Fine Watches

A. Lange & Söhne Lange 1 Daymatic, reference 320.032 A pink gold wristwatch with digital date display, day indication and small seconds Circa 2018 Dial: silvered Calibre: cal. L.021.1 automatic, 67 jewels Movement number: 107'729 Case: 18k pink gold, sapphire crystal display back secured by 6 screws Case number: 228'657 Closure: alligator strap and A. Lange & Söhne 18k pink gold buckle Dimensions: 39.5 mm diameter Signed: case, dial and movement Box: yes Papers: yes Accessories: A. Lange & Söhne presentation box with outer packaging, Guarantee Seal and booklet, promotional material, leather bifold, setting pin and polishing cloth

View 1 of Lot 16: Lange 1 Daymatic, Ref. 320.032 | A pink gold wristwatch with date, day indication and and small seconds | Circa 2018

lange 1 daymatic, ref. 320.032 | a pink gold wristwatch with date, day indication and and small seconds | circa 2018

Important Watches

A. Lange & Söhne Lange 1 Daymatic, Reference 320.021 A yellow gold wristwatch with date and retrograde day, Circa 2021 Dial: silvered Calibre: cal. L021.1 automatic, 67 jewels Movement number: 89'577 Case: 18k yellow gold, sapphire crystal display back secured by 6 screws Case number: 208'738 Closure: brown unsigned leather strap and A. Lange & Söhne 18k yellow gold buckle Size: 39.5 mm diameter Signed: case, dial and movement Accessories: A. Lange & Söhne Guarantee Seal, setting pin and presentation box An eccentric addition to the Lange 1 line, the dial appears familiar at a first glance, but one could notice that the left side is replaced with a fan shaped day display, which will retrograde and return to Monday at the end of every week. The present watch is crafted in yellow gold and sits at a dressy 39.5 mm on the wrist, perfect for the connoisseur.

View 1 of Lot 2209: Lange 1 Daymatic, Reference 320.021 | A yellow gold wristwatch with date and retrograde day, Circa 2021

lange 1 daymatic, reference 320.021 | a yellow gold wristwatch with date and retrograde day, circa 2021

Arts of the Islamic World & India

on cream ground, woven with floral garlands, tulips, pomegranates and various fruits in crimson-red and forest-green, the lower section with applied panel embroidered in silk and metal-thread with the Virgin Mary to one end and John the Baptist to the other, each figure surrounded by arabesques terminating in birds and mythical creatures, the sleeves with similarly embroidered panels, lined

on cream ground, woven with floral garlands, tulips, pomegranates and various fruits in crimson-red and forest-green, the lower section with applied panel embroidered in silk and metal-thread with the Virgin Mary to one end and John the Baptist to the other, each figure surrounded by arabesques terminating in birds and mythical creatures, the sleeves with similarly embroidered panels, lined 237 by 156cm. max. 116cm. length (neck to lower edge)

View 1 of Lot 142: A brocaded silk velvet and metal-thread embroidered dalmatic, Italy, late 15th-early 16th century

a brocaded silk velvet and metal-thread embroidered dalmatic, italy, late 15th-early 16th century

The Library of the Earls of Macclesfield Removed from Shirburn Castle. Part Twelve: Continental Books and Manuscripts

4to (205 x 144mm.), [8], 128pp., illustration: title within woodcut border, woodcut initials and headpieces, manuscript marginalia, binding: eighteenth-century calf, gilt single fillet border, spine gilt in compartments, tiny tears with marginal loss to title-page and O4, lacking lettering-piece

dictionarium quinque nobilissimarum europae, linguarum latinae, italicae, germanicae, dalmaticae et ungaricae. venice: niccolò moretti, 1595

folio (373 x 233mm.), [12], 10, [3], 12-372; [24], 180, 203, [1]pp., illustration: engraved device on title-page containing a view of Constantinople, engraved and woodcut initials, head- and tailpieces, engraved illustrations, 3 engraved plates (1 folding) of Hagia Sophia, binding: contemporary calf, spine gilt in compartments, a few leaves slightly browned, extremities rubbed, joints cracking, spine faded

historia byzantina duplici commentaria illustrata. prior familias ac stemmata imperatorum constantinopolitanorum, cum eorundem augustorum nomismatibus, & aliquot iconibus; praeterea familias dalmaticas & turcicas complectitur; alter descriptionem urbis constantinopolitanae, qualis extitit sub imperatoribus christianis. paris: louis billaine, 1680

oblong 4to (155 x 206mm.), ff. 280, illustration: title within woodcut border, woodcut initials and tailpieces, binding: old vellum over boards, gilt arabesque stamp incorporating coat-of-arms on covers, clasp and catch, title-page mounted, preliminary leaves strengthened at inner margin, spotting throughout, binding slightly stained

dictionarium septem diversarum linguarum, videlicet latine, italice, dalmatice, bohemice, polonice, germanice, et ungarice una cum cuiuslibet linguae registro sive repertorio vernaculo... singulari studio et industria collectum a petro lodereckero. prague: for the author, 1605 

spanish, 16th century, four needlework panels probably from a dalmatic, worked in gold...

