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Click here to subscribeSpace Ed Mitchell and Donald R. McMonagle signed FDC Viking Mission to Mars US Unmanned Space Accomplishments PM Hampton VA Jul 20 1978 23669. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Nine boxes of books relating to textiles to include; 'Hungarian Folk Art', 'A Dictionary of Needlework', 'English Church Needlework' by Maud R Hall, 'Pageant of Pattern for Needlepoint Canvas', 'Design from Peasant Art' by Kathleen Man, 'Welsh Medieval Paving Tiles', 'Persian Printed Cottons', two volumes of 'Encyclopedia of Victorian Needlework', 'Crewel Embroidery', 'Contemporary Embroidery Design' by Nicholson, 'Encyclopedia of Needlework' DMC Library, 'Old Patchwork Quilts' by Ruth E Finley, 'Adventures in Embroidery' by Earnest Thesiger etc. (9) (B.P. 21% + VAT)
A large Megarian Ware pottery bowl Hellenistic Period, circa 2nd-1st Century B.C.The mould-made bowl of hemispherical form with everted rim and later added foot, with residual rotelle handles, decorated in relief at the shoulder with a band of dancing erotes above a band of stylised ivy leaves, the lower part of the body decorated with a repeat overlapping petal motif, 20cm high, 32cm diam.Footnotes:Provenance:with Harlan J. Berk, Ltd, Chicago (46th Buy or Bid sale, 1986, no. 136).George R. Francoeur (1934-2019) collection, Michigan, acquired from the above 1989.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
An Egyptian andesite porphyry bowl Early Dynastic Period, 1st-2nd Dynasty, circa 3000-2650 B.C. The tapering body with a flat base, the sloping rim offset from the rounded shoulders by a horizontal groove, 4.9cm high, 7.3cm wideFootnotes:Provenance:Dr. Rudolf Schmidt (1900-1970), Solothurn, acquired 22 June 1951 (personal inventory record); and thence by descent. Published:P. Günther & R. Wellauer, Ägyptische Steingefässe der Sammlung Rudolf Schmidt, Solothurn, Ägyptische Hefte des Orientalischen Seminars der Universtität Zürich, Zurich, 1988, no. 34.For a very similar bowl see A. Wiese & D. Blome, Ägyptische Kunstwerke aus der Sammlung Hans und Sonja Humbel, Basel, 2014, p. 20, no. 3.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
A Roman sardonyx intaglio Circa 1st-2nd Century A.D.Engraved with the figure of winged Eros riding a long-horned goat, in a modern gold setting, intaglio 1.3cm long, ring size R, weight 5.6gFootnotes:Provenance:Private collection, UK, acquired in the 1980s as a gift.Cf. a glass cameo of the popular subject of Eros on a goat dating to the 1st Century A.D. in the British Museum, acc. no. 1923,0401.1121, and another Roman glass intaglio example in the Getty Museum, acc. no. 83.AN.437.17.For further information on this lot please visit Bonhams.com
An Attic black-figure amphora (Type B) Attributed to Group E, circa 540 B.C.Side A with Herakles in combat with the Nemean lion, the hero depicted nude, Athena standing to the left wearing a high-crested helmet and a long peplos, holding a lance towards the hero, Iolaos standing to the right, wearing a Corinthian helmet and greaves, a long scythe in his hand, side B with a similar scene, with a band of linked lotus buds above each scene, a red band around the neck, another running beneath each scene and encircling the lower belly, a band of rays above the foot, details in added red, small holes on the neck for ancient repair, 42cm highFootnotes:Provenance:German art market.W. R. (1932-1991) collection, acquired in 1970s in Germany; and thence by inheritance to the H.-J. Gehrmann collection.with Galerie Günther Puhze, Freiburg (Kunst der Antike, Katalog 12, 1997, no. 182).Anonymous sale; Sotheby's, New York, 5 June 1999, lot 141.Anonymous sale; Sotheby's, New York, 14 June 2000, lot 54.Private collection, Switzerland, acquired at the above sale.Anonymous sale; Bonhams, London, 28 November 2017, lot 79.Private collection, USA.Beazley Archive no. 20477.Beazley identified the painters of Group E as 'a large and compact group which is very closely related to the work of the painter Exekias, though earlier...'E' alludes to the connection with Exekias; and group E is...the soil from which the art of Exekias springs' (J.D. Beazley in BSA, vol. 32, p. 3-4 as quoted in Attic Black-Figure Vase-Painters, New York, 1978, p. 133). Exekias, the 'flower' of Group E (ibid., p. 143), is the acknowledged master of the black-figure technique. The work of both Exekias and Group E is characterised by a preference for mythological subjects, a sense of monumentality, and the use of added red. Boardman notes that Beazley later came to think that most of the vases attributed to Group E are actually by one hand, and himself states 'the artist or artists deserve our attention and some respect, more than we may naturally accord an anonymous group, since their work leads not only to Exekias...but [also] more painters of the second half of the century follow the lead of this group and Exekias than of Lydos or the Amasis Painter' (J. Boardman, Athenian Black Figure Vases, London, 1974, p. 56-7).Slaying the Nemean lion was Herakles's first Labour. He was said to have stunned the beast with his famous club, before using his immense strength to strangle it. After vanquishing the lion, the hero tried to skin it with his knife, but failed. Eventually Athena, watching Herakles's plight, advised him to use one of the lion's own claws and the pelt was duly recovered. Herakles is often depicted wearing this lionskin, which is symbolic of his enormous strength and valour. Athena is shown as an onlooker on the present lot, along with Iolaos, Herakles's nephew and companion.Herakles' struggle with the Nemean lion was a favoured subject of Group E, though amphora with this scene on both sides are rare. For another Type B Group E amphora with Herakles, the Nemean lion, Athena and Iolaos on both sides, see Museo Gregoriano Etrusco Vaticano, Vatican City, no. 354, Beazley Archive no. 310379.For further information on this lot please visit Bonhams.com
A Canosan pottery askos Apulia, early 3rd Century B.C.Of ovoid form tapering to a flat base, the tall cylindrical spout with flared mouth, and broad strap handle, an applied winged head of Medusa modelled in high relief beneath the spout, depicted with snake tresses, their tails knotted below her neck, the head surmounted by an embracing couple, flanked by galloping Tritons, projecting from the body, the shoulder of the vessel with plinth-shaped false spouts on which stand a pair of draped female mourners, their hands raised in grief, with red hair falling in loose waves to the shoulder, a further draped female figure surmounting the handle, with traces of red, ochre and blue pigments remaining, 68cm highFootnotes:Provenance:Mr Verschraeghen (d. 1980) collection, Oudenarde. Mr. René Van den Broek (d. 2004) collection, Belgium, reputedly acquired from the above ca. 1959, and exhibited at the Belgian Antiques Fair, held at the Palais des Beaux Arts in Brussels in January 1968. Spanish art market.Canosan askoi were used as grave offerings as well as for oil storage. The Gorgon mask was a common motif which served to ward off evil, protecting the deceased with its apotropaic qualities. There is an askos in the Teece Museum of Classical Antiquities, University of Canterbury, New Zealand with similar figurative groupings of a Gorgon head flanked by Tritons, with grieving mourners (acc. no. JLMC 186.00). For another askos with Gorgon mask and Triton figurative decoration see R. Cassano (ed.), Principi, Imperatori, Vescovi: Duemila anni di Storia a Canosa, Venice, 1992, p.522-523, fig. 3. The combination of Medusa with Tritons, mermen who were part man, horse and fish, is fitting as Medusa is also associated with horses by being the mother of Pegasus. Moreover, both Tritons and Pegasus were the sons of the sea god, Poseidon. The use of sea imagery frequently occurs on such grave vessels. Cf. another similarly elaborate Canosan figurative askos in the British Museum, London, acc. no. 1862,0712.2.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
A large Egyptian turquoise glazed composition Bes head amulet Third Intermediate Period, circa 1069-664 B.C.Light blue in colour, moulded in high relief with characteristic furrowed brow, large snub nose and curling beard, with thick lips open to reveal small teeth, his head surmounted by a small cavetto cornice crowned by short plumes, a suspension hole pierced diagonally from the reverse to the flat underside, 3.8cm high, 3.3cm wideFootnotes:Provenance:Mr. R. collection, Toronto.W.A. Meijer collection, Netherlands, acquired from the above in the 1980s.Canadian art market, ca. 2010.Private collection, Hong Kong, acquired from the above.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
