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Collection of leaves from Breviaries and Books of Hours, in Latin and Dutch, illuminated manuscripts on parchment [thirteenth to fifteenth century] Nine leaves (including a bifolium): (i) bifolium from a Breviary, each leaf with single column of 19 lines in a rustic early gothic bookhand, one-line initials in gold and blue, two larger initials in gold on blue and faded pink grounds, these gold bars and their grounds with pointed edges extending into margins, 115 by 90mm., Low Countries, thirteenth century; (ii) leaf from a Psalter-Hours, with 14 lines in a fine gothic bookhand, initials in gold on coloured grounds with line fillers in same filled with flower heads, geometric patterns and foliage, 158 by 115mm., France (perhaps Amiens), c. 1250; (iii) leaf from a Litany from a Book of Hours, with single column of 15 lines, almost every line with a gold initial on pink and blue grounds, line-fillers in same with gold shapes at their midpoints, northern France (Paris), c. 1440, 153 by 115mm.; (iv) leaf from the Calendar from a Book of Hours in Dutch, single column with 17 lines in red and brown, small initials in gold or blue, one large ‘KL’ in gold on coloured grounds, with hairline foliage ending in hairy gold seedpods and blue-tipped tri-lobed flowers, Low Countries, fifteenth century, 165 by 119mm.; (v) leaf from a Book of Hours, Use of Sarum, single column of 19 lines in spiky script, red rubrics (longest: “Incipiunt hore beate marie virginis secundum usum anglie”), small initials in blue or gold on coloured grounds, one large initial ‘D’ in brown enclosing blue foliage and on gold grounds, full border of hairline foliage with realistic flower buds and blue and silver acanthus leaves (silver now oxidised), Low Countries for the English market or perhaps England, c. 1450, 155 by 133mm.; plus three small leaves from other fifteenth-century Books of Hours, all with some darkened areas and occasional scuffs, overall good condition
Illuminated geometric initial on a leaf from a Lectern Bible, in Latin, on parchment [Germany, mid-twelfth century] Single vast leaf, with a half-page initial ‘P’ (opening “Paulus apostolus Christi Iesu …”, Paul’s first epistle to Timothy) formed from tightly looping circles of acanthus foliage in green, blue, light brown and red, interwoven around each other, all on gold ground with small flowerheads painted on within the central part of the initial, the whole within an inner frame of a thick blue border with black or oxidised silver penstrokes to suggest marble, and an outer frame of a thin red outer line, the remaining letters of ‘Paulus apostolus’ in silver on red grounds and black capitals touched in red, four red initials in split bands enclosing blue penwork acanthus leaves, running titles, rubrics and tall thin simple initials in red, capitals touched in red, double column of 42 lines in a fine German early gothic bookhand (end of second epistle to Thessalonians, the argumentum of the first epistle to Timothy and the opening of that epistle), original quire signature ‘xiiii’ at base of verso, some small original flaws, surface discolouration and oxidisation and flaking from initial, else good condition, 512 by 338mm. From an exceptionally fine German Bible codex in monumental format. Initials in twelfth-century German codices often used small amounts of gold (see Glaube und Wissen im Mittelalter, 1998, nos. 72 and 83), but rarely is so much of the initial gilded as here. That and the painting effects suggesting marble on the present initial suggest that our artist’s model was most probably Carolingian (see the geometric initials in the ninth-century Tours Bible in Cologne, Dom. Hs. 1: ibid. no. 25, as well as the vast illuminated initial on a bifolium produced at Fulda c. 900: reproduced in Fuldische Handschriften aus Hessen, 1994, no. 43).
Vishnu Reclining on the multi-headed serpent Shesha, with his wife Lakshimi over the cosmic ocean, scene from the Bhagatava Purana, Deccani school [possibly Nagpur, central India, early eighteenth century] Single folio, ink and gouache on card, heightened in gold and silver, some very slight surface rubbing, a few small scratches and chips to paint along upper edge of image (only affecting trees and skyline), image ruled in black and gold, border in red with lotus flowers decoratively adorning the margins, verso blank, 155 by 244mm.
