Important Watches featuring Exceptional Discoveries: The Olmsted Complications Collection

Dial: ice-blue Caliber: cal. L155.1 automatic, 31 jewels Movement number: 152'042 Case: titanium, snap-on sapphire crystal display back Case number: 258'346, no. 46/250 Closure: titanium A. Lange & Söhne bracelet with folding clasp Size: 40.5 mm diameter, bracelet circumference approximately 185 mm Signed: case, dial, and movement Box: yes Papers: yes Accessories: A. Lange & Söhne presentation box with outer packaging, Guarantee and Service book dated 22 January 2024, Operating Instructions Book, leather bi-fold, two bracelet setting tools, and polishing cloth

View 1 of Lot 116: Reference 363.117 Odysseus | A limited edition titanium automatic wristwatch with day, digital date display, and bracelet, Circa 2024

reference 363.117 odysseus | a limited edition titanium automatic wristwatch with day, digital date display, and bracelet, circa 2024

Icons of Endless Luxury

Reference 12425 A 6 A white gold automatic cushion shaped bracelet watch with jade dial, Circa 1965 Dial: jade Caliber: cal. 12P automatic, 30 jewels Movement number: 635'620 Case: 18k white gold, case back secured by four screws Case number: 117'363 Closure: 18k white gold Piaget bracelet with clasp Size: 33 x 31 mm, bracelet circumference is approximately 185 mm Signed: case, dial and movement Box: no Papers: no

View 1 of Lot 233: Reference 12425 A 6, A white gold automatic cushion shaped bracelet watch with jade dial, Circa 1965

reference 12425 a 6, a white gold automatic cushion shaped bracelet watch with jade dial, circa 1965

Prints and Multiples

PABLO PICASSO 1881 - 1973 MINOTAURE BLESSÉ, VI (B. 196; BA. 363) Etching, 1933, printing with plate tone, from la suite Vollard, signed in pencil, from the total edition of 310, on Montval laid paper with the Vollard watermark, framed plate: 192 by 267mm 7½ by 2½in sheet: 339 by 448mm 13¼ by 17⅝in

pablo picasso | minotaure blessé, vi (b. 196; ba. 363)

henri de toulouse-lautrec (1864-1901) miss may belfort saluant (d. 117; a. 121; w.

untitled #117

Bible. NT. Epistles. Paraphrases. English. A paraphrase and annotations upon all St Paul's Epistles. Done by several eminent men at Oxford [Abraham Woodhead, Obadiah Walker and Richard Allestree], corrected and improv'd by the late Right Reverend and Learned Dr Fell... The third edition with additions. London, 1703, 8vo (200 x 115mm.), [14], 419pp., binding: contemporary calf, binding rubbed

Bible. NT. Epistles. Paraphrases. English. A paraphrase and annotations upon all St Paul's Epistles. Done by several eminent men at Oxford [Abraham Woodhead, Obadiah Walker and Richard Allestree], corrected and improv'd by the late Right Reverend and Learned Dr Fell... The third edition with additions. London, 1703, 8vo (200 x 115mm.), [14], 419pp., binding: contemporary calf, binding rubbed Bible. NT. Revelation. Paraphrases. English. A paraphrase and notes on the Revelation of St John. By Moses Lowman... The second edition. London: for John Noon, 1745, 4to (277 x 216mm.), vi, xxxiv, 283, [1]pp., binding: morocco gilt by Hatton, arms on upper cover, some light spotting together 4 volumes

a paraphrase on the four evangelists... by samuel clarke... the fourth edition. london: w. botham for james knapton, 1722, 4 parts in 2 volumes, 8vo (189 x 117mm.), [11], 4, 6-211, [3]; [14], 134; [6], 3-363, [1]; [6], 232, [10]pp., illustration: woodcut initials and head-pieces, binding: contemporary speckled calf, spines gilt in compartments, upper joint of volume 1 partly split

Master Paintings Part II

Sold by the Art Institute of Chicago Guy-Louis Vernansal Paris 1648 - 1729 The Plague in the Reign of King David oil on canvas canvas: 101 ⅜ by 127 ¼ in.; 257.5 by 323.2 cm. framed: 117 3/8 by 143 1/4 in.; 298.1 by 363.9 cm.

