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Lot 123
The Trinity, in a historiated initialon a leaf, from an illuminated manuscript choirbook in Latin[southern Germany (probably Bavaria, perhaps Donau-Ries), second quarter of the sixteenth century] Single large leaf, with a large historiated initial 'B' (opening "Benedicat nos deus, deus noster ..." the responsory for Trinity Sunday), in blue with white acanthus leaves overlaid, enclosing God the Father as a crowned and white bearded man, enthroned as he cradles Christ's lifeless body on his lap and the Holy Spirit in the form of a dove descends, two angels in background holding up a green cloth, all within red and green realistic frame and on brightly burnished gold grounds, the gold heightened with yellow paint to pick out foliage, foliate sprays from the edges of the initial sprouting into the margin with coloured acanthus leaves, large gold bezants and gold pendulous fruit, with a green haired wildman with bare knees and elbows hanging from the branches and looking down at a bird in the foliage below, red and blue initials (one with contrasting penwork and two human faces at its side poking out their tongues), red rubrics, 6 lines of text with music on a 5-line red stave (rastrum: 35mm.; the number of staff lines an uncommon feature but not unheard of at the end of the Middle Ages, and not indicating polyphony), slight flaking from ink of main text in places, inkburn causing tiny holes in parchment in some letters and music notes, trimmed at top with losses from border there, slight stains at outer edge from last mounting, small scuffs and folds, else excellent condition, 460 by 345mm. The wildman (or wodewose in Middle English) in the border here, with his realistically bald knees and elbows, is a charming and distinctively Germanic addition to the decoration. These mythical, humanoid creatures were hairy, primitive, unable to control their desires and thought to live in the deep forests or mountains. As noted in the French epic Valentin et Orson, they were unable to speak beyond senseless mumbling, and Chrétien de Troyes has them as skilled hunters, but unable to master fire they ate the meat raw. They fascinated both medieval man as a model for everything man hoped he was not, as well as an object of envy for their simple lives outside the mores of civilised society. For more see R. Bernheimer, Wild Men in the Middle Ages, 1952, and T. Husband, The Wild Man: Medieval Myth and Symbolism, 1980.Another leaf from the same parent manuscript was sold in Sotheby's, 7 December 2010, lot 10, realising £11,250, and identified as by a follower of the Bavarian panel painter and illuminator known as the Master of the Munich Saint John on Patmos, fl.1525-30 (cf. Les Enluminures cat.14, Pen to Press, Paint to Print, 2009, pp. 95-7). However, the coloured frames around the initial and borders of the leaf show affinity to an antiphoner made in 1531 for the Cistercian house of Kaisheim, in Donau-Ries (E. Hemfort, Monastische Buchkunst zwischen Mittelalter und Renaissance, 2001, p.141), and the parent manuscript may well be from that region.
Lot 131
Single leaf with an architectural columned building surmounted by a haloed figure surrounded by animals, from the opening of an Armenian Gospel Book, illuminated manuscript on paper[Greater Armenia (probably eastern regions), fifteenth or sixteenth century] Single leaf, the recto with a decorative page with a central green rectangle mounted on a pillar enclosing simple human faces, the rectangle surmounted by a haloed figure (probably Christ) seated between white birds, and filled with painted birds, four-footed animals and a lion's mask within a headband, below this three crane-like birds holding a book in their beaks and three simple letters formed from a bird holding a book and two sets of birds joined by their tails, a full border of stylised foliage, the verso with similar green panel supported on three columns with rotund white lions at their head and feet, and enclosing a strange long necked beast with a camel-like hump and a bird's head at the end of his tail, birds and foliage in borders, some scuffing and chipping, tears to edges, overall fair condition, 279 by 195mm.This leaf is from the same distinctive parent manuscript as two slightly more damaged leaves sold in our rooms, 9 December 2015, lot 106 (trimmed hence different sizes), reappearing as Quaritch, cat. 1434 (2016), no. 3. The art style is rustic, uncommon and hard to attach to any centre, and the presence of Armenian here in the initials supports Quaritch's assertion for the origin of these leaves. The leaves sold by us in 2015 came with early twentieth-century Norwegian provenance.The human heads supporting columns and half-length figure of Christ surrounded by birds drinking from cups are also found in a Gospel book illuminated c. 1300-10 by Sargis at Siwnik (cf. Treasures in Heaven: Armenian Illuminated Manuscripts, 1994, no. 51). However, features such as the creature with a bird's head at the end of its tail and the drapery suggest an origin in the lands to the east of Armenia proper, in an as yet unstudied Christian community there.
