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Lot 1627
Roman Republican silver denarius of L.Calpurnius Piso L.f. Ln. Frugi, 90 B.C., Sear 235var., obverse:- Laureate head of Apollo right, bow behind, reverse:- Horseman, naked galloping right, holding palm branch and whip, legend:- L.PISO FRVG[I], control mark below CXXVI [VI ligulate?], obverse off centre, light marks obverse, good metal, VF
Lot 100A
Elkington & Co Plated Unique Novelty Jockey Club Cruet Set. c.1865, With Jockeys Whip for Spoon, Riding Boots for Salt and Pepper Pots, Upside Down Jockey Cap for Mustard Pot, The Handle In The Form of a Spur. All Standing on a Horseshoe Shaped Stand, Elkington Plate Marks to Underside for 1865. Height 3.75 Inches - 9.5 cm. Condition Is Good In All Pieces, But Requires Silver Plating, Very Low Estimate - Please See Photo.
Lot 210
A SELECTION OF OBJET DE VERTU to include an early 20th century paua shell and mother of pearl mounted crucifix, silver plated forks, silver plated box depicting a Japanese boating scene, art nouveau poker work photo frame, 19th century burr wood dome topped box with silver detail and brass applied decoration, two pewter salts, a set of bone dominoes in mahogany box, brush stand and two brushes, a horn handled fly whip (a quantity)
Lot 250
CHURCHILL CLEMENTINE S.: (1885-1977) Wife of Sir Winston S. Churchill. T.L.S., Clementine S. Churchill, with holograph salutation and subscription, one page, 4to, 10 Downing Street, Whitehall, 23rd June 1954, to Mrs. [Theresa] Arnison. Churchill announces, 'Winston is so glad to sign your book, and I have managed to whip it in before he leaves for Washington' and continues to thank her correspondent for their charming letter, further concluding that she looks forward to seeing Mrs. Arnison on Saturday. Accompanied by the original envelope. VG Winston Churchill visited Washington DC in June 1954, accompanied by his Foreign Secretary Anthony Eden. They travelled in hopes of securing American acceptance of the Geneva Accords designed to settle outstanding issues resulting from the Korean War and the First Indochina War. Just over a week before the date of the present letter Winston Churchill had been formally installed as a Knight of the Garter at Windsor on 14th June 1954. Theresa Arnison was Chairman of the Women's Advisory Committee of the Woodford Conservative Association and wife of Rowland Arnison, Chairman of the Woodford Conservative Association.
Lot 488
Mabel Dorothy Hardy (1868-1937) After you Jack, No choice for the huntsman, Hi! There!, Hard on the whip, Steady Does it and The Hooligan, chromolithograph prints, each signed in pencil to the margin, 35 x 54cm. (6)Steady does it – worm holes along border to both sides of title.Hand on the Whip – holes to border.All with discolouration and foxing to mounts.Condition of prints good.Colours strong.All unframed.
Lot 13
A Victorian malacca and silver mounted riding crop inscribed 'Fourth Prize Tent Pegging QMS Joel, Yorkshire Dragoons', hallmarked for London 1819, length 78cm, and a further steel lined example, also an antler handled silver mounted fibre glass shafted whip, hallmarked for London 1961, and a pair of leather manacles (4).