View 1 of Lot 348: The Plague in the Reign of King David

the plague in the reign of king david

Livres & Manuscrits du XIIIe au XXIe siècle

[Manuscrit enluminé] Livre d’heures (à l’usage de Rome). En latin, manuscrit enluminé sur parchemin. Belgique, Bruges, vers 1510-1520. Avec 15 grandes miniatures inscrites dans des bordures enluminées, 24 petites miniatures (calendrier) et une initiale historiée ; bordures enluminées (nombre : 12) et historiées (nombre : 3). Enluminures et décor enluminé attribuables à Cornelia van Wulfschkercke et son atelier (?) (active à Bruges dans la première moitié du XVIe siècle, moniale du Couvent des Carmélites de Sion à Bruges). 248 ff. de papier avec feuillets de parchemin insérés au centre des feuillets de papier, précédés et suivis de 2 ff. de gardes de papier, manuscrit démembré et remonté (feuillets chiffrés au crayon à mine ; foliotation moderne refaite, suivie ici), texte a priori complet à part peut-être la fin de quelques sections (par exemple il semble manquer les tous derniers mots de sexte (après le fol. 109v) et none (après le fol. 115v) des Heures de la Vierge), écriture arrondie ("littera textualis, italianate script") à l’encre brune, réglure à l’encre rouge pâle, jusque 15 lignes de texte par page, rubriques en rouge pâle, lettres en capitales romaines marquant la fin des divisions textuelles (AMEN ou BENEDICAMUS), quelques bout-de-lignes en gris, noir et camaïeu d’or (litanies), nombreuses petites initiales dorées ou gris perlé sur fonds gris ou or (1 ligne de hauteur), plus grandes initiales du même type mais gris perlé ou or dur fonds noir ou marron avec décor en blanc ou camaïeu d’or (2 à 4 lignes de hauteur), grandes initiales tracées en bois écotés (or, vert, gris) sur fonds de couleur (vert, rose, bleu, or) introduisant les grandes divisions textuelles (5 lignes de hauteur), une initiale historiée avec bordure de trois-quarts (fol. 237), bordures enluminées de deux types (décor ganto-brugeois de type illusionniste et décor architecturé), trois bordures historiées (ff. 92, 147, 176), grandes miniatures cintrées inscrites dans des bordures enluminées. Maroquin havane avec grand décor doré "à la Duodo", semé de marguerites et fleurettes dans des médaillons, encadrements dorés, médaillons au centre des plats avec armoiries et devise "CARPE DIEM", dos lisse à décor "à la Duodo", lettrage doré "HORAE ROMANAE" et "MS. SAEC. XV" en queue de dos, triple filet doré en encadrement sur les contreplats (Reliure pastiche de la fin du XIXe siècle). (Sur Duodo, voir lot 48). Dimensions de la reliure : 174 x 152 mm ; dimensions des feuillets de papier : 170 x 142 mm ; dimensions de feuillets manuscrits (parchemin remonté) : 75 x 48 mm. Provenance 1. Manuscrit copié dans un environnement "ganto-brugeois", peut-être pour exportation : de nombreux manuscrits peints à Bruges et Gand étaient destinés à des commanditaires étrangers (Espagne, Angleterre, France, Italie). Ces Heures sont copiées à l’usage universel de Rome, avec un calendrier relativement épars lié à Bruges que l’on trouve dans plusieurs manuscrits destinés à l’exportation, permettant au commanditaire de compléter le calendrier. 2. Peint à Bruges, ce manuscrit est à rapprocher des réalisations d’un groupe d’enlumineurs actifs à Gand et à Bruges baptisé "Maîtres de Raphaël de Mercatellis" ayant travaillé, entre autres, pour Raphaël de Mercatellis, fils naturel de Philippe le Bon. Mercatellis fut abbé de l'abbaye Saint-Bavon à Gand de 1478 jusqu'à sa mort en 1508. Parmi ces artistes, il en est une mieux étudiée et associée à ce groupe, Cornelia van Wulfschkercke. Cette artiste était moniale carmélite du couvent de Sion à Bruges, documentée entre 1495 et son décès le 15 avril 1540, à qui plus d’une vingtaine de manuscrits ont pu être attribués à ce jour (citons tout particulièrement le Graduel de Sion, Paris, Bibliothèque Mazarine, MS 432, avec au colophon le nom de Cornelia van Wulfschkercke et la partie Sanctoral de ce Graduel, Paris, Bibliothèque Mazarine, MS. 390, sans colophon). Ce manuscrit de petit format est à rapprocher d’un petit livre d’heures également de très petit format (87 x 59 mm) dit "Széchényi Hours" (Budapest National Széchényi Library, Cod. Lat. 205), datable circa 1510-1520. Ce manuscrit fut peint par Cornelia van Wulfschkercke : As-Vijvers lui attribue les miniatures et les bordures enluminées (As-Vijvers, 2013, p. 468 ; fig. 146-147). Autre manuscrit présentant des éléments de comparaison, bien que de plus grande taille (132 x 89 mm), un livre d’heures conservé à Vienne, ÖNB, Cod. 1984 (datable circa 1510 ou 1520 ?), avec une Annonciation à la composition identique (Vienne, ÖNB, Cod. 1984, fol. 50v ; reproduite dans As-Vijvers, 2013, fig. 144, p. 720). Les miniatures et bordures du manuscrit de Vienne sont également attribuées à Cornelia van Wulfschkercke et l’atelier du couvent de Sion à Bruges (voir As-Vijvers, 2013, p. 482). Sur cette artiste et son atelier voir Arnould, A., De la production de miniatures de Cornelia van Wulfschkercke au couvent des carmélites de Sion à Bruges, Elementa Historia Ordinis Praedicatorum, 5 (Bruxelles, 1998) et les travaux récents de A.M.W As-Vijvers, Re-Making the Margin. The Master of the David Scenes and Flemish Manuscript Painting around 1500, Turnhout, 2013, pp. 319-343; A.M.W As-Vijvers, "Manuscript Production in a Carmelite Convent: The Case of Cornelia van Wulfschkercke", dans Books of Hours Reconsidered, ed. S. Hindman et J. Marrow, Londres/Turnhout, 2013, pp. 279-296. Voir aussi D. van Wijnsberghe, "L’Antiphonaire d’Oosteeklo et son enlumineur (Cornelia van Wulfschkercke ?)", in CeROArt, juin 2015. 3. Vignette ex-libris armoriée contrecollée sur le contreplat supérieur et reliure avec médaillon central figurant des armoiries et la devise "Carpe diem". Le collectionneur a choisi de démonter le manuscrit et de le remonter en insérant les feuillets manuscrits sur parchemin dans des feuillets sur papier, permettant une bonne appréhension des pages qui se tournent presque comme un livre d’images. Tous les textes sont conservés. 4. Henry Harvey Frost (1873-1969), industriel et bibliophile, grand amateur de manuscrits. Sa vignette ex-libris contrecollée dans le coin inférieur gauche du contreplat supérieur : "From the Library of H. Harvey Frost". Frost rassembla une collection de manuscrits remarquables en moins d’une décennie : une vue déclinante le contraint à disperser sa collection, en grande partie par l’entremise du libraire anglais Maggs. On rappellera que près d’un tiers de la donation Boisrouvray qui intègre la Bibliothèque nationale de France provenait de la collection Frost (J. Porcher, Manuscrits à peintures offerts à la Bibliothèque nationale par le comte Guy de Boisrouvray, 1961). 