manuscript was written was the place in which the famous medieval chronicler Matthew Paris worked. It is perhaps humbling to think that he may well have held and read the parent codex of this fragment. The abbey was dwindling by 1521, and was surrendered on 2 December 1539 and its abbot and inmates pensioned before the valuables of the abbey were looted. The sixteenth-century printed volume in which this fragment (and its sister fragment now in Keio University library, Tokyo) survived presumably left the abbey's holdings then and passed into private hands and the English booktrade.2. Dr. George Salt (1903-2003), entomologist and fellow of King's College, Cambridge, his MS 8.3. Sotheby's, 17 December 1991, lot 8 (part).4. Schøyen Collection, London and Oslo, their MS 1554, acquired in the Sotheby's sale. Scribe:Scribe 'B' of the abbacy of Ralph Gubiun (1146-1151) is "distinguished by the elegance and flamboyance of his hand, which is highly disciplined and with very distinctive flourishes" (R.M. Thomson, Manuscripts from St Albans Abbey, 1066-1235, 1985, I, p. 29). He copied all of Cambridge, Emmanuel College, MS 244; Pembroke College, MS 180; and St. Petersburg, Q.v.I, 62; as well as parts of Cambridge, Trinity College, B.2.19 and B.5.1; British Library, Egerton, MS 3721 and Royal MS 2.A.x; Bodleian, Laud MS misc. 370; and the rubrics in British Library, Royal MS 19,590. He also copied a St. Alban's charter, datable to between 1151 and 1154. His role was often that of the master of the scriptorium, taking charge over crucial texts such as charters, and copying rubrics as well as extensively correcting texts. He appears to have been the chief scribe of the scriptorium around the midpoint of the century. The cutting here contains part of chs. 13 and 16 of the text. Published: J. Griffiths, 'Manuscripts in the Schøyen Collection Copied or Owned in the British Isles before 1700', in English Manuscript Studies 1100-1700, vol. 5, eds. P. Beal and J. Griffiths, British Library, London, 1995, pp. 36-42.C. de Hamel, 'The Life of Saint Martin', in Papyri Graecae Schøyen (PSchøyen II): essays and texts in honour of Martin Schøyen, ed. R. Pintaudi, Papyrologica Florentina 40, Edizioni Gonnelli, Firenze, 2010, pp. 117-122.
Lot 70
Eight English estate documents, including seven rental rolls for various estates in Somerset dated 1666, and an extract from the will of Penelope Sydenham, spinster of Crediton, Devon, dated 1769, all in Early Modern English, manuscripts on parchment or paper[Southwestern England, seventeenth and eighteenth century] Eight documents, comprising: (i) seven closely related rental rolls on parchment, containing the rentals of the manor of Chilton Dormer for the 6 months from Michaelmas 1666, as well as those of Sydenham Kitteford, Brympton Alvington and Sutton Bingham for the same time period, three of these with two copies present, all written by a single English secretarial hand, old waterstaining in places with some ink flaking and damage to edges of parchment, the smallest 260 by 170mm. and the largest 470 by 180mm.; (ii) extract from the will of Penelope Sydenham, with bequests to her family, her servants, a capital sum to be invested by the minister and churchwardens of Thelbridge for distribution of income to support the teaching of reading in the parish, the support of the school at Dulverton, and other bequests to the poor in the parishes of Chumleigh and Witheridge, on 6 sheets of paper and with 30 lines in a late English secretarial hand, attested at London on 3 February 1769, 310 by 200mm. Provenance:1. Sotheby's 17 December 1991, part of lot 41, alongside the Taunton related items in the previous lot.2. Schøyen Collection, London and Oslo, their MS 1563/2, acquired in Sotheby's.Please note: These items are subject to the Manorial Documents Rules. As such they cannot be taken out of England and Wales without the consent of the Master of the Rolls, and future owners must inform the secretary of the Historical Manuscripts Commission of their acquisition.
Lot 402
A gentlemen's stainless steel special edition Longines 'Lindbergh Hour Angle' automatic strap watch,ref. L2.678-4. A circular case, 47.5mm diameter, with silvered interior dial with white enamelled outer dial, with blue Arabic numerals and black Roman numerals, blued Breguet antique-style hands, with centre second sweep. Sapphire glass, rotating bezel, large fitted crown and hinged case back with skeleton case. After market black leather strap. Calibre L699.2. Case no. 34284559. Edition no.2054. No box or papersFrom the collection of Commander Peter John Linstead-Smith, past master of the Worshipful Company of Clockmakers.Condition report: We do not know the age of the watch, but possibly 10 years old approximately.Hands adjust. Central dial turns.Winds and ticking but no guarantee as to time keeping and running.Marks light graze to the glass over the 2.Bezel turns - occasional marks again graze at 2.Light marks to the case - more to the top right hand lug.Light marks to the case back. More at the crown and push button.'Condor' strap, buckle with no banding logo. Seiko box.
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