Lot 351
An Early 19th Century Prostitute's Knife, with 10cm sun engraved steel blade, fluted bone and horn inlaid handle and leather sheath with silver mount; a Moroccan Camel Whip, with plaited leather bound grip and mother of pearl inlaid wood haft enclosing a stiletto blade, lacks thong; five Various Knives, comprising a horn handled bowie knife and sheath, a Muela Mouflon bowie knife and sheath, a Tru-Edge hunting knife with horn grip scales, a modern hunting knife and a dagger with fullered stiletto blade and wood grip (7)
Lot 211
A Quantity of Militaria, including a 20th Century mahogany truncheon, a leather bound whip with thong, a shell case, a 1940 gas mask in cylindrical tin, inert cartridges, shells, hand grenade and missile, a No.1 Electric Lamp by E.R. Co. Ltd., a Lucas Maxlite, webbing belts and pouches, reference books, magazines and newspapers relating to the Falklands War, in five boxes
Lot 633
*Brock (Charles Edmund, 1870-1938). Stern Critics, pencil on paper, depicting a pretty young lady in jodhpurs leading a large horse in harness and carrying a whip, with two elderly women at a cottage door surveying her from behind, titled lower left, verso with several small pencil sketches of figures, pin holes to margins, 33 x 20cm (13 x 8ins), together with a quantity of other sketches for illustrative work by the Brock brothers, mostly pencil but one or two pen & ink, including composition sketches, figure and animal studies, drapery studies, etc., some leaves with several small sketches, various sizes and condition (approx.50)
Lot 384
Britains Racing Colours RC83 Winston Churchill (whip end missing) and RC93 John Hay Whitney (one boot loose) in original boxes (Condition Good, boxes Good), RC16 Greentree Stable (Condition Fair, repaired, whip end missing) RC1 H.M. the Queen, RC14, H.M. Queen Elizabeth the Queen Mother, RC2 Lord Astor (whip end missing) and RC127 Charles S. Howard (Condition Good) 1955 (7)
Lot 308
Britains Railwaymen, Passengers and Farm People five railway Passengers, three Railwaymen (one repainted), three Policemen, Golfer, four farm People, Taylor and Barrett, two seated Childrenand Hill, five milk churns and two Gladstone bags (Condition Good-Fair, four arms and one whip missing) (25)
Lot 391
VICTORIAN BRITISH SCHOOL, study of child with wheelbarrow and spade, holding hat in one hand and whip in the other, watercolour, approximately 19cm x 16.5cm, framed and glazed, together with a Victorian portrait miniature of a young woman, watercolour, approximately 12cm x 9cm, stained to upper centre, another of a Victorian lady wearing a bonnet, watercolour, approximately 14cm x 10cm, together with two birds eye maple framed monochrome prints titled 'Charles Cotton' and 'Isaak Walton' (5)
Lot 37
λ An early 18th century ivory fan, with ivory sticks and guards, the guards carved with figures and buildings, the leaf mounted à l’anglaise fashion, and hand painted with a procession or pilgrimage of numerous figures including a queen in her chariot, whip in hand, all in a mountainous landscape, the verso dark, with trace work floral designs, circa 1720, length 27cm
Lot 115
dating: 20th Century provenance: Brazil, Wooden structure, completely covered with leather, with rich floral and geometrical imprints, manufacturer's stamp 'F.G. SCHMIDT S.A.' with address in Brazil. Fine, leather saddle cover, of different colors, provided with pockets and fringes. Complete with belly belt, bridle with bit, with silver mounts and leather whip, with fine, silver, partially gilded grip. length 67 cm.
Lot 1159
A Belle Epoque yellow-metal, aquamarine and pearl openwork pendant necklace, in a curvilinear whip-lash arrangement, having a central flower-head cluster, comprising millegrain-set aquamarine surrounded by split seed pearl 'petals', and dependent aquamarine drop, on a fine curb-link neck chain, 4.2g
Lot 795a
A selection of vintage jewellery items to include a silver white metal hat pin in the form of a lizard, a yellow metal hat pin with a with a horse shoe finial, a hunting interest riding whip brooch, a round pendant with a kookaburra and butterfly wing underlay, a Duke of Edinburgh cap badge and a Stratton pocket notebook with floral enamelled front and fitted pencil.