5. Inscription au crayon sur le recto de la première garde : "Min. of Pentecost with its border very similar to MS Hours in Lazaro Collection Madrid, evidently from same Bruges atelier (see Bordona, Manuscritos con pinturas, I, 1201). Miniature of St Veronica almost identical with same subject in a Bibl. roy. De Belgique MS)." Texte ff. 1-13, Calendrier, encre brune et rouge pâle, en latin, usage universel (pour Bruges ?) [E. Drigsdhal désigne ce calendrier comme "Bruges. Simplified secular calendar" ou "Minimal Calendar"] ; relevons les saints suivants : Amand (6 février), Adrien (4 mars), Gertrude (17 mars), George (en rouge, 23 avril), Erasme (3 juin), Boniface (5 juin), Translation de saint Thomas (en rouge, 2 juillet), Bartholomée (en rouge, 24 août), Lambert (17 septembre), Léonard (6 novembre), Élisabeth (18 novembre), Nicaise (en rouge, 14 décembre), Thomas (en rouge, 21 décembre). ff. 14-16v, Prière à la Sainte Face, rubrique, Ad salutandum facie Ihesu Christi. ff. 17-25v, Heures de la Croix. ff. 26-33v, Heures du Saint-Esprit. ff. 34-43v, Messe à la Vierge, rubrique, Incipit missa beata marie. ff. 43v-49v, Péricopes évangéliques. ff. 50-133v, Heures de la Vierge, à l’usage de Rome, avec rubrique, Incipiunt hore beate marie virginis secoundum usum romanum ; avec matines (ff. 51-74v) ; laudes (ff. 75-90) ; prime (ff. 91-97v) ; tierce (ff. 98-103) ; sexte (ff. 104-109v, manque un feuillet sans doute entre les ff. 109v-110) ; none (ff. 110-115v, manque peut-être un feuillet entre les ff. 115v-116) ; vêpres (ff. 116-126) ; complies (ff. 127-133v). ff. 134-145v, Office de la Vierge pour l’Avent. ff. 146-174, Psaumes de la pénitence et litanies. ff. 175-234, Office des morts. ff. 235-248, Obsecro te et autres prières. Illustration Calendrier avec les travaux des mois (petites miniatures) et les signes du zodiaque (petites miniatures inscrites dans des médaillons). Les feuillets de calendrier présentent 24 petites miniatures en bas de page, texte inscrit dans des encadrements architecturés à colonnades : f. 1, Mois de janvier, Travaux des mois : Homme se chauffant auprès du feu. f. 2, Mois de janvier, Signe du zodiaque : Verseau. f. 2v, Mois de février, Travaux des mois, Émondage et taille des arbres. f. 3, Mois de février, Signe du zodiaque : Poissons. f. 3v, Mois de mars, Travaux des mois, Homme bêchant. f. 4, Mois de mars, Signe du zodiaque : Bélier. f. 4v, Mois d’avril, Travaux des mois, Scène galante, un homme et une femme. f. 5, Mois d’avril, Signe du zodiaque : Taureau. f. 5v, Mois de mai, Travaux des mois, Promenade équestre. f. 6, Mois de mai, Signe du zodiaque : Gémeaux. f. 6v, Mois de juin, Travaux des mois, Travaux des champs, homme fauchant. f. 7, Mois de juin, Signe du zodiaque : Cancer. f. 7v, Mois de juillet, Travaux des mois, Moissons. f. 8, Mois de juillet, Signe du zodiaque : Lion. f. 8v, Mois d’août, Travaux des mois, Battage du blé avec un fléau. f. 9, Mois d’août, Signe du zodiaque : Vierge. f. 9v, Mois de septembre, Travaux des mois, Vendanges. f. 10, Mois de septembre, Signe du zodiaque : Balance. f. 10v, Mois d’octobre, Travaux des mois, Semailles. f. 11, Mois d’octobre, Signe du zodiaque : Scorpion. f. 11v, Mois de novembre, Travaux des mois, Glandée. f. 12, Mois de novembre, Signe du zodiaque : Sagittaire. f. 12v, Mois de décembre, Travaux des mois, Saignée du cochon. f. 13, Mois de décembre, Signe du zodiaque : Capricorne. Fin du calendrier f. 14, Véronique tenant le "voile de Véronique" (Vera Icon) inscrite dans un encadrement à niches architecturées. f. 15, Bordure enluminée, motifs ganto-brugeois, décor illusionniste, Véronique tenant le "voile de Véronique" (Vera Icon). f. 17, Crucifixion, Mont Golgotha, Christ crucifié entre les deux larrons, scène inscrite dans décor architecturé avec table d’autel et calice. f. 18, Bordure enluminée avec lettres stylisées (bois écotés). f. 26, Pentecôte inscrite dans un encadrement à niches architecturées avec motifs ganto-brugeois. f. 27, Bordure enluminée avec lettres stylisées (VENI SANCTE SPIRITU). f. 34, Prêtre préparant la messe, dévot ou commanditaire agenouillé, bras croisés sur sa poitrine, scène inscrite dans un encadrement à niches architecturées avec ciboires et chapelets. f. 35, Bordure enluminée, motifs ganto-brugeois, décor illusionniste, fleurs et vase. f. 50, Annonciation inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 51, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 75, Visitation inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 76, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 91, Nativité inscrite dans une bordure historiée, arbre et oiseaux au bord d’un canal ou cours d’eau. f. 92, Bordure historiée, avec scène de chasse à l’oiseau, chasseur sous forme de sirène ou ondin avec armure, arbres et oiseaux au bord d’un cours d’eau. On trouve des scènes semblables figurant des sirènes en armure (« armored merperson ») dans d’autres manuscrits, par exemple dans un livre d’heures conservé à New York, Pierpont Morgan Museum, MS M. 363, fol. 42 et fol. 79v (bordures historiées) et dont l’artiste est considéré comme celui celui qui peint aussi des Heures à Modène, Bib. Estense MS 115 ; à Utrecht, Archiepiscopal Museum inv. no. 11 (daté 1525) ; au Library of Congress (Rosenwald Collection MS 29). Le manuscrit M. 363 de la Pierpont Morgan présente aussi plusieurs points communs avec les présentes Heures « Frost ». f. 98, Annonce aux bergers inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste (oiseaux, grandes tiges de laurier, oiseaux, papillon). f. 99, Bordure enluminée, motifs ganto-brugeois, décor illusionniste (oiseaux, grandes tiges de laurier, fleurs, escargot, insecte). f. 104, Adoration des rois mages inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 105, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 110, Présentation au temple inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 111, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 116, Massacre des innocents inscrit dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 117, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 127, Fuite en Égypte inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 128, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 134, Trinité et Vierge couronnée, scène inscrite dans une bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 135, Bordure enluminée, motifs ganto-brugeois, décor illusionniste. f. 146, David en prière inscrit dans une bordure historiée figurant un bassin avec des canards et deux paons. f. 147, Bordure historiée avec bassin ou fontaine cernée d’un muret, treillis avec roses, oiseau, chouette et paon. f. 175, Dépouille mortelle avec l'âme personnifiée sous la forme d'un enfant, disputé par un ange et un démon, scène inscrite dans un encadrement à niches architecturées avec motifs ganto-brugeois. f. 176, Bordure historiée avec niches architecturées, memento mori et motifs ganto-brugeois. f. 237, Initiale historiée, avec Pietà (camaïeu d’or). Bordure sur trois côtés enluminée motifs ganto-brugeois, décor illusionniste. Nous remercions Mme Ariane Adeline pour la rédaction de cette description.