Leaf from a copy of Gregory the Great, Moralia in Job, in pre-Caroline Germanic minuscule, in Latin, manuscript on parchment [southern Germany (perhaps Reichenau), last decades of the eighth century] Single large leaf, with single column of 30 lines (with parts of book 33, ch. 15) in a large and bold pre-Caroline Germanic minuscule (see below), tears and darkening to edges, small losses at head, and section of blank margin at foot missing through natural flaw in parchment, recto more darkened than verso, and slightly scuffed on inner vertical side of column, slight cockling, some small later scrawls (see below), but still in good and fresh condition, 257 by 156mm. A leaf from a fundamental early medieval text, in a rare and often overlooked pre-Carolingian script, perhaps from the founding library one of the most important monasteries in medieval Europe Provenance:1. Written in southern Germany, most probably in a region bordering Switzerland (probably vicinity of Lake Constance) in the last decades of the eighth century (see below). If this was in Reichenau (founded 724 on an island in Lake Constance), then it must have been part of that monastery's earliest book collection, significantly predating the grand expansion of the library there under Abbot Reginbert in the decades up to his death in 846, and used by the Carolingian scholarly luminary Walafrid Strabo (c. 808-49, abbot of Reichenau from 842). The house was closed during the Secularisation initially in 1757, then permanently in 1803, with a part of the library passing to the Landsbibliothek at Karlsruhe.2. This leaf reused at the close of the Middle Ages as a pastedown in the binding of a large book, and that book in French ownership in the seventeenth-century: scrawled French inscriptions of a 'Catherine de ...' interlineally and in outer upright margin of recto, and a single inscription in same hand at foot of verso: 'Constitué ...' (the remainder lost due to a missing section of parchment at foot).3. Mr de Coligny, a twentieth-century Parisian collector.4. Acquired by Roger Martin from European trade in 2016. The script and its rarity:When we think of pre-Carolingian local hands, we begin with the most distinctive, such as Insular, Luxeuil, Corbie ab, Rhaetian and Alemannic, as well as those that persisted well after Carolingian minuscule swept away all others, such as Visigothic and Beneventan. However, there are a few others, not quite so clearly defined from their neighbours or perhaps not so numerous in surviving examples, and as a result often forgotten or lumped in with those neighbours. The Germanic pre-Caroline hands fit into this group. They are far from numerous, with only twenty-three examples in the vast survey Codices Latini Antiquiores (1934-66; about ten of these probably from Freising, see K. Bierbrauer, Die vorkarolingischen und karolingischen Handschriften der Bayerischen Staatsbibliothek, 1990, pp. 15-24, for these) and its Supplement (1971), and surviving examples come from a wide geographic range, reducing how conclusive any findings can be, and perhaps deterring the same levels of scholarly study seen with other early scripts. While Michelle Brown's A Guide to Western Historical Scripts from Antiquity to 1600 (1993), is to be commended for including an example of these (her no. 14), it is notable that they are almost passed over by the new Oxford Handbook of Latin Palaeography (2020), where the closest we come to them is the chapter on 'St. Gall scripts'.The script here is a bold and fine pre-Caroline Germanic minuscule most probably of the last decades of the eighth century, with strong Swiss influence suggesting an origin in Reichenau. The numerous ligatures here are overwhelmingly pre-Carolingian and point strongly to the eighth century, with that in the 'rp' in 'serpens' (recto, line 16) producing a strange letterform in which the arch of the pen downwards from the preceding 'r' almost leaves the back of the 'p' undefined and produces a wedge-like tongue under its bowl jutting out towards the next letter. There is also a 'li'-ligature in which the second letter is mostly subscript and is joined to the first at its midpoint (this also reported for a binding fragment dated to 776-800 and located to south east Germany, now BSB, Clm. 29300/3, but rest of hand quite different: CLA Supplement 1799). These, as well as the clusters of compacted abbreviations (such as the first part of 'tergiversationis' in line 4 of the recto, the 'serpens' noted above, and 'rerum' in line 2 of the verso), point to the eighth century.For Swiss influence, there are apparent Rhaetian minuscule features in the open 'a' both like 'cc' and 'oc' (but the hand here favours the first of these), the use of 'r' with a slashed line through its tail for '-rum', and particularly the 't' with its left-hand crossbar curving down and around to close the loop with the main ascender (as here in line 22 of the verso: 'Et') and the open 'g' with a bowed top so it is shaped like a '3' distinctive to Rhaetian and Alemannic minuscule and sometimes used as a key identifying feature of Swiss hands. However, the closed 't' is not employed consistently, and half-curled (without closing the loop), and flat-topped examples abound here. Examples of these are found in Alemannic minuscule, centred on St. Gallen, as in Cod. Sang. 6 (Bible, last quarter eighth century), Cod. Sang. 44 (Bible c. 780), and Cod. Sang. 125 (Jerome, Gregory, Cassiodorus and others, c. 770-780, in which again all three forms of 't' are found together, as well as the 'o' formed like a 'u' with its two upwards strokes crossing, as here in 'vero' in line 28 of the recto: see pp. 7 and 22 of Cod. Sang. 125 for examples) and Cod. Sang. 567 (Vitae Patrum, second half of codex from last quarter of eighth century, and with same distinctive 'o': see p. 145 for example; all these manuscripts reproduced in full on the ecodices website).However, the hand here manages to avoid having the elongations and flows of Rhaetian as well as the heavy rotundity and wide spacing of Alemannic, and compares most closely to hands from modern Germany, and in particular those traced to, or linked to Reichenau (see CLA. I:7, Vatican, Lat. 583, a Moralia in Iob, 11-16 of the late eighth century or opening years of ninth century [this reproduced in full online]; I:89, Vatican, Lat. 245, another Moralia in Iob, 1-5 of the late eighth century or opening years of ninth century, and in Lorsch by the eleventh century [this also Michelle Brown's example, and reproduced in full online]; II:222, as well as those from the Lake Constance Germanic region and probably Murbach: II:222, a Cyprian of 776-800; and VI:751, an Isidore of the late eighth century or opening years of ninth century). It has the Reichenau-type mix of open 'a' and uncial 'a' (here see 'maliciam', lines 8-9 of recto), and common ligatures for 'ri', 'ti' as well as rarer features such as a 'te'-ligature and a 'nt'-ligature used even midword and that characteristic of the region. Moreover, the open 'g' here with its bowed top finds its near-exact match in both CLA. I:7 and I:89.It is interesting that the earliest books surviving that are most probably from Reichenau are both copies of parts of the Moralia in Iob ...(for full text, see catalogue PDF).
Leaf from Seneca the younger, Epistulae Morales ad Lucilium, in fine humanist script, in Latin, illuminated manuscript on parchment [Italy (perhaps Rome), c. 1470] Single leaf, with single column of 28 lines of a bold and round humanist minuscule, rubrics in faded red with last letters of final word in capitals spaced out to fill up line, contemporary '71' in margin next to initial, one large illuminated initial 'P' (opening 'Post longum intervallum pompeyos ...', the opening of epistle 71, modern 70), on blue, green and burgundy grounds heightened with clusters of 3 white dots, and with white vine foliage picked out in penwork and blank parchment, extensions into margin in same filling approximately half the vertical margin, some near-contemporary marginalia, one contemporary flaw in parchment, small spots and stains, trimmed at edges, overall excellent and bright condition, 286 by 205mm. Provenance:1. From a remarkably fine humanist manuscript of grand dimensions, produced in Italy c. 1470. Certain features, such as the 'the very careful slowly-written rather consciously classical script' as noted by Sotheby's (see below), and the ruling in plummet and proportions of the illuminated initial in the Schøyen leaf (see below) might suggest that the scribe was Germanic, perhaps among those resident in Rome.2. Neil F. Phillips, Q.C. (1924-97) of Montreal, New York, and Virginia (together his MS. 811); his sale Sotheby's, 2 December 1997, lot 67, as one of two leaves from this manuscript.3. Maggs Bros., European Bulletin 22 (1998), no. 81 (illustrated in colour there).4. Private North American collector, perhaps in Logan, Utah (and framed there c. 2000 for that owner).5. PBA Galleries, San Francisco, 13 September 2012, no. 118, acquired there by Roger Martin. Text:Unlike many other works of Classical literature, the Middle Ages never set aside and forgot the gentle moralising works of the Roman philosopher and statesman, Seneca the younger (c. 4 BC.-65 AD., more properly Lucius Annaeus Seneca). The letters here cover the subjects of rest and restlessness, on the time in life we enter a life of relative relaxation and comfort (using a ship finding harbour as its metaphor), and on the supreme good.Apart from this one, five other leaves from this impressive manuscript are known: (1) Keio University (Keio, PTP, 92), most probably the sister leaf of this one, once in the Phillips' collection and acquired by Keio from Maggs; (2) that in Quaritch, cat. 1088, Bookhands of the Middle Ages III, no. 89 (with full-page illustration); (3) Quaritch, cat. 1147, Bookhands of the Middle Ages V, no. 116, to Schøyen collection, MS 647, and his sale, Christie's, 10 July 2019, lot 457; (4) Quaritch, cat. 1270 (2000), no 122; and (5) Takamiya collection, MS. 84, now Beinecke Library, Yale (see R. Clemens, et al., A Gathering of Medieval English Manuscripts: the Takamiya collection at the Beinecke Library, 2017, p. 82).