Lot 29
Dante Alighieri, Commedia: Inferno X, 1-90, in Tuscan Italian, single leaf from a decorated manuscript on parchment [Italy (probably Tuscany), last quarter of fourteenth century or very early fifteenth century] Single leaf, with single column of 45 lines in brown ink an early semi-humanist hand of highest grade (written space: 177 by 78mm.), with some near-contemporary corrections changing spellings and entire readings of words in hairline thin black ink, capitals set in margin apart from main lines and touched in red, remnants of Canzo number ‘X’ in upper outer corner of text in red, one large initial ‘O’ (opening “Ora sen va per un secreto …”) in red enclosed within swirling blue penwork with long whip-like tendrils reaching into the margins in sweeping curves and vertical penstrokes encased within other curling tendrils (close to those in another fourteenth-century Dante manuscript: Perugia, Biblioteca Comunale, MS. 818; see also that now Cortona, Biblioteca Comunale e dell'Accademia Etrusca, MS. 88, also of fourteenth century), one 5-line fifteenth-century marginal addition on reverse on Farinata’s connections with the Ghibelline faction (glossing verses 87-89), recovered from reuse in a binding and hence with losses at corners and edges, some worm damage and discolouration, a few lines of text damaged but mostly legible, overall in fair and presentable condition, 275 by 205mm. A nearly emergent leaf from the most important literary work of the entire Middle Ages, with numerous orthographic and textual variants Provenance:This is most probably all the remains of a high grade manuscript written and decorated for a wealthy patron in the last quarter of fourteenth century, probably in Tuscany. The measured and elegant semi-humanist script puts the parent manuscript among the very finest products of fourteenth-century vernacular book production, and sets this quite apart from the more common ‘Cento’ group mass-copied in Florence in the same period. As such it represents a rare opportunity for study of a de luxe copy of the text produced outside the homogenous Cento group in a centre probably far from Florence. 2. Recently discovered in an Italian collection, and with an export license from that country. Previously unknown and unrecorded by scholarship. Text:Some works of medieval literature have made such an impact in the collective cultural heritage of the West that they have touched the lives of almost every generation of readers since their composition. Chaucer is in this category, as perhaps is Wolfram von Eschenbach, Rudolf von Emms, Christine de Pisan, Guillaume de Lorris and Jean de Meun, and for northern Europe, we might add also add Snorri Sturluson. Paramount among this small and select gathering of names is that of Dante Alighieri (c. 1265-1321), the foremost poet of the Italian language, whose works all but founded the modern Italian. This leaf is from what is widely regarded to be the most important literary work of the entire Middle Ages, the grand and exquisitely beautiful Divine Comedy. It was completed by 1321 in the last months of the author’s life and found immediate fame. Echoes of his work are legion and found throughout European literature from the fourteenth century to today, from Boccaccio’s evident devotion in his Trattatello in laude di Dante, to T.S. Eliot’s statement “Dante and Shakespeare divide the world between them. There is no third”. Jorge Luis Borges declared it “the best book literature has achieved”. By happy chance, this leaf contains the celebrated opening of Canto X of the Inferno, in which the author enters the sixth circle of Hell, that inhabited by heretics, and talks with Farinata degli Uberti (who denied life after death, and was exhumed and tried posthumuously in 1283) and Cavalcante Cavalcanti (probably an atheist, whose son, Guido, was Dante’s closest friend and arguably his poetic master, and who married the daughter of Farinata) as they lie in their fiery tombs that sit unsealed until after the last judgment. Within the history of the appreciation of the work, this section is among those most widely studied and contemplated; the great philologist Erich Auerbach (1892-1957) devoted a famous chapter of his masterwork Mimesis (1946) to this episode. This leaf has numerous orthographic and textual variants (unmarked in the transcription above), and these are completely unstudied. Over 800 medieval manuscripts and fragments have now been recorded by the ‘Dante online’ project, but they have been obsessively sought after for several centuries by collectors and grand institutional libraries alike, and are of enormous rarity on the market. Only a handful of codices have emerged on the market in the last century, the last in Sotheby’s on 25 June 1985, lot 82. The same house sold a single leaf with erased text only readable under UV light from a palimpsest manuscript, on 17 December 1991, lot 6; and a damaged leaf with a miniature recovered from a binding, on 1 December 1998, lot 16. To this should be added another leaf from a binding that emerged recently in Forum Auctions, London, on 25 January 2017, lot 118 (realising £14,000 hammer).
