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Lot 30
Leaf from a Censier, a book of rents, - owed to the lordship of La Chapelle, in French owed to the lordship of La Chapelle, in French, decorated manuscript on parchment [fourteenth century, France (most probably Brittany)] Single leaf, ruled for 30 long lines, with six original lines of entries on recto, and nine on verso, in an extremely fine and ornate bookhand, nine further near-contemporary lines added to the second entry on the recto in a similar hand, three initials in red or blue with undulating penwork in contrasting colours, some initial letters touched in yellow and two letters extending into upper margin with ornamental cadels, small stains to edge, with slight affect to penwork of uppermost initial, good condition, 290mm. by 260mm. This was clearly a splendid copy in an extremely large format of this practical record, quite apart from working tools such as charters and terriers. It may have been produced as the personal copy of the seigneur. The site is likely to be identifiable as La Chapelle-Gaceline (Morbihan) in Brittany. The placenames here, Caro, Le Tay and perhaps also La Gaial (perhaps La Gacilly ), point to the immediate surroundings of La Chapelle-Gaceline.
Lot 91
Clement Ramult de Radymno, Sermones de Tempore, - in Latin, manuscript on paper [south east Poland in Latin, manuscript on paper [south east Poland (Tarnów, east of Krakow), dated 1541 and 1548] 362 leaves, bound too tightly to collate but apparently complete (a single blank cancelled after fol.57 with no loss of text), c. 40 lines in black ink in a cursive hand, paragraph marks and rubrics in border in red, titles touched in red, edges slightly trimmed, some small stains throughout, else good condition, title on lower edge: de tempore sermones A , 162mm. by 105mm., contemporary or near-contemporary Polish aristocratic binding of blindtooled morocco over bevelled wooden boards, with compartments enclosing busts of Greek mythological figures holding musical instruments, above their names, and the title SERMONES DEI , all enclosing central panels (front board with the Crucifixion in gilt above the legend [N]OS NON COMINU: EXEO ; back board with further busts of the Biblical figures Peter, Paul and David), small scuffs to each board, split along edges of spine and some wear to head and foot, but solid in binding, remains of two metal clasps Provenance: (1) Written in Tarnów, Poland, in the mid-sixteenth century (inscriptions 1541 at foot of fol. 188v and in loco Tharnowiensis anno d. 1548 in red in gutter of fol.358v), doubtless for an itinerant preacher, and perhaps for the author himself; (2) Mojmir Filip Alois Helcelet (1879-1959) of Brno in the Czech Republic: his armorial labels on back pastedown with acquisition date, 1 June 1937; (3) Eivind Hassler (1939-2009) of Uppsala, Sweden; perhaps acquired in 1950: erased pencil marks on front pastedown. Text: This is an important medieval Polish book. Any manuscript containing the works of a Polish author is of great rarity, and the present manuscript is both dated and placed, and may have been copied for or by the author himself. It contains sermons from the first Sunday in Advent (fol.1r) to the 25th after Pentecost (fol.347r), followed by another for the dedication of a church. Another manuscript is recorded in Krakow, Biblioteka Prowincji, Ojców Bernardynów, MS.10/R. The author was a prominent ecclesiastical translator and preacher, who in 1512 entered the monastery of the Franciscan fathers of St. Bernadine in Przeworsk, some 50 miles to the west of Tarnów. He died in 1562, and thus this manuscript dates to within his lifetime, and was written in a town neighbouring that in which he lived. He may well have been responsible for its copying, and it is entirely possible that the present witness is in his hand or was made for his own use. Binding: While individual elements of the binding appear German, very close parallels can be found on sixteenth-century printed books from the Polish royal court (a Novum Testamentum Graece et Latine , ed. Erasmus of Rotterdam, Basel, 1527, in the armorial named binding of Bishop Jan Dantyszek, d.1548, an attendant on King Sigismund II Augustus, the book now Warsaw, Biblioteka Narodowa, XVI. F. 2339: illustrated in More Precious than Gold: Treasures of the Polish National Library , 2000, no.34; and a series of volumes bound in Krakow in 1549 for King Sigismund himself, ibid. no.37). All share the same monumental capitals of the title at the head of each front board, close enough that they may be from the same tools, and the arrangement of concentric bands of compartments with bust-portraits around a central panel.