Ɵ Prayerbook containing the Fifteen Oes of St. Bridget of Sweden, Litanies of Christ and the Virgin, and prayers to reduce time in purgatory, in Latin and French, illuminated manuscript on parchment [France, c. 1650] To view a video of this lot, click here. 78 leaves, wanting a single leaf from first gathering, perhaps with frontispiece naming original owner, else complete, collation: i5 (wants iii), ii-iii6, iv-xx2, xxi3 (last a singleton to complete text), xxii-xxxiii2, single column of 20 lines in remarkably fine roman and italic hands identified below as those of Nicholas Jarry the royal court scribe, red rubrics, initials in liquid gold, larger initials in silver on gold grounds (silver now oxidised and spread), almost every page with text within thin gold frame, titles of each text in gold ink, frontispieces and openings of each text in softly coloured architectural frames and enclosing scenes of a bee seeking a flower, a pelican stabbing its own breast, doves with olive branches, a sacrificial lamb, a flower opening to the sun and numerous images of finely painted grinning human skulls and flowers, first leaves slightly cockled, occasional spots and small stains, else in excellent condition, 163 by 110mm.; contemporary binding of gilt-tooled red morocco over pasteboards (floral frame on each board, spine with six compartments in same), tooled olive leather doublures, two clasps formed from metal crosses, these clasps having caused boards to indent into text block very slightly at fore-edge, a few of thongs split between boards and textblock, but all held in place by leather and solid in binding The hand here is of the greatest refinement, and is identical in its roman and italic forms, as well as the flowery decoration and the use of gold, with these features in prayerbooks written by the grand scribe Nicholas Jarry (d. before 18 September 1666; see Amiens, Bibliothèque municipale, MS. Lescalopier 25; partly reproduced on Biblissima website; and Lilly Library, Ricketts 155: C. de Hamel, Gilding the Lilly, 2010, no. 99). Unlike many of their neighbours, the French continued to refine the scribal arts following the advent of printing, and perhaps were even spurred on by it. Nicholas Jarry was the zenith of the seventeenth century in this respect, and worked predominantly for Louis XIV and members of his court (on Jarry see, J. Bradley, Dictionary of Miniaturists, Illuminators, Calligraphers and Copyists, London, 1887, II:143-8, and R. Portalis, Nicolas Jarry et la calligraphie au XVIIe siècle, Paris, 1896). His script was described by Meridel Holland as 'if it could have been produced by a little, delicate typewriter' (in Bulletin of the John Rylands Library, 65, 1983, p. 148), and the resulting books were 'as frivolous and costly as Fabergé eggs' (de Hamel, p. 214).
Leaf from a Lectionary, in Latin, in archaising script and perhaps that of a student-scribe copying an old exemplar, decorated manuscript on parchment [Germany, early thirteenth century] Single leaf, with single column of 26 lines in an awkward and often confusing bookhand (see below), red rubrics and one-line initials, three large initial in red or blue, the third with scrolling dark blue penwork, contemporary folio no. 'CI', recovered from reuse in a binding and hence with stains, spots, and small holes (none affecting text), overall good condition, 284 by 226mm. Provenance:Acquired from European trade in 2019. The script:On initial inspection this leaf is baffling, but must be an attempt by a thirteenth-century scribe, perhaps a student-scribe, to laboriously copy outdated letterforms he found in a Romanesque exemplar (perhaps eleventh-or twelfth-century). The aspect is square and heavy, as one might expect from German script, but the initials are characteristically thirteenth century, as are the use of tiny decorative penstrokes inside some capitals. However, the use of tongued 'e' in capitals and at the end of words, among other forms, fits better in a Romanesque setting. The ductus throughout has a ponderous quality, and lacks the rapidity one expects with normal script (as in awkward forms of some letters, especially 'r', and has errors (such as the fishtailing added in error to the first 'i' in 'munditiis' in the last but one line of the recto, among others - correct if this was an ascender of a consonant, but not an 'i') that consolidate the impression that the scribe was working slowly, carefully copying letterforms that might have been strange to him. This lack of familiarity with older letterforms rules out an elderly scribe who had trained at the end of the twelfth century, and our scribe was more likely a youth in training, given an older exemplar to copy.
Fragment of a leaf from a Homiliary, with large coloured initials, in Latin, decorated manuscript on parchment [probably Italy, tenth century] Substantial fragment of a large leaf, trimmed at top (with loss of about 8 lines there; what remains with readings from homilies by St. Pope Leo and St. Pope Gregory for epiphany) and inner vertical edges (with loss of a few letters from column edge there), with double column of 32/31 remaining lines in a large and bold late Carolingian hand, with insular 'r' that descends far below the line, an et-ligature commonly used integrally within words, and the '-ris' abbreviation formed from a downward flick of the pen under the word, bright red rubrics, two large red penwork initials in panels touched in pale yellow and green wash or left in blank parchment, one with a quadrilobed shape mounted at its centre, the other with long curved brushstrokes of green wash hanging downwards from the horizontal strokes of the letter ('S') filling both upper and lower bowls, reused in a binding and hence with some splashes, small stains and cockling, overall good and presentable condition, 288 by 193mm. Acquired from a European private collector in 2007. Whilst this late Carolingian hand and some of its scribal features can be found in apparently archaicising Italian hands as late as the eleventh century (such as that of Florence, Bibl. Nazionale, F.N.II.I.412: see K. Berg, Studies in Tuscan Twelfth-Century Illumination, 1968, pl. 1), the initials here are firmly Carolingian in design and colouring, and of a type quickly swept away in the late tenth and early eleventh centuries by the new white-vine initials. These initials with their terminal-lappets in different colours and compartmented bodies follow early Carolingian models such as those found in a Homilary made at Murbach c. 800 (see Pracht auf Pergament, 2012, no. 7), and most probably reached Italian centres through books sent from northern centres in the ninth century. However, the grass-skirt-like green wash brushstrokes that hang down within the 'S' are without parallel known to us.
Leaves from the Tollemache-Wardington Bible, in Latin, illuminated manuscript on parchment [France (Paris), mid-thirteenth century] Seven single leaves, each with double column of 55 lines, red rubrics, versal numbers and running titles in alternate red or blue initials, 2-line initials in same with alternate colour penwork, other 2- to 4-line initials in colours heightened with white penwork and enclosing foliage and gold bezants, all leaves here with a historiated initial in pink of blue heightened with white penwork, and on coloured and burnished gold grounds, these: (1) original folio no. 222r, with Christ seated holding a book and blessing (with a sketch in drypoint gloss in the adjacent margin for the illuminator: see below); (2) original folio no. 243v, Ecclesia holding a chalice (with a drypoint gloss sketch); (3) original folio no. 298v, Ezekiel dreaming of the man, ox eagle and lion (with a drypoint gloss sketch); (4) original folio no. 332r, Habakkuk (without sketch); (5) original folio no. 337v, Malachi preaching to a group of onlookers (with a faint drypoint gloss sketch); (6) original folio no. 368v, Mark within a tower standing above his attribute (without sketch); (7) original folio no. 432r, St. Peter with key (without sketch); slight cockling at edges, a few small spots and stains, else excellent and fresh condition, approximately 200 by 137mm. Provenance:1. Written and illuminated in northern France (Paris) in the mid-thirteenth century, perhaps by an English scribe studying there: the word 'evangelium' here on leaf no. (6) above is spelt with a 'w' instead of a 'v', a feature normally associated with scribes and readers from England or the Low Countries.2. Certainly in use in England in the Middle Ages, with the signatures of 'J. Doys', and 'John Paxten doone thys bok', the latter in a fifteenth-century hand.3. The Tollemache family, Helmingham Hall, Suffolk. There were already manuscripts at Helmingham before the Reformation, and many others were gathered in from local East Anglian collections by Sir Lionel Tollemache, who succeeded his father in 1575 and died in 1612. This parent volume once in a binding made for the fourth Earl of Dysart (1708-1770), after his succession in 1727, and with shelfmark L.J.II.14 (IV.14). Most probably sold in the 1950s by the Robinsons Bros.4. Christopher Henry Beaumont Pease, Lord Wardington (1924-2005); then Christie's, 8 December 1982, lot 139.5. Comites Latentes collection, Geneva, MS.203; then Sotheby's, 1 December 1998, lot 72, and dispersed, most probably by the North American trade. Illumination:The illumination here is in the style of the Soissons Atelier, defined by R. Branner, Manuscript Painting in Paris during the Reign of Saint Louis, 1977, pp. 77-8 and 216-17, a workshop which evidently specialised in the illumination of Bibles. What is notable here is that many of the scenes within the historiated initials survive alongside the original dry-point sketches for the main artist to follow. For other such marks see J.J.G. Alexander, Medieval Illuminators and their Methods of Work, 1992, pp.184-5.