View 1 of Lot 3: Livre d’heures (à l’usage de Rome). En latin, manuscrit enluminé sur parchemin. Belgique, Bruges, vers 1510-1520.

livre d’heures (à l’usage de rome). en latin, manuscrit enluminé sur parchemin. belgique, bruges, vers 1510-1520.

Books and Manuscripts, Medieval to Modern

William Daniell and Richard Ayton A Voyage Round Great Britain, undertaken in the summer of the year 1813, and Commencing from the Land's-End, Cornwall, by Richard Ayton. with A Series of Views, Illustrative of the Character and Prominenent Features of the Coast, drawn and engraved by William Daniell. London: Longman, Hurst Rees, Orme and Brown, and William Daniell, 1814-1825. text: 8 volumes bound in 2, folio (363 x 262mm.), titles to each volume, contemporary half calf over marbled boards, spines with raised bands in 5 compartments, sprinkled edges, green endpapers, prelims foxed, some browning to volume iv, extremities rubbed; plates: 308 hand-coloured aquatints, each 259 x 370mm., by and after William Daniell, numbered in manuscript, loose in two marbled quarter calf boxes, labels to spines, without uncoloured stipple-engraving of "Kemaes Head, Pembrokshire" found in some copies, first plate burnt at upper right corner (hardly affecting image), some foxing and offsetting, boxes worn This monumental work has been described as "the most important colour plate book on British topography" (Tooley). Following the success of Oriental Scenery compiled with his uncle Thomas Daniell (see next lot) William Daniell (1739-1837) embarked in 1813 on a journey around the coast of Great Britain, to make drawings of views of the natural scenery. He undertook this project because, "while the inland counties of England had been so hackneyed by travellers and quartos, the coast has hitherto been almost unaccountably neglected ... But many, who would not venture in pursuit of amusement out of the latitude of good inns and level roads, to make paths for themselves over rocks and crags, may still be pleased ... with the character of their own shores, where most conspicuous for boldness and picturesque beauty. It is the design, therefore, of the following voyage, minutely to describe the whole coast of Great Britain ... to illustrate the grandeur of its natural scenery, the manners and employment of its people and the modes of life in its wildest parts" (Introduction). The product was detailed and illuminating: "such a succession of beautiful plates is scarcely to be found elsewhere, and they are unsurpassed both in delicacy of drawing and tinting." (Aquatint Engraving, pp. 279-280). Its publication spanned the years 1814-1825: the work was originally issued in parts costing 10s.6d. each, or £60 when completed. During his tours, his sketches were made with pencil and paper, and a camera obscura to trace outlines; during the winter, when he was not touring, he would produce aquatints from the sketches. Volumes 3-6, which dealt with Scotland, are considered the most important section. The original aquatint plates are owned by the Tate Gallery, London. LITERATURE Abbey, Scenery 16; Bobins II: 636; Prideaux 326; Tooley 177

View 1 of Lot 117: Daniell—Ayton | Voyage Round Great Britain... with A Series of Views, 1814-25, 8 text vols in 2 and 2 boxes of plates

daniell—ayton | voyage round great britain... with a series of views, 1814-25, 8 text vols in 2 and 2 boxes of plates

Space Exploration

[Apollo Missions] One Photo from Each Apollo Mission Eleven vintage NASA “Red Number” chromogenic prints, 8 x 10 in., with a “A Kodak Paper” watermark on verso. NASA image IDs printed in red in the upper left margin. Photos taken using a 70mm Hasselblad camera. Collection of 11 vintage NASA red number prints, representing a pivotal image from each Apollo mission, as follows: NASA S-68-33745: [APOLLO 7] Taken on May 22, 1968, this pre-mission publicity photo shows the crew of Apollo 7, Commander Walter M. Schirra, Command Module Pilot Donn F. Eisele, and Lunar Module Pilot R. Walter Cunningham. The Apollo 7 mission launched on October 11, 1968, becoming the first crewed spaceflight in NASA's Apollo program. NASA AS8-16-2598: [APOLLO 8] This remarkable image, taken during trans-lunar injection at a calculated altitude of 102,500 km (based on photo analysis), comes from the magazine consisting of the first photographs ever taken of the entire Earth. NASA AS9-20-3064: [APOLLO 9] This incredible photo was taken from the porch of the Lunar Module on March 6, 1969, by Lunar Module Pilot Russell L. Schweickart. Seen is the docked Command/Service Modules and Lunar Module, with Earth in the background, during Command Module Pilot David R. Scott's stand-up EVA (seen here standing in the open hatch of the Command Module) on the fourth day of the mission. Written in red ink on verso: "APOLLO "9" RUSTY SCHWEICKART ON EVA". NASA AS10-27-3873: [APOLLO 10] This beautiful photograph was captured on May 22, 1969, showing the Command Service Module after separation in lunar orbit, about 175 statute miles east of Smyth's Sea and above the rough terrain typical of the lunar far side. The brightness of the craters and the lack of shadows hint at the sun's nearly directly overhead position at the moment of photographic capture. NASA AS11-40-5948: [APOLLO 11] Taken by Commander Neil Armstrong on July 20, 1969, this unbelievable image shows Lunar Module Pilot Buzz Aldrin deploying the Passive Seismic Experiments Package (PSEP). The Laser Ranging Retro-Reflector (LR-3), deployed earlier by Aldrin, is seen just to the left of the American flag, with Lunar Module, Eagle, just to the right. NASA AS12-47-6897: [APOLLO 12] Taken by Lunar Module Pilot Alan Bean on November 19, 1969, this image shows Commander Charles Conrad, Jr., standing next to the American flag, just after collecting the contingency sample and unfurling the American flag during their first extravehicular activity (EVA-1). The long shadow of the Lunar Module and several footprints made by the crew can also be seen in this beautiful photograph. NASA AS13-58-8458: [APOLLO 13] This iconic photograph of the severely damaged Apollo 13 Service Module was photographed from the Lunar Module/Command Module. An entire Service Module panel was blown away by the explosion of Oxygen Tank Number Two. Two of the three fuel cells are also visible at the forward portion of the opening. NASA AS14-66-9305: [APOLLO 14] This remarkable photo was taken on February 5, 1971, looking East, depicting a front view of the Lunar Module. The reflecting circular flare caused by the brilliant sun appeared, according to Commander Alan B. Shepard and Lunar Module Pilot Edgar D. Mitchell, like a striking sphere of light with a jewel-like appearance. NASA S-71-41810: [APOLLO 15] Taken on April 17, 1970, at 9:34:00.79 a.m., this photograph shows the launch of the 363 foot tall Apollo 15 space vehicle (Spacecraft 112/Lunar Module 10/Saturn 510) from Pad A, Launch Complex 39, Kennedy Space Center, Florida. On board were Commander Dave Scott, Command Module Pilot Al Worden, and Lunar Module Pilot Jim Irwin. NASA AS16-117-18825: [APOLLO 16] Taken on April 23, 1972, by Lunar Module Pilot Charlie Duke, this extraordinary image shows Commander John Young with a sample bag in his left hand, moving toward the bottom part of the gnomon while collecting lunar samples at the North Ray Crater geological site. Of particular note in this photograph is the degree to which Young's Extravehicular Mobility Unit (or spacesuit) is soiled during this third and final EVA. NASA AS17-134-20384: [APOLLO 17] Taken by Commander Gene Cernan on December 13, 1972, this striking image shows Lunar Module Pilot Harrison Schmitt standing next to the deployed American flag—seemingly pointing directly towards Earth—during an EVA at the Taurus-Littrow landing site. Two bits of yellow masking tape still attached to verso.

