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Click here to subscribe•STUDIO OF MIGUEL CANALS (1925-1995) STILL LIFE OF FLOWERS (STYLE OF ODILION REDON) Bears signature ODILON REDON, Canals studio stamp verso, pastels 65 x 49cm.; with a pastel of a girl, in the style of Emile Claus, bears E Claus signature, Canals studio stamp verso, 28.5 x 24cm. (2) ++ Each in good condition
Five Still Life Pictures to include Chloe Cheese (British, b. 1952):Yellow & Green, screenprint, artist's proof, hand-signed in pencil, titled & numbered 8/10, H 50 x W 38 cm; together with Michael Felmingham (b. 1935): Cyclamens, watercolour, H 27 x W 36 cm, two colour etching & aquatints of floral still life studies by Winifred Pickard (1908-1996), & Vanessa Bell colour poster, Interior with a Table, 1921 (5)
Oliver Clare (British,1853-1927), still life study of apples, grapes and strawberries, signed lower right, oil on board, 14 by 26cm, gilt frameProvenance: originally belonged to Miss Seymour, a jeweller in Birmingham who drank in the pub with Oliver Clare. He gave her this painting, it came to the family through the vendor's mother, who used to care for Miss Seymour.
CINEMA, posters, inc. Asya's Happiness (1987), Andrei Konchalovsky (Quad); Breakheart Pass (1975), Charles Bronson (Quad); Doctor in Distress (1963), Dirk Bogarde (Quad, cross fold holes); Eat a Bowl of Tea (1989), Wayne Wang (Quad); French Connection II (1975), Gene Hackman (US 1-Sheet); High Tide at Noon (1957), Patrick Mcgoohan (UK 1-Sheet); Johnny Suede (1991), Brad Pitt (UK); Life is a Bed of Roses (1983), Alain Resnais (Quad); Mandingo (1975), James Mason (Quad); Johnny Nobody (1961), Nigel Patrick (UK 3-Sheet); Pinocchio (1978 re-release), Walt Disney (US 1-Sheet, slight cross fold wear); Scandal (1989), Joanne Whalley (Quad); Still of the Night (1982), Meryl Streep (Quad); Total Eclipse (1997), Leonardo Di Caprio (Quad); Where the Green Ants Dream (1984), Werner Herzog (Quad), folded, G to VG, 15
A Lynton porcelain circular table box, painted by Stefan Nowacki, monogrammed, with a still life of pears, grapes and a melon on a ledge, within a raised beaded border, the green ground with a gilt garland of oak leaves, conforming base, chased gilt-metal mounts and shell thumbpiece, 6.5cm diam, 4cm high, gold printed marks
Leonard Manasseh (British, 1916-2017), Still life of a poppy in a jug, initialled and dated 'L M 53' (lower right), oil on board, 15.5 x 12cm, together with an unfinished oil on canvas of a woman lying on her front, attributed to Leonard Manasseh, 41 x 50cm, unframed (2). May be subject to ARR
Royal diploma of King Enrique II of Castile, for a Don Sancho concerning rights in Aranda de Duero, vast single sheet manuscript document in Old Castilian on parchment [Spain (Castile, Leon), 1369-79] Single large sheet, with 60 long lines of main text above a witness-list and scribal endorsement, penwork cadels to letters in uppermost line, significant names in red or blue capitals or left in blank parchment within red or blue grounds, opening initial in red with swirling penwork, a Chi-Rho symbol in red within a blue and red roundel set within blue and red frame, the royal seal of Castile within circular text frames in blue and red painted into text between columns of witnesses, parchment turned up at foot and document intentionally pierced through this turn up and the pen flourishes of the scribal endorsement to attach twisted silken cords of blue, red, white, yellow and green, these holding in place a lead seal with the arms of Castile on one side and a seated king on the other (rubbed, but in fair condition with main details and text still discernible), several early modern endorsements on reverse, some rubbed areas of text and cockled areas of parchment (but without significant loss to text other than second part of dating year), folds from storage, overall good condition, 715+50 by 610mm. Enrique II (1334-79) is styled here as ruler of “Castiella, de tolledo, de Leon, de Gallista, de Sevilla, de Cordoba, de Murcia, de iah’en [Jaén], de algarbe, de algesiin”, and elsewhere nicknamed ‘el Fratricida’ as he killed his half-brother, Pedro ‘the Cruel’ (probably necessarily in order to protect his own safety). This act placed him on the throne as the first king of Castile and Leon from the house of Trastámara. He lead a belligerent life, going to war against Ferdinand I of Portugal and his son in law, John of Gaunt, 1st Duke of Lancaster, before returning to the same conflict during the Hundred Years’ War in which he fought both the Portuguese and the English. He died in 1379 and was buried in the Capilla de los Reyes Nuevos in Toledo. This is a grand royal