Leaf from an early copy of Arator, De Actibus Apostolorum, in Latin verse, with an apparently unrecorded Carolingian commentary, decorated manuscript on parchment [Germany, second half of tenth century] Single leaf, with single column of 23 lines in a short and square late Carolingian minuscule (last two lines of the heading for ch. 1, followed by the whole of ch. 1, excluding line 22 which has been cut away, the heading for ch. 2 and the first two lines of that chapter), using et-ligature integrally within words, a tall capital 'e' with a long tongue ending in a wedge-stroke and an uncial 'R' (compare hand of a contemporary Jerome: Munich, BSB., Clm 6313: Pracht auf Pergament, 2012, no. 21), near-contemporary interlinear gloss in a tiny hand, this also adding some punctuation, each line beginning with an initial offset in the margin, simple red initials, blind-ruled with this causing lifting of parchment along those lines, somewhat scuffed and discoloured, and with a small hole (without affect to text), trimmed at base with loss of a single line there, overall fair and presentable condition, 163 by 138mm. Provenance:Acquired in 2015 from Australian trade. Text:The sixth-century poet Arator rubbed shoulders with the greatest rulers and scholars of Early Medieval Italy. He served as a lawyer in the Gothic imperial capital of Ravenna, where he was treated with distinction by Emperor Theodoric the Goth (454-526), and protected by Cassiodorus (c. 484-c. 585), the intellectual titan of his age. He left the court about 544, and entered papal service as archdeacon of the Church. It was there he composed this work, a versification of the Acts of the Apostles that attempts to draw out the mystical and moral meanings of the texts. By papal order it was read aloud in the church of San Pietro in Vincoli, Rome, over a number of days, and in written form quickly spread across the empire.The earliest witnesses all come from a sudden bloom of interest in the ninth century, with A.P. McKinley listing twenty examples of that century, four of the ninth or tenth century and eight of the tenth century (Arator. The Codices, 1942, pp. 69-70, and perhaps also 'Membra disiecta of manuscripts of Arator', Speculum, 15, 1940, pp. 95-8). That focus of interest also produced four distinct commentaries in the ninth and tenth centuries (see 'Latin commentaries on Arator', Scriptorium, 6, 1952, pp. 151-156), some in interlinear form as here. The script of the commentary here is scuffed in places and wanting, but enough survives to note that it is not any of those catalogued by McKinley. It may well be another, as yet unstudied, Carolingian interlinear commentary.The text is rare on the market in any form, with the Schoenberg Database recording only two manuscript codices as ever having come to the open market, and none of those in the last century: (i) a fourteenth-century codex offered in Sotheby's, 2 March 1837, lot 974, probably the same reappearing in the same rooms, 20 June 1900, lot 7; (ii) a copy of c. 1450 sold by Evans, 6 February 1832, lot 150, reappearing in Thomas Thorpe's famous catalogue of 1200 manuscripts (1832), no. 63, and then again in Evans, 29 June 1839, lot 1369, to he bookseller Thomas Rodd, his cat. of 1841, no. 91; and to these should be added another fifteenth-century copy once owned by the infamous Guglielmo Libri and sold by him to the Ashburnham collection (no. 951 in the 1853 catalogue), and a late fifteenth-century German witness acquired privately by Thomas E. Marston and from him to the Beinecke Library, Yale, in 1964. Only one fragment is known to us, a mid-ninth century fragment in Quaritch, cat. 1036, Bookhands of the Middle Ages (1984), no. 123.
Leaf from a Psalter-Hours or Prayerbook of Brigittine Use, in Latin, decorated manuscript on parchment [Low Countries (most probably Marienwater), fifteenth century (most probably after 1434)] Single leaf with a large variegated initial 'A' (opening 'Ave Maria gratia plenia ...') in red and blue geometric designs, enclosing foliage, with a wide text border on all sides in same, that incorporating two squat blue fleur-de-lys in upper border and two wheel-like blue roundels in lower border, the bas-de-page with an angel with blue robes with red trim and green, red and blue wings, holding a staff topped by a fleur-de-lys, one large blue initial on verso encased within and enclosing red penwork, smaller alternate red or blue initials, red rubrics, single column of 18 lines of an accomplished late gothic bookhand, slightly trimmed at edges with slight affect to border decoration at head and foot, cockling at edges in places, small spots, remnants of four small rectangular mounting points in margins on verso from last framing, else excellent condition, 177 by 126mm. Provenance:1. The decoration here, with distinctive paired lobed flowers at the head of main pages, and paired roundels at their feet, is markedly close to a close-knit group of devotional books produced in the Brigittine foundation of Mariënwater at Rosmalen in the diocese of Liège in the opening decades of that foundation (founded 1434, relocated to Uden from 1713 onwards), such as a Psalter (now The Hague, KB, 134 C 60), a Psalter-Hours (now BnF. n.a.l. 688) and two Breviaries (Schøyen MS. 39; and British Library, Egerton 3271). This, along with the fact that the text here ends on the verso with has a rare versicle elsewhere recorded in Brigittine use ('Venit deus in mundum ...', compare R. Geete, Jungfru Marie örtagård. Vadstenanunnornas veckoritual i svensk öfversättning från år 1510, 1895, p.93, and Psalterium Davidicum Monasticum Benedictinum pro Ord. Sanct. Brigittae, 1650, p. 297, where this is followed by the second versicle here as well: 'Ut in caeli gloriam ...'), strongly suggests an origin in that medieval convent, and use there throughout the Middle Ages in the daily devotions of the inmates of that house.2. The majority of Mariënwater books to appear on the market can be traced back to the collection of Dirk Cornelis van Voorst (1752-1833) and Jan Jacob van Voorst (1791-1869), father and son evangelical preachers of Amsterdam, and dispersed in their auction by Frederick Muller & Co. in Amsterdam in 1859-60, with many books there listed as from the 'monastère de Brigittines S. Marien water près de Bois-le-Duc, fondé en 1434'. Lots 122-136 in the sale were a group of 'heures' described as united by their decoration 'sans ornaments dorés' with initials 'prédomine la rose calligraphique de cinq, six et huit feuilles'. As U. Sander Olsen notes lot 122 from that list is now BnF. n.a.l. 688; 123 is The Hague, KB, 134 C 60; 124 is Schøyen MS. 39, listed under its last appearance at Sotheby's, 1 December 1987, lot 38; 127 is Leiden, BPL 2856; 129 is Utrecht, Catharijneconvent ABM 45; 136 is Amsterdam, Universitetsbibliothek, I F 50; and 132 last appeared in the catalogue of Six von Hillegom for 1928, no. 217 (see 'Handschriften uit het Birgittinessenklooster Mariënwater te Rosmalen bij 's- Hertogenbosch', in Serta devota in memoriam Guillelmi Lourdaux, pars posterior: Cultura Mediaevalis, 1995, pp. 225-54). To these should be added lot 126 that is now British Library, Egerton 3271. The parent manuscript of the present leaf is most probably one of the other three codices in this section of the van Voorst sale, described as quarto in size.3. Acquired in 2018 from the North American trade.