View 1 of Lot 23: [Apollo Missions] — One photo from each Apollo mission. Set of eleven vintage NASA "red number" color photographs.

[apollo missions] — one photo from each apollo mission. set of eleven vintage nasa "red number" color photographs.

Old Master Paintings and Portrait Miniatures

The Property of a Private Collector Thomas Wijck Beverwijk circa 1616 - 1677 Haarlem A troop of cavalrymen and other figures outside an inn, a hill fort beyond signed lower right: TWijck (TW in ligature) oil on canvas unframed: 107.1 x 91.3 cm.; 42⅛ x 36 in. framed: 132.7 x 117.6 cm.; 52¼ x 46¼ in.

View 1 of Lot 363: A troop of cavalrymen and other figures outside an inn, a hill fort beyond

a troop of cavalrymen and other figures outside an inn, a hill fort beyond

SASSOON: A Golden Legacy

TAJ (YEMENITE PENTATEUCH), [YEMEN: 16TH CENTURY]

TAJ (YEMENITE PENTATEUCH), [YEMEN: 16TH CENTURY] 2 volumes: Vol. 1 (Genesis and Exodus): 312 pages (10 3/8 x 7 1/2 in.; 265 x 190 mm) (original collation: i9 [i1 lacking], ii-viii10, ix9 [ix3 lacking], x-xv10, xvi8) on Yemenite (unmarked) paper; Vol. 2 (Leviticus, Numbers, and Deuteronomy): 364 pages (9 1/2 x 7 1/2 in.; 242 x 190 mm) (original collation: i9 [i1 lacking], ii-v10, vi9 [vi5 lacking], vii-xviii10, xix4 [original xix4-6 lacking but later replaced with xix4]) on Yemenite (unmarked) paper; modern pagination in pencil in Arabic numerals in lower margins at center; first and last folios of each quire signed in ink at head and foot, respectively, of recto and verso, respectively (some signatures cropped, especially in Vol. 2); written in elegant Yemenite square (text body) and semi-cursive (Masorah) scripts in black ink (1:163, 2:108-109, 242 blank); single-column text of sixteen lines per page, except in the cases of the two Pentateuchal songs and 2:38, 202, 363-364; ruled with a mastara (ruling board); justification of lines via dilation or contraction of letters (see esp. 2:176, 325), slanted inscription of final words (producing a “carpet fringes” effect; see, e.g., 1:33, 35, 94, 2:22, 240), insertion of space fillers (see, e.g., 1:9, 2:114), and use of anticipatory letters (see, e.g., 1:120, 156-157, 161, 170, 173-174, 185, 251, 264, 282, 294, 298, 2:23, 75, 99); complete Tiberian vocalization and accentuation of biblical text throughout (with occasional, typically-Yemenite confusion of pattah and segol vowels), except on 2:138-142; Masorah magna and Masorah parva written in micrography in margins, except on 2:363-364; Tetragrammaton represented via three yods in the Masorah; corrections added in margins intermittently throughout (see, e.g., 1:4, 19, 36, 68, 88, 133, 176, 182, 280, 2:125, 131, 154, 226); last line of 1:280 repeated at the top of 1:281; pen trials on 1:1, 235, 237, 260, 2:194. One ornamental section divider each at the end of Exodus, Leviticus, and Numbers (1:311, 2:107, 243) featuring the rubricated words of an Aramaic mnemonic for the names of the parashiyyot, surrounded by rubricated geometric frames; new parashiyyot generally indicated via decorated, rubricated marginal pe or samekh and accompanied by a verse tally and mnemonic for the previous parashah (though see 1:152); later parashah headers on many rectos and some versos in Vol. 1 but very infrequently in Vol. 2; enlarged rubricated Hebrew letters (bet through zayin) generally used to mark the start of new aliyyot; rubricated decorative devices used to mark the start of some festival lections and the end of Genesis and Leviticus (1:55, 162, 201, 225, 237, 278, 2:82, 106, 146, 302); decorated, rubricated marginal Masorah markers used at some biblical halfway points (see 1:81, 238, 2:24, 33, 55); books generally end with masoretic notes on the number of verses and paragraph breaks they contain (1:162, 309, 2:106, 241); Masorah magna inscribed in various geometric patterns in upper and lower margins, sometimes with an extra decorative flourish; Arabic tha used to mark the end of many masoretic notes; where a full-line paragraph break occurs in the first or last lines of a page, a pe (standing for petuhah [open]) and/or three dots are written on that line to indicate that it has been intentionally left blank (see, e.g., 1:123, 181, 2:102; though see 2:352); the Song of the Sea (1:212-214) and the Song of Moses (2:356-360) are either (in the second case) written in two mini-columns with a space in between or (in the first case) made to look like brickwork; rubricated decorative panel at the bottom of 1:309, marking the end of Exodus. Lacking ornamental section dividers for Genesis and Deuteronomy, as well as final two leaves of Deuteronomy (supplied by a later hand as 2:363-364); scattered staining (more intense on 1:67-68), smudging, and thumbing; ink episodically deteriorating; periodic worming, mostly marginal and not affecting text (though see 1:291-308, 2:77-140, 153-162, 191-202, 341-364); outer edges of Vol. 1 frayed and torn in places, usually without loss; outer edges of Vol. 2 cropped; corners of Vol. 1 rounded; 1:1-2, 63-64, 139-140, 218-218, 253-258, 2:355-356, 363-364 remargined without loss; 1:307-310, 2:1-2 remargined with some loss of Masorah; 1:3-4, 59-62, 2:83-84, 317-318 reinforced along gutters; parts of outer margins of 1:13-14 lacking, without loss; tear causing minor loss on 1:29-30; minor repairs on 1:59-60, 186, 273-274, 2:2-3, 91-92, 146, 148, 197-198, 241-242, 314, 317; more serious repairs on 2:159-160, 357-362; lower-outer corner of 1:61-62 and upper-outer corner of 1:281-282 lacking, with some loss of Masorah; small holes on 1:69-70, 141-142, affecting individual words; short slits/tears within the text on 1:119-120, 267-268, 2:1-2, 17-18, 135-136, 213-216; longer slits in outer margins of 1:117-118, 191-192, 259-260; small patches on 1:248, 2:117-118, affecting a few letters; 1:311-312 loose and with slight damage to decorative border; 2:359-360 mostly loose; slight damage near upper edge of 2:351-356, with some loss of Masorah. Modern green buckram, slightly worn around edges; shelf marks lettered in gilt on spines; loose paper labels placed below upper boards; modern paper flyleaves and pastedowns. An elegantly decorated example of Yemenite scribal virtuosity. Rabbinic law requires that a Torah scroll be written without punctuation, vocalization, or accentuation in order to be considered fit for ritual use in the synagogue. Words are separated by spaces, paragraph divisions break up the flow of the text, and four letters (alef, he, vav, and yod) are frequently used to mark certain vowels, but even with these devices, the correct pronunciation and parsing of the biblical text into intelligible units is not readily apparent from its appearance in a scroll. Instead, Jews in antiquity relied on inherited reading traditions, passed down orally from one generation to the next, in order to understand the Bible. In the early Middle Ages, not before the sixth century but also not later than the seventh, systems of committing these reading