The Evangelist John, with his attribute and pointing to a copy of his Gospel, with a single Latin word “Iohannis” in Insular capitals, on a silver cornerpiece from an Anglo-Saxon bookbinding [England, seventh to ninth century (most probably ninth century)] Silver cornerpiece, formed to fit around one outer corner of a bookbinding, with niello carving in surface showing John standing within a roundel pointing to an open book, with his attribute of an eagle peeping around his right shoulder, “IO/HA/NNIS” in Phase II Insular capitals over his left shoulder, three animal masks (probably two roaring bears and a snake with bulging eyes) at interior corners, the bears with pouncing to their muzzles, the open eyes of these animals serving as holes for the pins to hold the piece to the book board, 30mm. square A fine example of high-grade Anglo-Saxon metalwork, most probably from a key moment in English history: the Viking invasions and the repelling of those by King Alfred Provenance: 1. From the binding of a de luxe Anglo-Saxon codex, most probably a Gospel Book of the ninth century. An archaeo-metallurgical report by Dr. Brian Gilmour (employing energy dispersive X-ray fluorescence and photomicroscopy of micro-cracking to the surface) indicates that this item is of an early medieval date, with trace impurities of copper and lead probably due to the reuse of impure scrap silver in its production. It may have been originally gilded, having a surprisingly high 8.9% gold reading on its surface (against 0.64% from section analysis). This use of gold, as well as the close stylistic comparisons with other refined examples of Anglo-Saxon metalwork (see below) sets this among the finer products of ninth-century England. The ninth century saw many opportunities for the breaking down of earlier bindings into their component scrap parts, and also for the production of the parent book of this decoration. Viking attack swept across England in the first half of the ninth century, bringing all states there to their knees, with the exception of Wessex. Much metalwork must have been seized by the invaders, and many communities must have been left without essential Christian books. In the last decades of that century, Alfred brought this onslaught to a stop, and turned his attention to a necessary renaissance of Christian knowledge and book production, most famously sending a copy of Gregory’s Cura Pastoralis in English translation, to every bishopric in the country with “an aestel [perhaps pointer] worth 50 mancuses [the equivalent of a half a pound of gold].” The present piece may have been taken from a codex during the invasions and lost, or been part of a new codex copied to replace one lost during the invasions.2. From an English collection, and previously in the Don Lee antiquities collection before 1990. Text and art style:The Latin inscription here is in Phase II style Insular capitals, those stemming from the display script developed in a Hiberno-Saxon context c. 700, and used in England from the eighth century to somewhere in the ninth century. In manuscript art they are found most prominently in the Book of Cerne (Mercia, ninth century; Cambridge University Library, MS. Ll.I.10), and in metalwork in the inscription (again for John the Evangelist) on a gold niello plaque of almost the same dimensions and doubtless also from a book binding (now British Museum M&LA 1978, 1-1,1: reproduced in L. Webster and J. Backhouse, The Making of England, 1991, no. 66a, pp. 82-83). In these two cases as well as the present one the capitals are thin and angular with an ‘A’ whose second stroke extends above the apex of the letter and curves to the left. All that separates them are minor features (here the leaning cross bars of the ‘N’s are higher than those of the others and the lowermost stroke of the ‘S’ is diagonal rather than sitting on the horizontal line) or paleographical aspects set by the media the scribe was working in (the Book of Cerne has long curling penstrokes at the end of its descenders, while the metalwork examples are necessarily shorter and squatter). In style the figure of the evangelist on the present piece shows great affinity with the central figure of the Fuller Brooch (Making of England, no. 257, pp. 280-281), but without the animal-like downturned ears and pointed nose of that figure. In addition, the eagle that peeks around our figure with its down-turned mouth and diamond shaped eye finds close parallel on the gold niello plaque noted above. The wide staring eyes and dispassionate flat-line mouth in the present piece are a common feature of the depiction of forward facing portraits in early medieval art, which endured until the late tenth century in the Anglo-Saxon book arts (compare, among many others, the Christ in Majesty page in the Codex Amiatinus, made before 716, Monkwearmouth/Jarrow: Making of England, no. 88, p. 124; and the depiction of Cassiodorus in Durham Cathedral Library, MS. B.II.30, eighth century, Northumbria: ibid., no. 89, p. 125). At the time of this sale, the British Library will be hosting the largest and most important exhibition Anglo-Saxon codices, fragments and artefacts to happen to date, with the celebrated Codex Amiatinus returning to Britain for the first time in 1300 years. It is impossible to prove, but tempting to speculate, that this small ornament may once have been on the binding of one of the codices in that exhibition, or at least one as elegant and opulent as the finer examples there. Examples of Anglo-Saxon metalwork with any script on the open market are rare, and those of comparable quality breathtakingly so.
Kanada Ragini, Death of the White Elephant, scene from a Ragamala series, Indian miniature on card, Deccani school [probably Hyderabad, India, late eighteenth century] Single folio, depicting a warrior prince seated high on a rocky outcrop above the slain elephant, ink and gouache on card, heightened in gold and silver, some light surface soiling, a few light creases, overall bright and attractive, images ruled in black and orange with red margins, ink inscriptions to verso, 298 by 222mm.