A very rare Meissen stand from the Sulkowski Service, circa 1738Possibly modelled by J.F. Eberlein, of rectangular form with indented corners, the sides moulded with basketwork, applied on the front and back with a crowned cartouche painted with the arms of Sulkowski and Stein zu Jettingen, all raised on four gilt-edged scroll feet with palmettes, the surface painted with scattered sprigs of indianische Blumen, 49.5cm across, crossed swords mark in underglaze-blue (some regilding, minor damage)Footnotes:Provenance:Graf Alexander Joseph von Sulkowski (1695-1762);Paul Schnyder von Wartensee Collection, Lucerne;Anon. sale, Sothebys Zurich, 21 November 1990, lot 85;U.S. Private CollectionThis form may be the second referred to in an entry of J.F. Eberlein's work records for December 1737: 'Zwey neue Tisch Bletter eines oval, das andere viereckigt die ecken verbrochen, von Doone [Ton] gemacht' [Two new table leaves one oval, the other rectangular with broken corners, made from clay] (AA I Ab 09, fol. 270 a-b {Monatsrapporte, 1737}).This form has been considered a stand for a tureen (see R. Rückert, Meissener Porzellan 1710-1810 (1966), no. 488, pl. XVIII, for a tureen and cover on a smaller stand of similar form). Another possibility is that this stand belongs to the '64 Stück Confect-Aufsatzstücken, wozu 160 kleine Figurgen und 48 kleine Blumen Bouquettes' [64 dessert pieces, to which 160 small figures and 48 small flower bouquets] among the additional pieces for the service ordered in July 1737 (quoted by H. Rakebrand, Meissener Tafelgeschirr des 18. Jahrhunderts (1958), pp. 14-15).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
A rare Meissen Hausmaler teabowl and saucer, circa 1720-30Decorated in the workshop of Ignaz Priessler, Kronstadt (Bohemia), in polychrome enamels with chinoiserie scenes, the saucer depicting two figures seated at a table and a standing figure holding a parasol, flanked by pierced rockwork and trees, the teabowl with a continuous landscape scene with six chinoiserie figures and pagoda-like buildings flanking pierced rockwork, the saucer: 12.6cm diam.; the teabowl: 4.5cm high (2)Footnotes:Provenance:Hugo von Kilényi (1840-1924), Budapest (sold Ernst Museum, Budapest, 26 November 1917, lot 639);Anon. sale, Christies Geneva, 10 November 1986, lot 203;The Rosa Alba Collection of Meissen PorcelainOther recorded teabowls and saucers with similar polychrome decoration: a teabowl and saucer formerly in the Otto and Magdalena Blohm Collection (published by R. Schmidt, Early European Porcelain as collected by Otto Blohm (1953), no. 107; a teabowl and saucer formerly in the Margarete Oppenheim Collection (sold by J. Böhler, Munich, 18-22 May 1936, lot 930; a teabowl and saucer formerly in the Jacques Mühsam Collection, Berlin (sold at Glückselig, Vienna, 27-30 April 1925, lot 474; a saucer in the Gardiner Museum, Toronto (possibly the Mühsam example), published by M. Chilton/C. Lehner-Jobst, Fired by Passion vol. III (2009), no. 55.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
A pair of large Meissen figures of a lady and gentleman, late 19th centuryAfter the models by J.J. Kaendler of 1762, the lady holding a floral wreath, a posy and a flower basket on her left arm, wearing a pale yellow hat with a posy and floral-patterned costume, a tree-stump at the rear, the gentleman leaning on a branch on a scroll base with his tricorn and a flower basket under his left arm, wearing a pale-blue jacket and gilt waistcoat with floral patterns and puce breeches, a spindle at his feet, the bases moulded with gilt-edged scrollwork, 50cm high, crossed swords marks in underglaze-blue, incised model numbers R.65 (the lady) and 2868 (the gentleman), impressed numerals (some restoration) (2)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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
A Meissen cockerel teapot and cover, circa 1734Modelled by J.J. Kaendler, looking over its shoulder, the spout protruding from its neck, its tail forming the handle of the pot, the plumage painted in shades of brown, black, yellow and iron-red heightened in gilding, gilt foliate motifs to the rim, the cover in the shape of a monkey eating fruit, 11cm high, 16.5cm long, crossed swords mark in underglaze-blue (some chips to tail and toes) (2)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainThe model is loosely based on a Chinese Yixing stoneware example. Another one of this model with a different finial is illustrated by R. Rückert, Meissener Porzellan 1710-1810 (1966), no. 1126.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
A pair of Sèvres blue-ground vases (vase chapelet), circa 1772Each reserved with gilt-edged panels depicting classical landscape scenes after Boucher, one with a sleeping Venus, the other with a sleeping woman, the reverse with similar reserves depicting flowers, each surrounded by gilt acorn leaves, gilt foliate wreaths to the feet and necks, the gilt handles with beaded borders, moulded bead borders to the neck and foot, on square gilt metal bases, 27.9cm high (one with some damage, covers missing) (2)Footnotes:Provenance: Sir Walter Rockcliffe Farquhar, 3rd Bart (1810-1902), Polesden Lacey; Thence by descent to the current ownerLiterature:R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p.789 and n.4Exhibited: Bethnal Green Museum, from 1929These vases were exhibited from 1929 at the Bethnal Green Museum, which had been founded in 1872 as a branch museum of the Victoria & Albert Museum. Among many other disparate collections, much of Sir Richard Wallace's collection was displayed at the museum between 1872 and 1875 while Hertford House was being converted to receive it.The plaster model for the vase chapelet, made in three sizes, was recorded in the 1814 inventory, illustrated in G. de Bellaigue (2009), p. 383, together with the 18th century drawings of the shape. It is so far unknown, when the shape was introduced in the manufactory, but the Royal Collection garniture is dated T for 1772. Unfortunately, none of the known vases have been identified in the sale records and the name of vase chapelet does not seem to have been used there, although the overtime records does mention the term in 1776. According to R. Savill (see above Literature), a single cover mounted in a gilt-bronze candlestick in the Wallace Collection is possible the cover to one of these vases.A pair of very similar vases (also missing their covers), which are part of a garniture painted by Dodin is in the Royal Collection, see Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. I (2009), no. 87. One of these is decorated with the same scene as one of the vases in the present lot, after the engraving 'Vénus endormie' by G. Demarteau after F. Boucher. A vase chapelet of the second size with a blue Taillandier ground is in Grimsthorpe Castle in Lincolnshire and another smaller pair with covers and pink Taillandier ground were sold at Sotheby's New York, 16 May 1987, lot 2, one of which is probably the one illustrated in M. Brunet/T. Préaud, Sèvres - des origines à nos jours (1978), p. 106, plate XLVI.For further information on this lot please visit Bonhams.com
Two Meissen chess pieces, 18th centuryModelled by J.J. Kaendler as two Bishops with AR monogram painted with flower sprays, 5.8cm high, crossed swords marks in underglaze-blue (some glaze cracks to neck on one) (2)Footnotes:Provenance:With Albert Amor (paper labels to undersides)A complete Meissen chess set, together with the board, in the Bavarian National Museum, is illustrated by R. Rückert, Meissener Porzellan 1710-1810 (1966), no. 798. A similar Meissen Bishop was sold in these rooms, 26 Nov 2014, lot 233 (part).For further information on this lot please visit Bonhams.com
A Meissen group of Harlequin and Columbine, mid 18th centuryModelled by J.J. Kaendler, both seated, he wearing a mask, a tunic decorated with a pink-ground and playing cards on one side and a colourful diamond pattern on the other, holding a sausage in this raised left hand and a feathered hat in his right hand on her knee, she wearing a small pink tricorn hat, yellow bodice with blue bow and a floral skirt, holding a slapstick in her raised right hand, the base applied with leaves, branches and flowers, 15.8cm high, faint crossed swords mark in blue (his head and left hand restuck, her right wrist restored)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainKaendler's Taxa from 1740-48 states: '1 Groupgen aus 2 Figuren bestehend, da ein Arlequin neben einem Frauenzimmer sizt, solche zu caressi, die ihn mit der Pritzsche schlägt, 8 Thlr.' [1 group consisting of 2 figures, a harlequin sitting next to a woman, trying to embrace her, she hitting him with a slapstick] (see R. Rückert, Meissener Porzellan (1966), no. 868).Another example from the collection of the Bayerisches Nationalmuseum, Munich, is illustrated in R. Jansen (ed.), Commedia dell'Arte Fest der Komödianten (2001), no. 22. Further examples are in the Metropolitan Museum of Art, New York, in the Wadsworth Atheneum, Hartford, and the Pauls-Eisenbeiss Collection, illustrated in Dr Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century (1972), vol. I, pp.298-301.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