traditions to writing in biblical codices (not scrolls) developed in Palestine, Babylonia, and eventually specifically in Tiberias (Palestine). The last system, referred to as Tiberian, would, with time, become the standard one used throughout the Jewish world to record the vowels and accents of the Hebrew Scriptures. In addition, extensive lists containing the details of the consonantal skeleton of the Bible, as well as its proper vocalization and accentuation—collectively known as the Masorah (lit., Tradition)—were drawn up in order to ensure that scribes would copy the text correctly. The tradition of Aaron Ben-Asher (first half of the tenth century), scion of a famous family of Tiberian Masorah scholars, was considered particularly authoritative, especially after Rabbi Moses Maimonides (1138-1204) wrote of his decision to use a Bible edited by Ben-Asher (the famous Aleppo Codex) as the exemplar for a Torah that he himself copied. While the Jewish community of Yemen, whose roots stretch back to antiquity (and possibly to Second Temple times), had long used the Babylonian (supralinear) system of vocalization and accentuation when transcribing Torah codices, it, too, gradually adopted the Tiberian method, probably under the influence of Maimonides, whom Yemenite Jews revered as a halakhic authority. Because of the high degree of exactitude with which Yemenite biblical manuscripts, known as tijan (sing., taj; Arabic for “crown”), were copied, as well as their adherence to the prescriptions of the Masorah, modern researchers consider these volumes to be valuable witnesses to the Ben-Asher tradition. Indeed, the great Bible scholar Mordechai Breuer saw the fact that the eclectic version of the Bible that he had edited turned out, post facto, to match the tradition reflected in tijan as proof positive of the soundness of the methodology he had employed in making his editorial determinations. The present lot is a manuscript taj comprising the text of almost the entire Pentateuch, with only two original folios from the end of Deuteronomy (33:13b-34:12) and two section divider folios lacking (the former have been replaced with a single leaf inscribed in a nineteenth-century hand). The main differences between tijan and Hebrew Bibles copied in other parts of the Jewish world concern minute details of the biblical text, its vocalization, and its accentuation. Examples include the use of the plural form va-yihyu (they were), rather than the singular va-yehi, in Gen. 9:29 (see 1:26) and the spelling of the word dakka (crushed) in Deut. 23:2 with a final alef, rather than a he (see 2:323). Another distinctive feature of tijan is their scrupulousness in laying out the biblical text, especially the songs, in consonance with Maimonides’ prescriptions. This means that the last two lines of the Song of the Sea (Ex. 15:1-19; see 1:212-214) each split their text into two blocks separated by an empty space and that the Song of Moses (Deut. 32:1-43; see 2:356-360) is transcribed on sixty-seven, rather than seventy, lines. In addition to its value as a witness to the Yemenite textual tradition, this taj also boasts extensive rubrication of aliyyah and decorative parashah and Masorah markers, as well as delicately interwoven micrographic Masorah forming geometric patterns. Moreover, three of the biblical books (Exodus, Leviticus, and Numbers) are followed by an ornamental section divider with geometric borders enclosing the rubricated text of a popular Yemenite Aramaic mnemonic for all of each book’s parashiyyot. The first volume contains two further distinctively Yemenite features: Rabbi Judah Halevi’s (1075-1141) liturgical poem Yehidah, shahari beit e-l ve-sippav with supralinear vocalization (p. 1), as well as most of the alphabetical acrostic prayer E-l, libbi petah recited by some Yemenite schoolchildren every day before commencing their study sessions (p. 310). Written in a clear, bold hand, elegantly decorated, and staunchly faithful to the Yemenite biblical manuscript tradition, the present lot truly embodies the superlative coronal meaning of taj as it was originally intended. Provenance “This was my portion from all of my labors: I, the humble Salim ibn Joseph al-Aziri, may his soul be bound up in the Bond of Life. I have donated this object; he who reads it shall rejoice, while he who steals it shall be obliterated—and the nation of God shall dwell in peace” (1:1). “This was my portion from all of my labors: I, the humble Salim, son of my master, my father Joseph ben Salim al-Aziri, may his soul be bound up in the Bond of Life. I have donated this object, known as the holy taj […] to my synagogue, which God gave me the opportunity to build in the city Asade [?], may the Uppermost prosper it. It shall be called by my name as a source of merit and as a remembrance. He who reads it shall rejoice, while he who steals it shall be obliterated—and the nation of God shall dwell in peace” (2:1). Literature Mordechai Breuer (ed.), Torah nevi’im ketuvim muggahim al pi ha-nussah ve-ha-masorah shel keter aram tsovah ve-kitvei yad ha-kerovim lo (Jerusalem: Mossad Harav Kook, 1989), 395. Bat-Zion Eraqi Klorman, Yehudei teiman: historiyyah, hevrah, tarbut, vol. 3 (Raanana: The Open University of Israel, 2008), 282-283. Moshe Goshen-Gottstein, “Biblical Manuscripts in the United States,” Textus 2 (1962): 28-59. Moshe Goshen-Gottstein, “The Rise of the Tiberian Bible Text,” in Alexander Altmann (ed.), Biblical and Other Studies (Cambridge, MA: Harvard University Press, 1963), 79-122, at pp. 119-120 n. 133. Judah Halevi, Shirim, ed. Israel Levin (Tel Aviv: Tel Aviv University Press, 2007), 154 (no. 68). Shelomo Morag, “Ha-mikra u-mesirato be-teiman: he‘arot ahadot,” in Shalom Gamaliel, Mishael Massuri Kaspi, and Simeon Avizemer (eds.), Orhot teiman (Jerusalem: Mekhon Shalom le-Shivtei Yeshurun, 1984), 26-35. David Solomon Sassoon, Ohel Dawid: Descriptive Catalogue of the Hebrew and Samaritan Manuscripts in the Sassoon Library, London, vol. 1 ([Oxford]: Oxford University Press; London: Humphrey Milford, 1932), 24 (nos. 330-331). David Stern, “On the Term Keter as a Title for Bibles: A Speculation About Its Origins,” in Shmuel Glick, Evelyn M. Cohen, and Angelo M. Piattelli (eds.), Meḥevah le-Menaḥem: Studies in Honor of Menahem Hayyim Schmelzer (Jerusalem: JTS-Schocken Institute for Jewish Research, 2019), *259-*273. Eli Stern, “Shirei simanim le-parashiyyot ha-torah ve-sifrei ha-nakh: shirah didaktit be-teiman,” Notrikon 25 (2014), available at: https://www.academia.edu/27469416/%D7%A0%D7%95%D7%98%D7%A8%D7%99%D7%A7%D7%95%D7%9F_25.pdf. Yosef Tobi, “The Taj in the Yemeni Tradition,” in Aaron Amram (ed.), Keter taj ve-zot ha-torah, 2 vols. (Petah Tikva: Aaron Amram, 2004-2005), 1:11-17 (English section). Doron Ya‘akov, “Yemen, Pronunciation Traditions,” in Geoffrey Khan, Shmuel Bolokzy, Steven Fassberg, et al. (eds.), Encyclopedia of Hebrew Language and Linguistics, vol. 3 (Leiden: Brill, 2013).