a silk and metal thread dalmatic

an italian dalmatic

Books, Manuscripts and Music from Medieval to Modern

Triptych formed of twenty miniatures from an illuminated Book of Hours on vellum

Triptych formed of twenty miniatures from an illuminated Book of Hours on vellum [Southern Netherlands (Flanders, Ghent?), late 15th century (c.1490), and 19th-century frames] Twenty leaves, each c. 78-90×95mm, having been cut down to remove the text, set into glazed compartments of a 19th(?)-century wood triptych (530x450mm closed, 898mm wide when open), in most cases the upper part of the leaf is intact but the lower border has been cut off and moved up to meet the bottom edge of the miniature, usually by a simple horizontal cut, but sometimes following the contours of the contents of the border (e.g. no. 5 where the contour is adapted to include the left-most rabbit); the miniatures with varying amounts of wear and pigment-loss. ILLUMINATION Most of the figures are shown standing full-length, many in front of a cloth of honour, several are set against a landscape in which a path leads through a wooded area, some with tree-roots emerging from an earth bank. The borders are of great variety; some are standard ‘Ghent-Bruges’ scatter borders, details of others are noted below. Some of the saints are unidentified (their identity would have been clear from the adjacent text, now missing or obscured), and a few scenes are very unusual, such as no. 4. The subjects are: Left wing: (1) St Barbara(?) sitting in a small garden surrounded by a low wall within the courtyard of a grand complex of buildings, reading a book and holding a palm of martyrdom. (2) St Luke sitting at a desk writing his gospel, accompanied by the winged ox. (3) A male saint; the border with a hideous demon pushing a wheelbarrow. (4) The Three Magi looking up at the Star of Bethlehem. Middle panel: (5) St Stephen, holding stones in the fold of his dalmatic; the border with a hunter, birds of prey, and rabbits within an enclosure. (6) St Christopher carrying the child across the river; the border with trompe-l’œuil jewels, pewter pilgrim badges of various shapes, and a ‘sewn-in’ black-faced Veronica image. (7) A male saint (a composition similar to no. 3); the border with the miracle of the manna falling from heaven and being gathered into baskets. (8) St Bartholomew holding a knife; the border with men pruning vegetation. (9) St Anthony Abbot, half length in ‘dramatic close-up’, holding a book and his tau-staff, accompanied by his pig. (10) St Margaret emerging from the dragon; the border with a scene of two saints in a boat threatened by a dragon. (11) Two male saints, one beardless; the lower border attached upside-down. (12) The Mass of St Gregory, with four cardinals and a bishop behind Gregory, the apparition of Christ reaching down to touch his hands. (13) St Andrew, standing with his Cross; the border with a centaur and a woman looking in a mirror. (14) St Laurence wearing a fine dalmatic, holding a book and gridiron, in an interior; the border with a flat-billed bird and snails. (15) Sts Philip and James, holding a cross-topped staff, and a satchel and walking-stick, respectively. (16) St Sebastian tied to a tree, undressed to the waist, about to be shot by an archer; the border with an infant with a bow and arrow. Right wing: (17) St Apollonia, with an open book and pincers with a tooth, sitting in a garden (like no. 1, but in a wooded area). (18) A male saint standing in a landscape. (19) St Augustine, enthroned and dressed in full episcopal vestments, holding a heart. (20) St John the Evangelist, accompanied by his symbol the eagle, sitting on Patmos, writing and witnessing (in the sky) his Revelation; the border with a very large locust and a figure holding a jar.

View 1 of Lot 12: Triptych formed of 20 miniatures from a late-15th century Book of Hours, mounted in a wooden frame

triptych formed of 20 miniatures from a late-15th century book of hours, mounted in a wooden frame

one worked in reversible back stitch in, in bright red and edged with an orange coloured frieze, on a cream linen ground , another worked in reversible stepped running stitch in dark blue on cream linen ground, edged in blanket stitch, together with a Dalmatic fragment, Sardinia, late 18th century, worked in thick red wool with floral and stippled design, on cream linen ground, applied with red braid in sections (T-shaped 137cm. at widest) (Qty 3)

two `fez' embroidered dowry panels, north marocco19th century

the green foliate patterned cut voided velvet centred by a `cloth of gold' orphery panel woven with putti heads and wings and sunburst surrounded roundel enclosing initial IHS, worked with gilt bouclé wefts,  the orphery edged with fringed braid (Approximately: 140cm. x 56cm.; 4ft. 7in., 1ft. 10in); together with three other fragments: A red brocade front section applied with gold braid, 16th century (Approximately: 80cm. x 54cm.; 2ft. 7in., 1ft. 9in.); A plain red velvet chasuble front section, 16th century, with copper-coloured silk backing (Approximately: 103cm. x 60cm.; 3ft. 4in., 1ft. 11in.); and A plum coloured velvet Dalmatic (cut front section), applied with gold braid, 19th century (53cm.; 1ft. 9in., across shoulder) (Qty)

a bright green silk velvet and silver and gilt brocade chasuble sectionitalian, 16th century