ƟA Miniature Octagon-shaped Qur'an, signed by Abdullah Husayn bada Rashida, in Arabic, illuminated manuscript on paper, housed in contemporary box [probably Ottoman Turkey, dated probably 5 Safar 1292 AH (1875 AD)] 200 leaves, complete, single column, between 38 and 41 lines of miniature gold gubari per page, surah headings in black against gold ribbon banners, opening two pages of text with illuminated polychrome borders decorated with interlocking vinal circles forming geometric patterns, heightened in gold, red and blue, one spot on the final free endpaper and some very slight finger soiling to a few leaves of text, else excellent condition, 44 by 44mm.; contemporary brown morocco, covers stamped with central medallions and corner pieces to each of the eight corners, additional decorations in gold, spine a little rubbed, edges gilt, housed in contemporary silver box with clasp A charming miniature Qur'an, signed and dated in closing colophon by a named scribe and preserved in excellent condition in its original talismanic silver box. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Lady seated in a Palace Courtyard, holding a flower, Indian painting on card, Mughal school [Lucknow, Northern India, c. 1750] Single folio, ink and gouache on card, heightened in gold and silver, very fine painting of lady's face, some very slight loss to paint along upper edge of painting (to skyline), image ruled in black and silver, top edge of outer margins a little darkened, nineteenth-century Western ink inscription to verso, else blank, 207 by 158mm.
* Modernist silver His & Hers wine goblets, maker Christopher Nigel Lawrence, London, 1974: of waisted form with bark decoration to the exteriors with emblematic male and female tied motifs to the stemson a spreading circular foot, 14.5 and 13.5cm. high, contained in original fitted case, total weight of silver 405gms, 13.03ozs.
Stuart Devlin silver gilt novelty egg, London, 1981, commemorating the marriage of HRH Prince Charles and Lady Diana Spencer: the lift off top enclosing the Prince of Wales feathers within an enamel floral wreath inscribed, the exterior of simulated bark design, No 197, 6cm. high, together with a silver gilt stand by the same maker, London, 1985, cased.
A modernist silver three-piece cruet set, maker House of Lawrian, London, 1974: the salt and pepper of conical form with naturalistic tree bark finish, with similar decoration to the salt and salt spoon, the pepper 5.5cm. high, total weight of silver 133gms, 4.28ozs.
An Elizabeth II Royal Silver Wedding commemorative silver biscuit barrel, maker Carrington & Co Ltd, London 1973:, the plain concave top with crown finial and inscription to rim, the body with applied silver gilt cyphers on a bark pattern reserve, numbered top base 294/1500 16.8oz.
Anton Michelsen. A Danish enamelled silver 'daisy' brooch: with makers stamp 'AM' for Anton Michelsen, designed in the 1940's to commemorate the birth of Princess Margaretha, approximately 50mm diameter, 31gms gross weight with corresponding box, together with a 19th century silver collar necklace
Brett Payne. A gold and silver necklace: designed as links of scrolling branches with oak leaves and acorns, sponsors mark B.P for Brett Payne and struck with hallmarks for silver and 9ct gold, together with a long rectangular case, the lid with 'Brett Payne - Sheffield, England', approximately 46cm long, 91.5gms gross weight.
* John Maltby [b. 1936] a stoneware bowl: of circular form the interior decorated in black and silver lustre with a building surrounded by wax resist stylised trees and quadrilobed motifs reserved on a cream ground with a brown exterior, signed Maltby to base, 18 cm diameter.
Ruby Octagon Solitaire Ring with stepped ruby shoulders; the solitaire, a rich red ruby measuring a generous 5.5cts, flanked by round cut rubies in a four, three, two, stepped formation, down the shoulders, totalling a further .5ct, set in 14ct gold vermeil and silver, a total of 6cts of rubies overall; size R
Royal Mint United Kingdom Ltd And Numbered Edition Golden Jubilee Silver Crown Set. This set is No. 48 and consists of A Victorian Silver Crown Date 1887 - uncirculated. Also Elizabeth II Silver 5 Pound Coin In Dated 2002, in uncirculated condition. Comes with original presentation box.
Royal Doulton Collection of Vintage Hand Painted Small Character Jugs ( 5 ) Five In Total. Comprises 1/ Sancho Panca Servant to Don Quixote. Issued 1957 - 1983. Height 3.25 Inches - 8.3 cm. 2/ Porthos D6453. Issued 1956 - 1991. Height 4 Inches - 10.1 cm. 3/ Lobster Man D6620. Issued 1968 - 1991. Height 3.75 Inches - 9.5 cm 4/ Long John Silver D6386. Issued 1952 - 1998. Height 4 Inches - 10.1 cm. 5/ Athos D6452. Issued 1956 - 1991. Height 3.75 Inches - 9.5 cm. All Jugs are 1st Quality & Mint Condition.
Large Uruguayan Amethyst Starburst Statement Ring, 18cts of marquise cut, rich purple, amethysts set in a starburst fashion, forming a visually stunning statement ring, in rhodium vermeil and silver; the high carat weight of the Uruguayan amethyst, regarded as one of the best quality and colour of purple amethysts, make for an exceptional ring which is easy to wear as the openwork gallery clears adjacent fingers; size R
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2475480 item(s)/page