A Meissen figure of a Cupid feeding doves, circa 1900Modelled by Paul Helmig in 1898, as a winged putto tilting a shallow bowl with bird seed, three doves eating from it, another dove sitting on his shoulder, a tree with a quiver of arrows at his back, the deep circular base moulded with gilt-edged scrollwork and applied with foliage, 18.8cm high, crossed swords mark in underglaze-blue, incised model number R. 122, painter's numeral 67. in iron-red (minor restoration)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis 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
A pair of Paris, Dagoty, porcelain topographical plates, early 19th centuryEach depicting a landscape, titled in gilding on reverse 'Ruine près Vienne' and 'Vûe de la Ville Imp le et R le/ Idrie dans le duché de carniole', the rims with a grey-ground and gilt formal border, 13.8cm diam., Manufacture/ de S. M. l'Impératrice / P.L. DAGOTY/ A Paris stencilled in iron-red (2)Footnotes:Provenance:With Gerald Sattin, London (purchased 2 January 1990);Sèvres Porcelain from an International Private CollectionThis 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
A Meissen group of Scaramouche and Columbine, circa 1741Modelled by J.J. Kaendler, Scaramouche wearing a black hat, pale pink tunic patterned with playing cards and blue breeches, embracing Columbine holding a birdcage and wearing an iron-red bodice with black stomacher, yellow and black striped skirt and a white apron with stylised flowers, a leafy tree to the side, the base applied with leaves and flowers, 17.5cm high, faint traces of crossed swords mark in blue (chips and restoration to the leaves)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainThe group is recorded in Kaendler's Taxa:'Groupgen von 2 Figuren, bestehend, so einander umarmen, das Frauenzimmer aber hält in der lincken Hand einen Vogelgebauer' [group made up of 2 figures, embracing each other, the woman however holding a birdcage in her left arm].Further examples are in the Porcelain Collections, Dresden (illustrated in R. Jansen (ed.), Commedia dell'Arte Fest der Komödianten (2001), no. 18), the Pauls-Eisenbeiss Collection, Basel (illustrated in Dr Erika Pauls-Eisenbeiss, German Porcelain of the 18th Century (1972), vol. I, pp. 284-287), the Gardiner Museum, Toronto (illustrated in Meredith Chilton, Harlequin Unmasked (2001), no. 82, fig. 298), the Victoria and Albert Museum, London, and the Metropolitan Museum of Art, New York, amongst others. Another example was sold in these rooms, 3 December 2020, lot 86.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
Rudolf von AltBlick vom Basteipavillion vor dem Stadtpalais Liechtenstein auf die Votivkirche in Wien1873Aquarell auf Papier52 x 42 cmSigniert und datiert links unten: R Alt (1)873Dorotheum Wien, 28.11.1967, Nr. 141, Tafel 87 (SW-Abb.) ("Blick von der Bellaria auf die Votivkirche in Wien");österreichische PrivatsammlungWalter Koschatzky, Rudolf von Alt. Mit einer Sammlung von Werken der Malerfamilie Alt der Raiffeisen Zentralbank Österreich AG, Wien/Köln/Weimar 2001², S. 385, WV-Nr. 73/08 (falsch betitelt als "Blick von der Bellaria auf die Votivkirche in Wien")1873 malte Rudolf von Alt einige Ansichten, die in Zusammenhang mit der Neugestaltung der Wiener Ringstraße standen. Auch unser Blatt zeigt den Blick zum Ring mit seinen zum Teil noch in Bau befindlichen Gebäuden. Der Neubau, der direkt an dieser Prunkstraße liegenden Universität, existiert noch nicht, hingegen das sich dahinter befindliche, noch eingerüstete Korpskommandogebäude (Bauzeit: 1871-1874), welches sich in der Ebendorferstraße befand und im 2. Weltkrieg zerstört wurde. Rechts davon, im Hintergrund, ist die Schwarzspanierkirche zu sehen, daneben die neugotische Votivkirche. Rudolf von Alt befand sich auf der mit einem blühenden Oleander geschmückten Terrasse des Basteipavillons des Fürsten Liechtenstein. Diese, in der ersten Hälfte des 19. Jahrhunderts konzipierte "Villa auf der Bastei" mit Garten und zeltartigem Gartenhaus, schloss direkt an das barocke Stadtpalais an und wurde vom Fürsten für private Zwecke genutzt. Bereits 1837 gab es Pläne für einen Verbindungsgang zwischen dem Palais und dem "Basteigärtchen", aber erst 1845 war der Bau so weit fortgeschritten, dass an die mobile Innenausstattung gedacht werden konnte. Alle Räume waren mit kostbaren Materialien ausgestattet. Peter Hubert Desvignes (1804-1883) war von 1837-1849 Hausarchitekt von Fürst Alois II. (1796-1858). Er war einerseits für die Neo-Rokoko-Neugestaltung des Palais in der Bankgasse verantwortlich, und zusätzlich wohl auch für die Ausführung des Neubaus des Basteipavillons. Der Abbruch dieses architektonischen Kleinods erfolgte im Jahr 1874, im Zuge der Demolierung des letzten Teilstücks der Löwelbastei. (Vgl. Johann Kräftner, Das Stadtpalais der Liechtenstein, Wien 2015, S. 221-227)Für die Sammlung des Fürsten fertigte Rudolf von Alt bereits 1850 zwei Ansichten des extravaganten Gartenhäuschens an – eine Tag- und eine Nachtansicht (siehe Kräftner, 2015, Abb. S. 225). Bei vorliegendem Blatt konzentrierte sich der Künstler jedoch auf die unmittelbare Umgebung, konnte er doch ein Jahr vor der Demolierung des Liechtenstein’schen Bauwerks einen Ausblick festhalten, der bereits wenige Monate später, auch durch den Bau des neuen k.k. Hofburgtheaters (Bauzeit: 1874-1888), so im Stadtbild von Wien nicht mehr zu finden war. (MS)
Rudolf von AltBlick von der Dorotheenbaude auf die Hügel und Wälder bei Schloß Grätz1845Aquarell auf Papier (ungerahmt)31,5 x 43,5 cmSigniert und datiert links unten: R. Alt / 1845Auf altem Etikett (nur mehr als Foto vorhanden) bezeichnet: Rud. Alt 1845 / Marienbad / "Dorotheenbaude" / Zur Erinnerung an / Dorothea Herzogin / von Kurland, geb. Gfin. Medem, / die diesen Aussichtspunkt für / sich erkorwohl Dr. Robert Schaub, Wien (laut Koschatzky);in den 1970er Jahren im österreichischen Kunsthandel erstanden; seither Privatbesitz, Österreich1892 Wien, Künstlerhaus, Nr. 360 oder 429;1970 Innsbruck, Tiroler Landesmuseum Ferdinandeum, Nr. 7 (SW-Abb.)Tiroler Landesmuseum Ferdinandeum (Hg.), Österreichische Malerei des 19. Jahrhunderts. Aus Privatbesitz, Innsbruck Juni-August 1970, Nr. 7 (SW-Abb.);Vgl. Walter Koschatzky, Rudolf von Alt. Mit einer Sammlung von Werken der Malerfamilie Alt der Raiffeisen Zentralbank Österreich AG, Wien/Köln/Weimar 2001², S. 373, Nr. 45/16 bis 45/18Im Jahr 1843 reiste Rudolf von Alt zum ersten Mal nach Grätz bei Troppau, an der Grenze zwischen Mähren und Schlesien. Er folgte einer Einladung des Fürsten Lichnowsky, welcher ihn beauftragte, Interieurs seines Schlosses anzufertigen. Dieser Auftrag beschäftigte den Künstler über mehrere Jahre hinweg, und er arbeitete in der Folge bis 1847 immer wieder auf Schloss Grätz, wo eine umfangreiche Serie von Ansichten und Interieurs entstand. Im Wiener Künstlerhaus fand 1892 die Jubiläumsausstellung zu Alts 80. Geburtstag statt, der Katalog dazu listet allein 12 dieser Schloss-Ansichten.Unser Blatt ist mit 1845 datiert und zeigt die Umgebung des Lichnowsky'schen Schlosses. Alt porträtierte die von bewaldeten Hügeln dominierte und vom Fluss Mohra (Moravice) geprägte Landschaft von einer beliebten Schützhütte aus. Es handelt sich, wie auch im Aquarell schriftlich festgehalten, um die Dorotheenbaude, benannt nach Dorothea Herzogin von Kurland (1761-1821), die ein gerne gesehener Gast auf Schloss Grätz war. Die rustikale Architektur der Baude, mit dem aus Baumstämmen gezimmerten Balkongeländer und den zu Säulen umfunktionierten Birkenstämmen, sowie dem strohgedeckten Dach, bildet einen zusätzlichen Rahmen für die Landschaft und suggeriert dem Betrachter, direkt auf einer Aussichtsplattform zu stehen.Alt verband mit dieser pittoresken Gegend auch persönliche Erinnerungen. Lebten doch Verwandte der Ehefrau seines Bruders Karl in Grätz. Bei einem Besuch dort lernte er Bertha Maliczek kennen, die er im Jahr 1846 in Troppau heiratete. Sie war seine zweite Frau, mit der er 35 Jahre lang eine glückliche Ehe führte. (MS)