Lot 1028
Three Johnny Lightning Marvel vehicles: Chevy Convertible - Captain America, GTO Pro Stock - Daredevil and a Chevy Panel van - X Men. Each pack contains vehicle and comic cover photo card. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)Condition Report: Both in very good - excellent condition and in blister packs.
Lot 304
Circle of William Larkin (London circa 1580-1619)Double portrait of twin sisters, said to be Marmiana and Philippa Dymoke de Ludlowe, three-quarter-length, both in red costume, one holding a book, the other a goldfinchbears inscription 'MARMIANA, and PHILIPPA, / twin Daughters of / THOMAS DE LUDLOWE.' (upper centre)oil on panel69 x 75.6cm (27 3/16 x 29 3/4in).Footnotes:ProvenanceThe Collection of G. H. Peake, Sutton Hall, Thirsk (according to a label on the reverse the work was to be hung in the ante-room, Bawtry Hall)The Collection of Mrs Neville Gladstone, by whom soldSale, Christie's, London, 21-22 July 1960, lot 164, where purchased by the present owner's familySometimes also styled de Marmion owing to their descent from the feudal barons of Marmion, the Dymoke family of Scrivelsby, Lincolnshire, held the hereditary office of King's Champions and descended from Sir John Dymoke of Srivelsby, Lincolnshire (died 1381), who married Margaret Ludlow, the daughter and sole heiress of Thomas de Ludlow. The chief part of the family seat of Scrivelsby Court was destroyed by fire in the 18th century. In the part consumed was a very large hall, in the panels of the wainscoting of which was depicted the various arms and alliances of the family, through all its numerous and far-traced descents.For further information on this lot please visit Bonhams.com
Lot 307
Master of the Parrot (active Antwerp, 1525-1550)The Virgin and Child, the Rest on the Flight into Egypt beyond oil on panel transferred to canvas89.6 x 70.2cm (35 1/4 x 27 5/8in).Footnotes:ProvenanceMarquise du Plessis-BelliereSale, Paris, 10 May 1897, lot 63 (as Frans Floris)With Durand Ruel, Paris, by whom sold in 1903 toJ.H.Wade, Cleveland, US, gifted in 1916 toCleveland Museum of Art, USWith Sloan and Roman, Madison Ave, NY by 1967Paul F Webster, Beverly Hills, USA, by 1969, and thence by descent to the present ownerExhibitedCleveland, Cleveland Museum of Art, Twentieth Anniversary Exhibition, 1936, no. 200 (as The Master of the Prodigal Son)LiteratureCleveland Museum of Art Bulletin, January 1917, vol. IV, p. 4, 6, ill. (as Frans Floris)Cleveland Museum of Art Handbook 1925, p. 27 (as Frans Floris)F.W. Freund, in International Studio, December, 1928, vol. 91, p. 63-4, illCatalogue of the twentieth anniversary exhibition of the Cleveland Museum of Art, the official art exhibit of the Great Lakes Exposition, Cleveland, 1936, p. 83, cat. no. 200 (as The Master of the Prodigal Son)This anonymous master was most likely working in Antwerp in the first half of the 16th century. The present composition comes closest, with minor differences in the background and still life elements, to a work sold at Christie's, London, 9 December 2005, lot 124 (RKD 59073, oil on panel, 88 x 68.3 cm.). Two similar versions by the Master of the Parrot include those sold Wannenes, Genoa, 29 November 2011, lot 139 (on panel, 86 x 72 cm.); and offered at Sotheby's, 5 December 2007, lot 50 (on panel, 86 x 72 cm.). A further version of the composition was with Robert Finck Galleries, Brussels in 1964, (see: Tableaux de maitres flamands du XV au XVII siecle, exh. cat., no. 10). The central figures in the present work are based on a group of paintings of the Holy Family by Pieter Coeck van Aelst (see: G. Marlier, La Renaissance flamande, Pierre Coeck d'Alost, 1966, pp. 219-49) the prototype for which was formerly in the Joly Collection, Bruges, (ibid., fig. no. 179).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
Lot 339
Flemish School, 17th CenturySaint Cecilia oil on panel104.9 x 73.2cm (41 5/16 x 28 13/16in).Footnotes:ProvenancePrivate Collection, USA, since 1982This 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 347