taj (yemenite pentateuch), [yemen: 16th century]

Fine Watches

A tri-gold hunting case watch, Circa 1940

A tri-gold hunting case watch, Circa 1940 Dial: white enamel Caliber: mechanical Movement number: 6'130'363 Case: 14k yellow, pink and white gold, cuvette, hunting case Case number: 117'494 Size: 41 mm diameter Signed: case, dial and movement Box: no Papers: no

View 1 of Lot 191: A tri-gold hunting case watch, Circa 1940

a tri-gold hunting case watch, circa 1940

Hyde Park Antiques: Past, Present and Future Part II

A Fine George III Brass Inlaid Mahogany Three-Tier Dumbwaiter, Circa 1770

A Fine George III Brass Inlaid Mahogany Three-Tier Dumbwaiter, Circa 1770 height 46 1/4 in.; diameter 23 in. 117.5 cm; 58.5 cm

View 1 of Lot 363: A Fine George III Brass Inlaid Mahogany Three-Tier Dumbwaiter, Circa 1770

a fine george iii brass inlaid mahogany three-tier dumbwaiter, circa 1770

Petit in-folio (363 x 280 mm).illustration : 12 planches hors texte, 2 bandeaux de tête, culs-de-lampes, lettrines et couverture rehaussées d'or et d'argent par George Barbier, le tout gravé sur bois en couleurs par F. L. Schmied . tirage : exemplaire n° 117 signé par l'auteur, un des 150 sur vélin de Hollande, tirage unique. reliure signée de andrée et jeanne langrand, dorée par cuzin, datée de 1924. Maroquin havane clair, plats mosaïqués ornés d'un large décor géométrique de triangles de maroquin brun, beige et marron, symbolisant le costume d'arlequin, bordés de listels et filets à froid, dos lisse orné de listels horizontaux de plus en plus larges mosaïqués de maroquins de même teinte, doublure de maroquin vert émeraude ornée d'un double filet doré, gardes de soie brochée à motifs géométriques japonisants, tranches dorées sur témoins, couverture et dos conservés. Etui.Petit défaut à la coiffe supérieure.

personnages de comédie. texte par albert flament.paris, meynial, 1922.

Books and Manuscripts

édition originale. 2 parties en un volume in-8 (192 x 117 mm) de

édition originale. 2 parties en un volume in-8 (192 x 117 mm) de (1) f., VI pp., 156 pp., et 207 pp. Les 4 dernières pages sont mal chiffrées 360-363. reliure moderne. Demi-basane mouchetée, dos à nerfs fileté et fleuronné à froid, pièce de titre rouge, tranches marbrées.

mémoires de la vie privée de benjamin franklin, écrits par lui-même, et adressés à son fils.paris, buisson, 1791.

Important Judaica

A nearly-complete copy of one of the most popular early Yemenite midrashim.