Rudolf WackerGasse1928Öl auf Karton65 x 50 cmMonogrammiert und datiert rechts unten: RW / III 28 sowie links unten: RW / III 28 (geritzt)Rückseitig auf Karton eigenhändig bezeichnet: B 50 H 65 / R. Wacker / Lindau / 1928 / "Gasse"Rückseitig Eigentumsvermerke von fremder HandGertrud Gaßner (bis Weihnachten 1960);Anneliese Gaßner (1960 als Geschenk von ihrer Mutter Gertrud erhalten);österreichischer PrivatbesitzMax Haller, Rudolf Wacker 1893 - 1939. Biografie mit dem Oeuvre-Katalog des malerischen Werkes, Lustenau 1971, WV-Nr. 85 (ohne Abb.)Städtebilder nehmen einen wichtigen Platz im künstlerischen Schaffen Rudolf Wackers ein. Die pittoresken Altstädte seiner näheren Umgebung, Bregenz, Lindau und Goslar, mit ihren Fachwerkhäusern, ihren Türmen und spitzen Giebeln boten ihm einen reichen Motivfundus. Zudem stieß die malerische Wiedergabe von heimischen Winkeln und Gassen bei den Bürgern der Städte auf Kaufinteresse. Wacker malte jedoch nicht das pulsierende Leben des urbanen Alltags wie so viele andere Künstler der Moderne. Das bewegte Menschengewirr der Stadt spielte für ihn als Bildthema keine Rolle, ebensowenig wie der Verkehr oder andere Zeichen der modernen Technik. Er suchte vielmehr unspektakuläre, auch teils unansehnliche Motive und malte eher trostlos wirkende Hinterhöfe, alte Häuser oder enge Gassen.Der Blick in eine schmale Gasse in Lindau mit abbröckelnden Hausmauern und einem vereinzelten Kind in rot leuchtendem Kleid ist ein nostalgisch-wehmütiger. Aus den alten, dunklen Fassaden und der in grau-braunen Tönen wiedergegebenen Straßenflucht sticht als leuchtender Farbakzent das rote Kleid des blonden Kindes hervor. Frontal dem Betrachter zugewandt, fungiert das einsame, verloren wirkende Kind als Identifikationsfigur, während der tiefenperspektivische Zug der titelgebenden Gasse in ein ungewisses Dunkel eines Durchgangs führt. Ganz oben geben die alten, verschachtelten Häuser mit ihren ziegelroten Dächern ein Stück des blauen Himmels frei und das von rechts kommende Sonnenlicht legt sich wärmend auf die links aufragende Hausmauer mit rotem Kamin. Wackers Städtebilder mit alten Fassaden voller Risse und Sprünge thematisieren die Brüchigkeit der modernen Lebenswelt und sind als Reminiszenz an eine längst vergangene Idylle lesbar: "…Unsere Zeit ist wahrlich nicht idyllisch. - Wenn Idyllisches dargestellt wird, kann es nicht ohne kritschen Abstand geschehen, wir selbst können nicht mehr in der Idylle sein. Wir stellen sie noch fest, in irgendeinem Winkel, als Rest, als Vergehendes, Vergangenes, - mit einer Spur von Traurigkeit im Herzen, mit etwas Spott im Kopfe, mit Sinnen die darüber weg in die Ferne denken." (Rudolf Wacker, Tagebuchnotiz, 8. 4. 1932) Das Interesse für vernachlässigte Stadtteile und vom Zerfall bedrohte Orte teilt Rudolf Wacker in den späten zwanziger und dreißiger Jahren mit seinen Malerkollegen der Neuen Sachlichkeit.(Claudia Mörth-Gasser)
Rudolf WackerKleines Sträusschen1936Öl auf Sperrholz22 x 16,5 cmSigniert und datiert rechts unten: R. Wacker / 36Rückseitig auf Holzplatte eigenhändig bezeichnet: B 16 1/2 H 22 / Rudolf Wacker / Bregenz / 1936 / "Kleines Sträusschen"österreichischer PrivatbesitzRudolf Wacker 1893 - 1939. Biografie mit dem Oeuvre-Katalog des malerischen Werkes, Lustenau 1971, WV-Nr. 328 (o. Abb.)"Ich bin ja ein Anwalt der unbeachteten bescheidenen Dinge. Es ist ein kleiner Beitrag neuer Sujets, die nie von ungefähr kommen und ohne Sinn sind. Übrigens ist es unangenehm, neben den frischen Blumen der Vasen gemalte an den Wänden zu sehen; es ist aber ein anderes, die verdorrten im Bilde in bleibender Lebendigkeit zu halten."(Rudolf Wacker, Tagebuchnotiz, 10.11.1934)
Karl PrantlStele1986Roter russischer Granit144 x 20,5 x 16 cmPrivatsammlung, DeutschlandAlexander Winter, Der Steinbildhauer Karl Prantl: Werkkatalog 1950-2000. Dissertation, München 2008, WK 302, Abb. S. 185.Es ist seine reduzierte Formensprache, die Prantl zu einem der wichtigsten Künstler der Nachkriegszeit werden ließ, auch international gilt er als bahnbrechender Erneuerer der Steinbildhauerei, der er Zeit seines Lebens treu blieb. Im Gegensatz zu vielen anderen Kollegen arbeitete Prantl ohne Skizzen oder Modelle. Meist orientierte er sich an der ursprünglichen Form, die er im Groben beibehielt und dann den Eigenheiten des Steines entsprechend bearbeitete – er legte Maserungen frei, betonte Einschnitte, Augen, Durchbrüche und Vertiefungen. Prantl war es besonders wichtig, den Charakter, die Eigenheiten des Steines beizubehalten. Anschließend fügte er eine abstrakt-geometrische Ornamentform ein. Häufig finden sich Quadrate, Linien und Kreise, aber auch organisch wirkende, perlenartige Erhebungen, die zur Berührung einladen. Bei einer größeren Anzahl von Trägersteinen verzichtete er aber auch auf Ornamentierung und bearbeitete das Material nur durch Abrunden der Kanten oder Schleifen und Polieren der Oberfläche. Oft wählte er dazu Steine, die eine auffällige Färbung und Maserung aufweisen. Durch ihre reduzierte Form rücken einige dieser schlichten Skulpturen in die Nähe der amerikanischen "Minimal Art" - doch Prantls Zugang ist ein anderer. Er entschied sich bewusst für den Stein als Naturmaterial und bezog den Entstehungs- bzw. Aufstellungsort seiner Skulpturen in seine Arbeit mit ein. "Stein stellt für den Künstler das lebendige Konzentrat von Entwicklungsvorgängen, die auch den Menschen selbst betreffen, dar. Um dessen Verbindung mit Lebendigem, Neuem geht es Prantl ebenso wie um eine formale Materialanalyse. Der spirituell-archaische Charakter von Prantls Skulpturen wird durch überlegtes Platzieren im landschaftlichen Umfeld noch gesteigert." (Pappernigg, Michaela (Bearb.): Kunst des 20. Jahrhunderts. Bestandskatalog der Österreichischen Galerie des 20. Jahrhunderts, Bd. 3: L–R, Österreichische Galerie Belvedere (Hg.), Wien 1997, S. 218). In seinem behutsamen, äußerst respektvollen Umgang mit seinem Arbeitsmaterial offenbart sich Prantls tiefe Naturverbundenheit und Demut vor der Schöpfung: Der Stein war zuerst da und wird lange nach Pflanzen, Tieren und Menschen noch immer da sein.(Ina Waldstein)
Arnulf RainerTurm, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt41,7 x 29,8 cm (Darstellung)Nummeriert rechts unten: 7/891. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 9, Abb. S. 55.
Arnulf RainerTür, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt24 x 19,8 cm (Darstellung)Nummeriert rechts unten: 7/892. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 10, Abb. S. 56.
Arnulf RainerTor, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt34,8 x 26 cm (Darstellung)Nummeriert rechts unten: 7/893. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 11, Abb. S. 28.
Arnulf RainerTuch, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt41,8 x 29,8 cm (Darstellung)Nummeriert rechts unten: 7/894. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 12, Abb. S. 56.
Arnulf RainerTafel, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt41,7 x 29,8 cm (Darstellung)Nummeriert rechts unten: 7/895. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 13, Abb. S. 57.
Arnulf RainerT, aus der Mappe "Überdeckungen"1961Radierung auf Kupferdruckbütten; ungerahmt41,7 x 29,8 cm (Darstellung)Nummeriert rechts unten: 7/896. Blatt aus der Mappe "Überdeckungen", Mappe mit 6 Kaltnadelradierungen, erschienen im Selbstverlag, Wien I, Wollzeile 36, im Frühjahr 1961. Gedruckt bei Rudolf Lauterbach, Wien.Ausgabe B: Nr. 6-20: Jedes Blatt signiert und nummeriert.österreichischer PrivatbesitzBreicha, Otto: Arnulf Rainer - Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke, 1950-1971, Wien 1972, WVZ.-Nr. R 14, Abb. S. 29.
RAILWAYANA COLLECTABLES & EPHEMERA - London and North Western Railway service badges, Points keys, L & NWR advertising ashtray for The English Lake District, London, Midland & Scottish Railways Company headed paper, diaries, address and notebooks, mainly blank, a further quantity of leather wallets for LMS, L & NWR, London and North Western Railway Rules and Regulations for the Conduct of The Traffic 1847, Harry R G Inglis contour road map of England Northern Division with diagrams and maps, 1900, Bradshaw's General Railway, Steam Navigation and Hotel Guide No 1251 September - October 1937, The ABC Alphabetical Railway Guide July 1937, unused envelopes and other interesting items
AN EARLY GEORGE III MAHOGANY CHINA TABLE OR CABINET IN THE MANNER OF INCE AND MAYHEW, C.1755-60 in 'Chinese Chippendale' style, the rectangular top with a moulded edge and a bowed centre, with four cockpen compartments, each with a hinged door, flanking two concave shelves, the top one with the remains of a pierced gallery, on fret bracketed legs 83cm high, 92.2cm wide, 45.5cm deep Provenance Major Edward Croft-Murray, purchased in 1884 in Northampton for £10 and listed in an inventory as 'Cabinet, mahogany, 'Ince & Mayhew' open work Chinese taste, shaped front 2 shelves, lock & key on 6 legs',thence at Perivale, Ryde, Isle of Wight where listed in an inventory in 1926. From the collection of Edward Croft-Murray CBE (1907-1980). Catalogue Note See Ince and Mayhew, The Universal System of Household Furniture, 1762, pl. XLVI. For a very similar 'China Table' from the Collection of the Earls of Dysart at Ham House, illustrated in 'The Dictionary of English Furniture by Percy McQuoid and Ralph Edwards, vol.1, p.167, fig.35. This cabinet was sold by Sotheby's, A Collection of English Furniture, Barometers & Clocks, formed by a Gentleman residing in New York', 27th and 28th June 1974, lot 26. A similar japanned cabinet attributed to William Linnell and probably commissioned by Sir Hugh Smithson, 1st Earl of Northumberland, was sold by Sotheby's, Syon House, 14th May 1997. See also R. W. Symonds, 'Masterpieces of English Furniture and Clocks, p.37, fig.27.