document, most probably intended to impress upon its viewer the majesty of the house of Trastámata, and draw attention away from the fratricidal origins of Enrique’s power (on his use of charters thus, see M.R. Obrado, ‘Simbología y propaganda política en los formularios cancillerescos de Enrique II de Castilla’, En la España medieval, 18, 1995). To that end a uniquely medieval Spanish diplomatic practise is employed here to its fullest: that of painting the royal seal into the centre of the document. Here it is placed between the columns of noble witnesses, mostly drawn from Enrique’s family, his innermost courtiers and young sons of subjugate rulers he had taken into his court as hostages, reminding the viewer of the centrality of his authority. Examples of such charters survive almost entirely in institutional ownership, and rarely appear on the market. Another issued by Pedro I in 1351 was offered by Les Enlumineres, catalogue 4 (1995), no. 32.
ƟLarge fragment of a leaf from Hildegard of Bingen, Explanatio Symboli Sancti Athanasii, an explanation of the Athanasian Creed, in Latin, decorated manuscript on parchment, in situ on the binding of a sixteenth-century printed book [Germany (perhaps Rupertsberg or Eibingen), late thirteenth or early fourteenth century] Lower half of a leaf, reused on a sixteenth-century binding, with remains of double column of 18 lines in a good and spiky Germanic early gothic bookhand, using ‘w’ in place of ‘v’ in words such as “ewangelium”, capitals touched in red, remains of a marginalia set within an angular frame obscured within turn-ups of ‘back board’, the leaf arranged on the sixteenth-century book as a limp parchment binding with edges folded in, with a column of manuscript text visible in the centre of each board, text obscured around spine of later book and damaged by small holes there, text on outer surfaces of later binding scrubbed clean, spots, stains and small holes, else fair and legible condition, overall: 190 by 295mm. This is a hitherto unrecorded and completely unstudied fragment of this work by perhaps the most important female mystic of the Middle Ages; one of only three or four manuscripts of the work to survive Provenance: From a codex perhaps produced within the monastery of Rupertsberg (founded 1147) or Eibingen (founded 1165), both of which were founded by the author. The text was addressed to the nuns of Rupertsberg, and appears to have had an extremely limited distribution, perhaps not extending outside these two houses (see below). Rupertsberg was closed and its goods transferred to Eibingen in 1632, and both communities were suppressed together in 1803. However, the present fragment had already been reused on a binding of a book that had travelled to Italy by some point in the seventeenth century when it received its first ex libris inscriptions, and the parent manuscript may have been a volume reused for binding material in Rupertsberg itself, and discarded in its present state when they combined with Eibingen in 1632. If it was copied in one of these two communities, then the scribe is most likely to have been a woman, and may well have already been a young inmate of the community while the author was still alive. Text: Few authors in the Middle Ages were women, and even fewer were in a position that enabled them to reach the heights of their intellectual world. Thankfully, Hildegard of Bingen (c. 1098-1179) was in such a position. From a young age she experienced visions and entered the monastery of Disibodenberg as a child oblate. In 1136 she was unanimously elected magistra of the community by its members, and set about moving the nuns of the house to Rupertsberg where they would have greater independence. In 1165 she founded a further house from these nuns at Eibingen. At the age of 42 she received a profound vision instructing her ‘to write down that which you see and hear’, and she entered into the life of an author. She was beatified in 1326. The present text is an explanation of the Athanasian Creed composed for the inmates of her own female monastic community at Rupertsberg. It was written in the 1170s in a period of frenzied writing as she entered her seventies and the community feared they might soon lose her. The fragment here contains the parts of the opening of the text, touching on the Creation of the sun, moon and stars, the world and the creatures on it: from “sicut etiam in creatione die …” (in a slightly variant form to the edited text) to “… qui totam Ecclesiam sustentarent. Deinde”, reopening in the second column with “divinitate, et non in persona …” to “… divisio est nisi distinc[tio]”. This allows us to calculate that slightly less than 