A nearly-complete copy of one of the most popular early Yemenite midrashim. Probably the most important original contribution to Jewish literature of medieval Yemenite Jewry is its midrashim, collections (generally written in a mixture of Hebrew, Aramaic, and Judeo-Arabic) of halakhic, aggadic, and folkloristic material organized according to the weekly liturgical readings in the synagogue. One of the best-known representatives of this genre is Midrash ha-hefets, by Rabbi Zechariah ben Solomon ha-Rofe (Razah; Arabic name: Yahya ibn Sliman al-Tabib). The author, about whose personal life little is known, was a great Yemenite luminary and prolific commentator on the Bible, the Mishnah, and all of Maimonides’ major works. His rationalistic worldview was deeply informed by the latter sage, although he also appreciated and dabbled in Jewish mysticism. As implied by his moniker, ha-Rofe/al-Tabib, he practiced medicine, and he left us a wide-ranging tract on the subject. Midrash ha-hefets combines peshat (plain-sense) commentary with allegorical, ethical, homiletical, philosophical (often neoplatonic), and scientific discussions. In addition to its intrinsic exegetical value, the book is an important source for establishing the (correct) text of early and/or otherwise-unattested rabbinic works, including lost midrashim and the writings of the ge’onim and rishonim. According to its colophon (p. 720), Midrash ha-hefets was completed in 1430 in a small town located to the west of San’a. (An updated edition was finished about six-seven years later.) It subsequently achieved great popularity and wide circulation, to the extent that it was eventually epitomized and commented upon. The present lot is a nearly-complete copy of Midrash ha-hefets that also includes R. Zechariah’s commentaries on the haftarot (lections from the Prophets) and on the book of Esther. Apparently originally produced in two separate volumes, the manuscript is now bound as one (and probably has been for some time). It features diagrams of Noah’s Ark (p. 56), the Cave of Machpelah (p. 105), the Splitting of the Sea (p. 249), and the Ephod and shoham stones (p. 326), among others. The version of the text found here is slightly different from that of most other recensions of Midrash ha-hefets but similar to that of MSS Sassoon 1177 and Oxford, Bodleian Library, Opp. Add. Qu. 155. It was used by Meir Havazelet for his editions of Midrash ha-hefets on the Pentateuch. Like many other of his Yemenite manuscripts, David Solomon Sassoon purchased this volume from Elias Abraham Saadia Solomon Halfon of Aden (payments made on September 12, 1927 and January 12, 1928), who went by the name Elias Abraham Morris when he later immigrated to New York City. Contents pp. 1-5: discussions of the thirteen and thirty-three(!) methods used by the rabbis to expound the Torah; pp. 5-195: Genesis; pp. 195-360: Exodus (pp. 256-265: Esther); p. 361: midrashic jottings in various hands; pp. 362-503: Leviticus; pp. 504-607: Numbers; pp. 607-720: Deuteronomy; pp. 721-726: haftarot for Shabbat parah, Shabbat ha-hodesh, Shabbat rosh hodesh, Mahar hodesh, and Passover. Physical Description 726 of at least 752 pages (10 x 7 5/8 in.; 253 x 193 mm) (likely original collation: [Vol. 1:] i4 [i1-4 lacking], ii8 [ii1-2 lacking], iii10, iv9 [iv10 lacking], v9 [v3 lacking], vi9 [vi1 lacking], vii-xvi10, xvii-xix8, xx7 [xx8 canceled]; [Vol. 2:] i9 [i1 canceled], ii-iii10, iv10 +1, v-x10, xi-xiii8, xiv-xvi10, xvii8 [xvii9-10 lacking], xviii9 [xviii1 lacking], xix9 [xix10 lacking] +3) on Yemenite (unmarked) paper; modern pagination in pencil in Arabic numerals in lower margins at center (pp. 1-2) and in or near upper-outer corners (pp. 3-726); first and final pages of each quire signed in pen at head and foot, respectively, in Hebrew characters (sometimes damaged or obscured); midpoints of quires generally marked in the upper-right corner (and sometimes other corners) of the middle opening with a hook-shaped symbol; written in Yemenite square (headings and incipits) and semi-cursive (text body) scripts in black ink; single-column text of twenty-four lines per page; ruled with a mastara (ruling board); justification of lines via dilation or contraction of final letters, use of anticipatory letters, abbreviation, and slanted inscription of final words; later headers on rectos; horizontal catchwords in lower margins of versos; periodic Tiberian vocalization of text; Tetragrammaton abbreviated to two yodin flanking a vav with a dot above; diagrams on pp. 56 (Noah’s Ark), 105 (Cave of Machpelah), 249 (Splitting of the Sea), 326 (Ephod and shoham stones), 403 (laws of ritual purity), 568 (ditto); corrections, strikethroughs, and/or marginalia (sometimes cropped), including in a zigzag design on pp. 337, 479, 611-612, in primary and secondary hands. Probably lacking 13 folios (see collation), plus an unknown number at the end of the volume; a portion of the center of pp. 77-78 lacking; the vast majority of pp. 79-80 lacking (with two loose fragments remaining); lower-outer corner of pp. 577-578 lacking; inner and lower portions of pp. 683-684, 725-726 lacking; staining and dampstaining throughout, particularly in upper portions of pp. 1-330, with some text washed out; corners rounded; occasional short tears in edges; episodic ink transfer; periodic worming, sometimes affecting text; paper often damaged by ink, resulting in small cracks, tears, or holes; leaves sometimes tightly bound, obscuring text in gutter; pp. 1-2, 725-726 loose and frayed around edges; tape repairs of damage on pp. 3-12, 61, 63, 66-76, 81-84, 103-106, 137-138, 155-164, 177-182, 191-192, 195-202, 217-226, 259-260, 277-278, 313-316, 417-422, 499, 527-534, 577-578, 724, often obscuring text; some text on pp. 279-280 filled in over tape repairs; pp. 419-420 are misbound and should be between pp. 362-363; tear extending upward from lower edge of pp. 515-516; line of text obscured on p. 625; p. 726 washed out. Modern green buckram, slightly worn; paper ticket with title (damaged) affixed to top of spine; shelf mark lettered in gilt at base of spine; modern paper flyleaves and pastedowns. Literature Moshe Gavra, Entsiklopedyah la-kehillot ha-yehudiyyot be-teiman, vol. 2 (Bnei Brak: Ha-Makhon le-Heker Hakhmei Teiman, 2005), 353. Meir Havazelet, “Or al mekorot midrash ha-hefets le-rabbi zekharyah ben shelomoh ha-rofe,” Teima 4 (1994): 35-41. Saul Lieberman, Midreshei teiman, 2nd ed. (Jerusalem: Wahrmann Books, 1970), 22-32. David Solomon Sassoon, “Aggadot attikot mi-teiman,” Jahrbuch der Jüdisch-Literarischen Gesellschaft 16 (1924): 1-30. David Solomon Sassoon, Ohel Dawid: Descriptive Catalogue of the Hebrew and Samaritan Manuscripts in the Sassoon Library, London, vol. 2 ([Oxford]: Oxford University Press; London: Humphrey Milford, 1932), 649 (no. 900). Eliezer Schlossberg, “Midreshei teiman: bein yashan le-hadash,” Madda‘ei ha-yahadut 54 (2019): 215-244. Eliezer Schlossberg, “Midreshei teiman al ha-aftariyyot,” Ma‘yanot 1 (2023): 109-134, at pp. 124-126. Zechariah ben Solomon ha-Rofe, Sefer ha-haftariyyot le-kol ha-shanah […] im peirush ha-razah, ed. Isaac Damati and Judah Levi Nahum ([Holon]: Ha-Va‘ad la-Hasifat Ginzei-Teiman, 1965). Zechariah ben Solomon ha-Rofe, Midrash ha-hefets al hamishah hummeshei torah: sefer be-reshit, ed. Meir Havazelet (Jerusalem: Mossad Harav Kook, 1981), 50. Zechariah ben Solomon ha-Rofe, Midrash ha-hefets al hamishah hummeshei torah, ed. Meir Havazelet, 2 vols. (Jerusalem: Mossad Harav Kook, 1990-1992), 1:28. Zechariah ben Solomon ha-Rofe, Midrash megillat ester, ed. Judah Levi Nahum, in Sefer aggadeta di-megillah, ed. Shemaiah Isaac ha-Levi (Israel: Ha-Va‘ad le-Hatsalat Ginzei Hakhmei Teiman, 1994), v, 131-144.

View 1 of Lot 10: Midrash ha-Hefets (Aggadic Compilation on the Pentateuch), Rabbi Zechariah ben Solomon ha-Rofe, [Yemen, 15th-16th century]

midrash ha-hefets (aggadic compilation on the pentateuch), rabbi zechariah ben solomon ha-rofe, [yemen, 15th-16th century]

Impressionist & Modern Art Day Sale

Property of a Private British Collector Carlos Nadal 1917 - 1998 Mañuela signed Nadal and dated 80 (lower right); signed Nadal, titled and dated 80 on the reverse oil on canvas 73 by 92cm., 28¾ by 36¼in. Framed: 98 by 117cm., 38½ by 46in. Painted in 1980. The authenticity of this work has been confirmed by the Comité Nadal.

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