A FRENCH ONYX TEMPLE CLOCK IN LOUIS XVI STYLE LATE 19TH CENTURY the brass eight day drum movement, with an outside countwheel striking on a bell, the backplate stamped '3542' and 'P. Bonnet & R. Pottier Paris', the circular white enamel dial with Arabic numerals and painted with floral swags and indistinctly signed, the case with four turned columns 37.7cm high Provenance By direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).
λ A FRENCH ROSEWOOD AND MARQUETRY BOMBE COMMODE IN LOUIS XV STYLE LATE 19TH CENTURY with gilt bronze mounts, inlaid with panels of scrolling flowers and foliage, the marble top above three drawers, the top drawer with an ivorine label, inscribed 'R. E. Cadogan' Provenance Daphne Fielding, 6th Marchioness of Bath (1904-1997) and by descent.
'CONTINUATION OF MR RAPIN'S HISTORY' BY NICOLAS TINDAL, C.1740-50 a folio atlas, one volume of fourteen engraved maps and fifty-seven plans, charts and views, with California shown as an island, some drawn and engraved by R. W. Seale, others by Emmanuel Bowen and J. Basire, with calf spine inscribed 'Maps & Plans to Rapin'
LITERATURE. A COLLECTION OF BOOKS AND CATALOGUES ON SCULPTURE AND BRONZES including: The French Bronze 1500-1800, Giambologna, Sculptor of the Medici, The Keir Collection of Medieval Works of Art, Renaissance Bronzes in American Collections, The Cyril Humphries Collection of European Sculpture and Works of Art, Parts I&II (39) 1. John Pope-Hennessy Assisted by Anthony F Radcliffe, Terrence W I Hodgkinson - Sculpture in the Frick collection (German, Netherlandish, French and British)2. John Pope-Hennessy - Italian Renaissance Sculpture3. John Pope-Hennessy - Italian Gothic Sculpture4. John Pope-Hennessy - Italian High Renaissance and Baroque Sculpture5. John Pope-Hennessy - Catalogue of Italian Sculpture in the Victoria and Albert Museum Volume I - III6. Bronzes from the Samuel H Kress Collection - Catalogue by John Pope-Hennessy - Renaissance Bronzes (Reliefs, Plaquettes, Statuettes, Utensils and Mortars)7. Richard Hare - The Art and Artists of Russia8. Victoria and Albert Museum Department of Textiles - Catalogue of Tapestries (Price 3s. 6d. NET.)9. The Collection of Mr and Mrs Saul P Steinberg - Sotheby's, New York, Friday May 26, 200010. The Art Collections of the late Viscount Leverhulme - The Anderson Galleries (Mitchell Kennerley (President) 489 Park Avenue at Fifty-ninth Street, New York, 1926)11. The French Bronze 1500 to 1800 (M Knoedler & Co, New York, 1968)12. Arts Council of Great Britain - Giambologna, Sculptor of the Medici, 1529-1608 - Catalogue edited by Charles Avery and Anthony Radcliffe13. Arts Council of Great Britain - Ivory Carvings in Early Medieval England 700-1200 (Victoria & Albert Museum London, 8th May to 7th July 1974)14. Anthony Radcliffe - A Connoisseur Monograph, European Bronze Statuettes15. Victoria and Albert Museum - Catalogue of the Jones Collection (Part II - Ceramics, metalwork, Sculpture, Etc.)16. Victoria and Albert Museum, Department of Architecture and Sculpture - Catalogue of Carvings in Ivory (Part I)17. Victoria and Albert Museum - Catalogue of Carvings in Ivory (Part II)18. Venetian Bronzes - From the collections of the Correr Museum,Venice - Introduction and notes by Professor Giovanni Mariacher - Circulated b the Smithsonian Institution 1968-196919. Rupert Gunnis - Dictionary of British Sculptors 1660-185120. M I Webb - Michael Rysbrack Sculptor21. Jennifer Montagu - Bronzes22. The twilight of the Medici, late Baroque art in Florence, 1670-1743 - Detroit. The Detroit Institute of Arts 27 March - 2 June 1974; Florence. Palazzo Pitti 28 June - 30 September 197423. Bronzes, Other Metalwork and Sculpture; The Collection of Irwin Untermyer - London Thames and Hudson, 196224. Byzantine Art - Edinburgh 1958 London25. Renaissance bronzes in American Collections - An Exhibition organizes by the Smith College Museum of Art; Northampton Massachusetts 196426. The Gambier-Parry Collection (Provisional Catalogue 1967) - Courtauld Institute of Art University of London27. Wallace Collection Catalogues - Sculpture (Marbles, terra-cottas and bronzes, carvings in ivory and wood, plaquettes, medals, coins, and wax-reliefs. Text with historical notes and illustrations by J G Mann, M.A., F.S.A, London)28. A Collection of Renaissance and later medals - Sotheby & Co. A.G., Zurich, 27th May 197429. The Thomas F Flannery, Jr Collection - Sotheby's, 1st and 2nd December 198330. The Cyril Humphries Collection of European Sculpture and Works of Art, Part I-II - Sotheby's, New York, 10th January 199531. The Keir Collection of Medieval Works of Art - Sotheby's, New York, 20th November 199732. H R Weichrauch - Europaische Bronze-Statuetten (15.-18. Jahrhundert)33. Beeldhouwkunst in het Rijksmuseum / catalogus (door Jaap Leeuwenberg, met medewerking van Willy Halsema-Kubes)34. Die Bildwerke in Bronze und in Anderen Metallen - Bayerisches Nationalmuseum Munchen - Verlag F Bruckmann Munchen35. Bayerisches Nationalmuseum Bilfuhrer 1 - Bronzeplastik, Erwerbungen von 1956-1973 (Hans R Weichrauch zum 65. Geburtstag, Munchen 1974)36. Wilhelm von Bode - Die Kunst der Fruhrenaissance in Italien37. Association Royale des Demeures Historique de Belgique - Catalogue de l'Exposition de Bronzes de la Renaissance de Donatello a Francois Duquesnoy (conserves dans des collections privees belges, Septembre-Octobre 1967))38. Jolan Balogh - Katalog der Auslandischen Bildwerke des Museums der Bilbenden Kunste in Budapest, IV-XVIII Jahrhundert (I-II)39. Tardy - Les Ivoires; Evolution decorative du premier siecle a nos jours
Roman Imperial Coinage, Probus, Antoninianus, Rome, 276-82, rev. hexastyle temple, statue of Roma inside, r*γ, 3.68g (RIC 195; RCV 12027); Diocletian, Follis, Nicomedia, 294-5, rev. Genius standing left, holding patera and cornucopia, smn in exergue, 10.17g (RIC 27a; RCV 12788) [2]. First with small flan crack at 10 o’clock, last with residual silvering, otherwise good very fine £80-£100
17th Century Tokens, LONDON (City), Billingsgate, R[obert] C[ash], Farthing, 1.18g/6h (BW. 6559; BW. 197); Hammond’s Quay [Billingsgate], John Sell, Farthing, 0.56g/6h (N 7065; BW. 1311); Harp Lane [Tower Street], Richard Lomax, Farthings (2), 0.96g/6h, 0.90g/6h (both N 7068; BW. 1313); Lion Quay [Thames Street], F.E.R. the lyon and key, Farthing, 1651, 0.91g/12h (N 7243; BW. 3118); Moorgate, John Randall, Halfpenny, 1666, 2.15g/12h (N 7366; BW. 1970); Old Fish Street Hill, Wil Baggot, Farthing, 1.24g/6h (N 7454 obv., different rev.; BW. 2136); St Dunstan’s Hill, Anthony Parslou, Farthing, 1.25g/6h (N 7573; BW. 2479); Whitefriars, Govin Gouldegay, Farthing, 1.01g/6h (N 7845; BW. 3478) [9]. N 7366 fine, others in varied state £60-£80 --- Provenance: N 7068 at 0.96g R.A. Shuttlewood Collection, bt M.J. Dickinson
19th Century Tokens, DEVON, Barnstaple, Joseph Evans, John Bowhay, Michael Nott and R. Gribble, Shilling, 1811, 3.88g/12h (D 13), Sixpence, 1811, 1.89g/12h (D 15); Tavistock, Devon Mines, Penny, 1811, 24.97g/6h (W 1133); County series, ‘Morgan’s’ Shillings (2), 3.50g/12h (D 1), 3.42g/12h (D 5) [5]. Second fair, others fine, first and last toned £60-£80
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