Abraham Bloemaert (Gorinchem 1566-1651 Utrecht)Rural genre scene with The Prodigal Son signed and dated 'A. Bloemaert/ 1634' (centre right)oil on panel47.5 x 64.3cm (18 11/16 x 25 5/16in).Footnotes:ProvenanceWith Herbert Terry-Engel, London, before 1939European Aristocratic Collection and thence by descent until 2010LiteratureM. Roethlisberger, Abraham Bloemaert and his Sons, p. 310, cat. no. 481, pl. 663, ill The Bloemaert Effect: Colour and composition in the Golden Age, Petersberg, 2011, exh. cat., pp.180-181ExhibitedUtrecht, Centraal Museum, The Bloemaert Effect: Colour and composition in the Golden Age, 11 November 2011- 5 February 2012, cat. no. 73Schwerin, Staatliches Museum, The Bloemaert Effect: Colour and composition in the Golden Age, 24 February - 28 May 2012, cat. no. 73The sleeping peasant appears in Bloemaert's Landscape with Peasants Resting, Tobias and the Angel, now in the Staatliche Museen, Berlin. This figure also appears in a print by Cornelis Bloemaert, Abraham's son (see: British Museum, inv. no. D,7.208).For further information on this lot please visit Bonhams.com
Lot 348
Ambrosius Benson (circa 1495-1550 Bruges)Portrait of a gentleman, half-length, in fur-trimmed robes, holding a letter oil on panel42.6 x 29.9cm (16 3/4 x 11 3/4in).Footnotes:ProvenancePrivate Collection, PolandWith van DiemenWith Eduard Plietzsch, Germany, before 1933Sale, Lange, Berlin, 7-9 April 1938, lot 2Private Collection, UK, for at least 50 yearsLiteratureM. J. Friedländer, Die Altniederlandische Malerei, Die Antwerpener Manieristen Adriaen Ysenbrandt, vol. XI, Leiden, 1934, p.146, no. 281G. Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint, Damme, 1957, p. 257, 319, n. 140, illThe format of the present panel is similar to a Portrait of a Man, 43 x 30 cm., which is in the Bayerisches Staatsgalerie, Rothenburg ob der Tauber (see: G. Marlier, ibid., p. 319, n. 142, Pl. LXXIV). Marlier suggested that it is not entirely typical of Benson and prefigured the work of Nicolas de Neufchâtel. Benson painted relatively few portraits, although they are widely considered to be his best works, in which he enlivened his sitters with individuality, bestowing on them free and varied postures. Although a chronology for much of Benson's oeuvre has proved difficult to establish, Marlier suggested a date here of circa 1540-45 on the basis of the costume.According to Marlier, the present portrait was traditionally purported to depict a Spaniard, probably because of the gold pendant with a scallop shell which is commonly associated with Santiago. In fact, Bruges, where Benson was working at this time, had established a flourishing mutual trading relationship with the Spanish city of Segovia, which was a centre for the cloth and wool trades and the house Benson bought, partly in exchange for paintings, belonged to a Spaniard, Lucas de Castro. Moreover, Benson's closest friend and patron, Sancho de Santander, was also of Spanish extraction. The likelihood that Spanish merchants ordered and purchased paintings in Benson's workshop and sent them back to their homeland is supported by the fact that most of the artist's works ended up in Spain.Note on the provenance Exhaustive research has failed to yield any record of this painting other than as stated in the provenance. It does not appear on any list of missing works sought for restitution, nor to the best of our knowledge could it be confused with any such work.For further information on this lot please visit Bonhams.com
Lot 62
Ɵ Leaf from a large Bohemian Bible, with Zechariah 1:1-4:3 with end of the prologue of St. Jerome, in Latin, illuminated manuscript on parchment[Bohemia (probably Prague), c. 1430] Single leaf, with double column of 45 lines in a good late gothic bookhand (textualis formata, in spiky forms peculiar to Bohemia), red rubrics, red running titles in angular script, 2-line initials in red or blue, one large initial 'I' (opening "In mense octavo ...", Zacharias 1) in dark blue with scalloping white penwork, enclosed within burnished gold panel, the gold pounced and highlighted with yellow paintstrokes and set within a pale green frame, coloured acanthus leaf sprouts (with notably angular leaves) emerging from initial into inner upright border, enclosing gold fruit and a large bezant at head and foot, the foliage enclosing but