50 lines are missing from the top of the leaf, giving us a large page layout of approximately 390 by 260mm. total page size (and probable written space of 250 by 180mm.), in keeping with the large margins surviving here. The emergence of this fragment brings the number of recorded witnesses to the text to a total of three or four, with the others: (i) the Rupertsberger Riesenkodex, now Wiesbaden, Hessische Landesbibliothek, Hs 2, dating to the 1180s and thus to the months or years after the author’s death; and (ii) its immediate descendent and direct copy, Vienna, Hofbibliothek, cod. 721, of the thirteenth century. The manuscripta.au website also reports another copy, apparently previously overlooked in a thirteenth-century collection of the author’s letters in ÖNB, cod. 881. The readings of the present fragment have not been compared with the other known witnesses and remain completely unstudied and unpublished. Any text by Hildegard of Bingen in manuscript is of near-legendary rarity on the market, and the last codex to appear was a fifteenth-century one containing De Avibus et Animalibus, sold in Sotheby’s, 25 March 1923, lot 99. We know of no other fragment to have appeared for sale. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Ɵ The Prayerbook of Jørgen Quitzow, in Renaissance Danish and German, illuminated manuscript on parchment, with near-contemporary additions on paper [Denmark (perhaps the Lutheran Chapter for Noble Ladies at Maribo, Lolland, or just perhaps central Fyn), dated 1570] 80 leaves, the main section (48 leaves) on vellum, complete, collation: i-xi4, approximately 16 lines of an angular calligraphic hand with numerous pen cadels and flourishes set in a near-square single column framed at edges by double orange-red and pale green lines, rubrics in red, sections opening with larger ornate letters and ending with calligraphic interlace ‘penwork knots’, double-page opening at front with coloured and illuminated coats-of-arms (see below), 17 hand-coloured woodcuts taken from a contemporary printed text on paper (from a copy of the Danish version of Luther, Husspostille published in 1564; 2 with substantial damage, and a further 8 spaces indicating that woodcuts were once there but have been removed or fallen away), this followed by some 32 paper leaves with near-contemporary additions of devotional material probably added for (or even by) Quitzow, mostly in quires of 8 and wanting a single leaf from this section, else complete, the first 6 leaves also approximately 16 lines in near-square single column, set within single red lines, thereafter 13 leaves with further devotional additions, the last leaves blank, some small natural flaws in parchment, small spots and scuffs, but overall in good and solid condition, 100 by 95mm.; Danish binding of c. 1800, marbled paper-covered pasteboards, spine backed with light tan leather, corners quartered with same, title “Bonn/bog” in ink on spine, with Thore Virgin’s “1570” added below Provenance:1. Written and illuminated for Jørgen Quitzow (d. 1599: see E. Ladewig Pederson in Adel forpligter - studier over den danske adels gældsstiftelse, 1983, p. 190, for brief comment) of Lykkesholm, Fyn: with the arms of his father’s family (Quitzow, beneath a silver helm and within metallic foliage) facing those of his mother’s family (Rønnow of Magelund, within golden foliage and gilt and red helm) as an illuminated opening on the inside facing pages of the first two leaves, and with a scrawled contemporary signature at the foot of those leaves that is certainly his own (“Jürgenn Qvitzow / med egen hand”). He was an important Danish magnate of the last decades of the sixteenth century, presumably named after his grandfather Jørgen Henningsen Quitzow (d. 1544), who served King Christian III as royal courtier and chancellor from 1537 until his death. His grandmother was Ellen Andersdatter (d. after 1558), a member of the influential Gøye family, who in later life became the first and founding abbess of the Lutheran Chapter for Noble Ladies at Maribo, Lolland, a house which took over the buildings of the first Bridgettine abbey in Denmark (that founded directly from Vadstena in 1418, and suppressed as a Catholic house during the Reformation, but with some nuns remaining in situ throughout the refoundation). This was a community of protestant ‘nuns’ in all ways bar their titles, made up from woman dedicated to prayer and Bible study in Danish and German. Such Lutheran chapters were a common phenomenon in early Reformation Denmark, often founded to ensure the suppression of earlier powerful Catholic religious centres (in this case the founding Bridgettine house of