Lot 2
A 20ft motor launch 'Wier Dolphin' of Dartmouth:, forward cabin and canopy to cockpit, fitted with a well maintained Mitsubushi diesel engine with Thornycroft marine conversion, serial number 02-1273, New Age PRM gearbox, 1313 running hours, deck equipment including warps and fenders, three anchors and chains, safety equipment, Icom VHF IC-M401EURO radio, Clipper GPS, on an SBS twin axle trailer with spare winch and other related engine spares, tools and accessories.
Lot 13
ORAZIO GENTILESCHI (attr.) (Pisa, 1563-London, 1639) The Ascension of Christ Oil on canvas, 138 x 168 cm Formerly in the collection of Claudio Strinati This painting clearly dates back to the transition phase between the 16th and 17th centuries, during which central Italy was a seething cauldron of talent in the shape of the great Mannerist masters who were already toying with modern naturalism – painters such as Giovanni Baglione, Ferraù Fenzone, Cristofano Roncalli known as Il Pomarancio, Giovanni Battista Pozzo, Tommaso Laureti, the Cavalier d'Arpino and others. The Ascension of Christ under discussion here has obvious points of contact with that environment, particularly with the circles of Pomarancio and of the Cavalier d'Arpino, yet it hints at a different culture – albeit at a culture of lofty formal and expressive quality. The work may reasonably be dated to the very early years of the 17th century, possibly even to before 1605. In this connection, it may be meaningful to link it to the still relatively obscure phase in the career of Orazio Gentileschi stretching from Jubilee Year in 1600 to 1606–7, when we can start to identify, with absolute certainty, works by Orazio that are both clearly influenced by Caravaggio and of unquestioned date. From the trial of 1603 in which Baglione brought a suit against Caravaggio and others, we learn that Caravaggio and Gentileschi had been the best of friends until the year 1600, even swapping useful tools of the painter's trade such as the pair of wings and the Capuchin friar's habit famously described in a testimony in the trial. Over the following two years, one gets the impression from the trial proceedings that relations between the two artists began to turn sour after they fell out for some unknown reason. But in 1603 we know as yet of no certain works by Gentileschi that can be clearly ascribed to the influence of Caravaggio. It is only with the Baptism of Christ in the church of Santa Maria del Popolo in Rome that we finally have a fully Caravaggesque work by Gentileschi, yet it is unlikely to have been painted before 1605–6. With the loss of the Fall of Saul that Gentileschi painted for the basilica of St. Paul's Without the Walls and of the frescoes in the apse of the church of San Nicola in Carcere, of whose existence we know from archival do- cuments, we can say nothing definite about Gentileschi's presumed intermediate phase between Mannerism and his subscription to the style of Caravaggio. The work under discussion here, however, may well provide us with some valuable clues precisely in that con- nection. Both the apostles and the three saints painted in the foreground display a level of formal sophistication and of sharp naturalism that would appear to point to the development of Gentileschi's style after his Mannerist work in the basilica of Santa Maria Maggiore in Rome (which can be dated to 1593) and in the Abbey of Farfa (which stretched up to 1600 or thereabouts) both of which still evince a heavy, residual Mannerist sediment. Moreover, a comparison between the figures in this Ascension and those in what are considered to be his earliest proto-Caravaggesque pictures, such as the Holy Family in the collection of the Cassa di Risparmio di Pisa in the Palazzo Blu, suggests that the painting under discussion here, adorned with the coat-of-arms of the Crescenzi family with whom Gentileschi may well have forged close ties precisely in the first few years of the 17th century, testifies even more effectively to the potential attribution of this work to the master.
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