not obscuring a small textual correction in the upper border, a catchword at foot of verso showing this was once the last leaf of a quire, a tiny near-contemporary '22' in central gutter, slight cockling visible on reverse, outer edges of leaves perhaps once folded from last framing, small spots, else excellent condition, 370 by 270mm.; in cloth-covered card binding Provenance: 1. Sotheby's 12 December 1966, lot 153, bought as a single leaf by Folio Fine Art, then their cat. 44 (1967), no. 229.3. Sotheby's 8 July 1974, lot 7.4. Kenneth W. Rendell Gallery, cat. 146 (1979), no. 137.5. Sotheby's 18 June 1991, lot 29.6. Schøyen Collection, London and Oslo, their MS 1362, acquired in Sotheby's. Script:The arched and angular semi-cursive script along with the highly stylised prickly leaves and pounced gold are all hallmarks of Bohemian book production in the fifteenth century. Compare the contemporary Martinice Bible (Prague, Knihovna Akademie, 1 TB 3; reproduced by B. Drake Boehm and J. Fajt, Prague, the Crown of Bohemia, 2006, no. 135), a manuscript associated with newly emergent Hussitism, and of equally large dimensions. Like that one the parent manuscript of this leaf was probably produced for a wealthy scholarly patron.
Lot 493
Felix Kelly, '89: oil on board/panel, "Lighthouse" seaside Palladian Villa, Capriccio on Henbury Hall, 17" x 22", in gilt frame (Artist's Resale Rights may apply to this lot)Condition:No apparent damages to the picture. the frame is slightly chipped and worn, damages to frame commensurate with age
Lot 135
An 18th century Georgian Elm Dresser, the rectangular pot board with plain cornice, vertically boarded behind three shelves is supported on brackets above a moulded edge top over three linear drawers having cockbeaded edges and brass drop handles two cupboard doors beneath flanking a central panel, moulded edge plinth set on four bracket feet, 194cm high by 159cm wide by 43cm deep
Lot 57
William Tolliday for Garrard, a modern mixed media framed panel depicting a Middle Eastern Town at night in yellow metal relief highlighted with three diamond chip stars, four baguette cut diamonds as windows to the minaret and buildings, relief measures 13.5cm by 5cm, overall size of frame, 26.5cm by 31.5cm, signed William Tolliday, with Garrard's Brochure
Lot 93
Thomas Gaskell of Knutsford, a late 18th century oak and mahogany cross banded eight day Longcase Clock, broken swan neck pediment with brass finial and rosettes, brass 13inch dial with painted rolling moonphase and signature to arch, Roman numerals within an outer track with Arabic numerals, seconds dial at 12, date aperture at 6, behind a glazed door flanked by brass mounted columns, trunk with cross banded door between carved corner columns, box base with moulded edge top and bottom, cross banded panel, supported on ogee bracket feet, 237cm overall height
![[Maps] The Harmsworth Universal Atlas and Gazetteer with 500 Maps and Diagrams in Colour, with commercial statistics and gaze](https://cdn.globalauctionplatform.com/1293449b-58d3-49c6-ba4e-ab6d0118aecb/1588bf6d-0512-4532-a34e-ab84011d4e78/468x382.jpg)
Lot 300
[Maps] The Harmsworth Universal Atlas and Gazetteer with 500 Maps and Diagrams in Colour, with commercial statistics and gazetteer index of 105,000 names, published The Amalgamated Press (c.1910) folio bound in recent half leather with raised bands, gilt decorated panel devices and lettering on spine
Lot 346
Reverendi Viri Johannis Foorbesii à Corse Opera Omnia, Inter quae plurima Posthuma, published Amstelaedami 1703 with Instructiones Historico-Theologicae de Doctrina Christiana prece & Stuudio Joannis Forbesii à Corse, published 1702, both volumes with engraved title page design and decorated initial letters, bound in full leather with raised bands, gilt panel devices and titles (2)
Lot 7
A Victorian mahogany secretaire library bookcase, outswept cornice above a pair of glazed doors enclosing three adjustable shelves, the projecting base with a long drawer enclosing a writing surface, small drawers and pigeonholes above a pair of panel doors enclosing a further shelf, plinth base, 226.5cm high
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