Lot 60
ƟThe Horwer Missal, written by Johannes Horwer for the Church of Schwerzenbach, in Latin, illuminated manuscript on parchment [Switzerland (Zurich), dated 1485] 153 leaves (plus 3 modern paper endleaves at each end), complete, collation: i9 (last probably a singleton), ii-x8, xi6, xii-xix8, xx6 (last 2 leaves of original quire cancelled blanks), some catchwords and contemporary foliation in red ink at head of each recto, double column of 27 lines in an excellent and angular Germanic bookhand, capitals touched in red (some with ornamental cadels reaching into upper and lower margins), red rubrics , small initials in alternate red and blue (some with ornamental cadels reaching into margin), larger initials in ornate red brushstrokes (some with tightly twisting penwork in contrasting colours, and those in lowermost lines with long whip-like penstrokes filling the bas-de-page, a few with human faces and that on fol. 98r with a red dragon’s muzzle), major sections opening with burnished gold initials with pink and khaki-green penwork (some with coloured foliage sprouting into border, and that facing Canon miniature with a dragon’s head at foot and human face at top, opening of text with two sided borders of scrolling coloured foliage with golden fruit, good dry-point sketch of a bird in flight in bas-de-page of fol. 99r, good pen and ink drawing in bas-de-page of fol. 98r of a red-billed stork raising its foot to stamp on a stylised frog, one full-page Crucifixion miniature before the Canon of the Mass, the figures before a burgundy sky set with liquid gold stars and all within a realistic pale green frame, some contemporary or near-contemporary marginal additions, marks on edges of some leaves from leather page markers once glued there, leaves at each end of volume with old water damage leading to cockling, some offset and shine-through in places and a few leaves with damage to their top edges, overall in good and presentable condition, 345 by 245mm.; nineteenth-century brown leather over pasteboards, gilt-tooled with floral and simple fillet frames around a blind-tooled floral cabouchon, “Missale” and “Cod. Membr. /Anni 1484” gilt on spine, in brown felt-lined fitted case This impressively large and weighty codex is one of the tiny proportion of medieval manuscripts for which we know almost all of the circumstances of its creation: its scribe, commissioner and which community it was made for, as well as the date of its completion Provenance:1. Written and illuminated by Johannes Horwer in 1485 for Andreas ‘Molitor’ (Müller), rector of the church in Schwerzenbach (a few miles east of Zurich, and incorporated within the city from 1402): Horwer’s signature discretely in white within the cross bar of the initial ‘S’ on fol. 140r (now mostly erased) and more openly in gold in a banderole in the lower margin of the frontispiece on fol. 2v (another banderole in the outer margin with the date in gold). Molitor is named in the inscription on fol. 89r: “Ego Andreas Molitoris de Keiserstuel rector huius ecclesie in Schwerzenbach pro remedio anime et benefactorum retuli hunc librum 1485” followed by his coat of arms (per fess sable a lion or passant and or a demi waterwheel sable). He is recorded as leutpriester (substitute priest) in Schwerzenbach in 1470, 1489 and 1493.2. From a nineteenth-century episcopal library: two repeated inkstamps on recto of first leaf with galero and six tassels per side, above initials perhaps to be read “ R A”. Text:The volume comprises: an Ordo specialis boni, a list of special feast days (fol. 1r), here functioning as an index to the codex; the Temporal (fol. 2v); the Ordo Missae (fol. 84v); the Canon (fol. 89r); the Sanctoral (fol. 94r), with readings for SS. Felix and Regula, martyred by decapitation near Zurich, and with text here that singles out and lauds Zurich: “O thuregum Rome regum regale palacium” (‘O Zurich royal palace of the kings of Rome’), and again in the text on Charlemagne on fol. 99r: “urbs Thuregum famosa”; the Common of the Saints (fol. 130v); the Missae votive (fol. 137r); and the Collecte speciales (fol. 153r). The Scribe-Artist:We are fortunate that Johannes Horwer’s work is known from more than one extant codex. He signed another Missal produced for the Knights Hospitallers dated 1469 with his name in a similar banderole in purple ink highlighted with gold (the summer part now surviving in s’-Heerenberg, Huis Bergh, MS. 15: A.S. Korteweg, Catalogue of Medieval Manuscripts and Incunabula at Huis Bergh Castle in s’-Heerenberg, 2013, no. 98), and in that he specifically names himself “scriptor”. However, the decoration and miniature of that codex are so close to the present example as to suggest he was also the illuminator. A third volume, a Gradual, was to be found in St. Petersberg in the early part of the twentieth century, and is recorded in a publication of 1925 by O. Dobiasch-Roschdestwenskaja as written by “Johannem Horwer von Lichtensteig burger Zürich” (in ‘Die Satire am Rande der mitteralterlichen Hss.’, Analecta Medii Aevi, I, 1925). Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Lot 862
Severus Alexander Æ Sestertius. Rome, AD 232. IMP ALEXANDER PIVS AVG, laureate bust right, slight drapery on left shoulder / P M TR P XI COS III P P, Sol walking left, raising right hand and holding whip; S-C across fields. RIC 525; C. 433; Banti 113. 24.32g, 29mm, 12h. Very Fine. From a private British collection.
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7033 item(s)/page