Denmark). However, old habits seem to have died hard, and in 1563 complaints were made to the bishop of Fyn that the inmates were harbouring Catholics, had resumed prayers for the dead of their Bridgettine predecessors and had returned to wearing the Bridgettine habit in private. Accusations of drunkenness and disorder followed and the house was suppressed in 1621.Two of the around twenty surviving medieval and Renaissance prayer books made for Danish private owners are securely connected to Maribo (K.M. Nielsen, A. Otto and J. Lyster, Middelalderens danke Bønnebøger, 1945-1982; cataloguing Copenhagen, GKS 1614, 4to and Thott. Samling 553, 4to), and it is possible that the scriptorium there produced also this codex, also produced this codex, perhaps as a gift to Qvitzow from his grandmother or maternal aunt (both reportedly abbesses of the house).2. Lt. Captain Thore Virgin (1886-1957) of Qvarnfors, Skåne, Sweden: his ex libris and small printed bookplate on front pastedown, noting the acquisition of the book in Copenhagen on 28 March 1927. The remnant of the Thore Virgin library was widely dispersed in recent years, but this volume has until now not appeared on the open market, and is completely unknown and unrecorded. Text and illustrations:The text opens with the calligraphic title, “En liden trøstelig Bønebog/ aff atskillige slaugs Tydske oc danske bønebøger de trøsteligste tilsamme[n] schreffuen/ nu udi denne siste Verdens tid gantske nødsommelig at bede. 15*70”, and includes a lengthy series of prayers interspersed with readings from SS. Augustine, Basil, John Chrysostom, Hilarion, Origen and others, and quotations from the works of Luther (including prayers), Ludwig Rabus (whose prayerbook was published in 1567), and Andreas Musculus (who published a devotional work in 1559). The last six leaves of the parchment section contain devotional Biblical readings.Books of Hours and prayer books translated into vernacular languages are of exceptional rarity, outside of the Dutch tradition (which had a strong vernacular tradition following the devotio moderna movement and the translation of Gerhard Groote). While a few hundred thousand such manuscripts exist in Latin, only a handful survive in a small number of other vernacular languages. Only about twenty-five such manuscripts substantially in German are currently known to exist (R. Cermann, ‘Über den Export deutschsprachiger Stundenbücher von Paris nach Nürnberg’, Codices Manuscripti, 75, 2010, pp. 9-24, and Sotheby’s, 2 December 2014, lot 49). Seventeen survive in Middle English, none earlier than the end of the fourteenth century (A. Sutherland, English Psalms in the Middle Ages. 1300-1450, Oxford, 2015, p. 27). The total number of Old French vernacular prayer books is unknown but probably no more than fifteen, with many examples of the sixteenth century (see V. Reinburg, French Books of Hours: Making an Archive of Prayer, c. 1400-1600, Cambridge, 2014, p. 96 for isolated examples). Of the roughly twenty prayerbooks and associated texts in Danish listed in Middelalderens danke Bønnebøger only three are outside of Denmark itself, and those all in Swedish institutional ownership (Kalmar, Läroverks Bibliotek; Stockholm, KB. A40; and Linköping, Theol. 217). Thus, this manuscript is almost certainly the only such work in any form of Danish which might appear on the market again, and most probably one of the very few early manuscripts in Danish still in private ownership. Additional Note: The presence of a previously overlooked catchword “Det” on the last leaf of the original parchment section of this codex indicates that a leaf or so is missing from the end of this section. Please note: that the original parchment section of this codex is missing a leaf or so from its end Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
After Henry Alken Senior (1785-1851) six etchings from 'Ideas, Accidental and Incidental To Hunting and Other Sports', comprising 'I say Bob you addent an Idea I could ride so well as you', ' I have an Idea I shall win now if I can but carry in my weight', 'I say my good woman have you any Idea how they manage here to get a horse out of a brook?', 'I have an Idea that this Fence is either too High or that my Horse is too Short', 'I positively have no Idea what I am to do in this case' and 'I have no idea what could induce me to follow you over this d...d rotten Bridge', 11.5 cm x 16.5 cm, framed and glazed; together with B. Macpherson (20th Century) watercolour and gouache on card, 'Still Life with Flowers', signed 'B.Macperson_' (lower left), 35 cm x 25 cm, framed and glazed; and five 20th Century prints (12)
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