Russian Works of Art, Fabergé and Icons

after a design by Osip Chirikov, the central reserve with a finely painted figure of St. Philipp wearing a patterned dalmatic (sakkos) and omophorion, holding a Gospel in his left hand and blessing with his right, the Moscow Kremlin with the belltower of Ivan the Great behind him, the reverse decorated with the Greek cross with Christ Pantocrator in the centre, cream ground

a porcelain easter egg, imperial porcelain manufactory, 1887-1890s

European Collections

comprising: a light green, floral painted and goldthread border chasuble with stola and one manipel; a cream and pink flower embroidered dalmatic with goldthread borders; a purple and lace applied chasuble; a cream brocade, wool and goldthread flower embroidered chasuble; a red velvet, silk applied and goldthread embroidered chasuble, 16th century; a red and cream brocade chasuble; an Italian green and gold brocade chasuble, 16th century; and a painted leather chasuble and stola

a collection of eight south netherlandish mostly silk embroidered chasubles, two stolas and a manipel18th century

Western Manuscripts and Miniatures

a single leaf, 580mm. by 395mm., with a large initial 'E' (opening "Et enim sederunt ...", the introit for the feast of St. Stephen), in pink enclosed within blue and green acanthus leaves, all on a burnished gold ground, the saint in a dalmatic and holding a palm of martyrdom as two stones strike his head, before a night sky with the clouds opening to reveal rays of gold descending, acanthus leaf extensions into borders and large bezants, rubric in red, 5 lines of text with music on a 4-line red stave, 6 lines of text and music and "xxxiii" in red on verso, slight fading to occasional acanthus-leaf and small stains, else excellent condition

st. stephen, historiated initial, on a leaf from an illuminated gradual, on vellum [north east italy (probably veneto), c.1460]

PF1333

Histoire de l'Empire de Constantinople sous les Empereurs français. Paris, de l'Imprimerie Royale, 1657 ; in-folio basane brune, double filet doré en encadrement, dos à nerfs orné, pièce de titre de maroquin vert (Reliure du XIXème siècle). - Du Cange, Domino -- Du Fresne, Carolo. Historia Byzantina duplici commentario illustrata. Prior familias ac stemmata imperatorum constantinopolitarum [...] praeterea familias Dalmaticas et Turcicas complectitur : Alter Descriptionem urbis Constantionopalitanae. Lutetiae Parisiorum apud ludovicum Billaine, 1680 ; in-folio veau brun, dos à nerfs orné, pièce de titre verte (Reliure moderne). Première édition. 3 planches par Pierre Giffart représentant Aghia Sophia. Reliure usagée, restaurée. - Genessi, Joseph. De rebus Constantinopolitanis A Leone Armenio aa Basilium Macedonem. Libri quator. Venitiis, Typis Io. Baptistae Pasquali, 1733 ; in-folio demi-chagrin bleu, dos à nerfs orné aux pièces d’armes Luynes. Relié à la suite : Joannis Antiocheni Cognomento Malalae Historia Chronica…cum interpret & notis Edmundi Chilmeadi praemittitur dissertatio de auctore per Humfredum Hodium…accedit Epistola Richardi Bentleii… Edition Altera. Venitiis, Typis Io. Baptistae Pasquali, 1733. - Leonis Allati, sive Opuscula graeca et latina, même lieu, même éditeur, 1733. - Prideaux, Humphrey. Marmora Oxoniensa, Ex Arundellianis, Seldenianis, aliisque conflata, recensuit, & perpetuo commentario explicavit. Oxonii, Theatro Sheldoniano, 1676 ; Première édition. 3 parties en un volume in-folio veau brun, dos à nerfs orné. 28 planches dans le texte. Restaurations, taches d’humidité.

du cange, domino.

Simeon Solomon 1840-1905 a deacon signed with mongoram and dated l.r.: 63 oil on canvas 35.5 by 25.5 cm., 14 by 10 in. This early painting by Simeon Solomon stems from his intense interest in the religious ritual of the ancient and modern worlds, and his familiarity with both Jewish and Christian rites and practices. It shows a Christian deacon, a member of the lowest order of the priesthood and one who may be recognised by his ecclesiastical vestment which is known as a Dalmatic. He is carrying a metal vessel, which perhaps contains oil for use in holy ritual or with which to prime lamps. Behind are seen two olive bushes growing in round shaped pots, a motif that supports the suggestion that the vessel contains oil. The painting may be seen as in line of succession to Solomon's A Young Musician employed in the Temple Service during the Feast of the Tabernacles (ex Sotheby's, London, 11 November 1998, lot 5), of 1861. In both cases, the artist was as much interested in the decorative richness of vestments and the elegance of the handsome young acolyte as in any precise documentation of the ritual of synagogue or church. That Solomon, who was himself Jewish, was prepared to represent figures in acts of religious observation of whatever kind, so long as the subject appealed to his sense of mystery and decorative richness, is demonstrated by making comparison between the present painting - which as has been seen is ostensibly Christian - with others, which have Jewish or even Pagan themes. Among Christian subjects, in addition to the present painting, he also produced in 1863 a watercolour entitled Two Acolytes, Censing, Pentecost (Ashmolean Museum, Oxford), and this was followed in 1867-8 with a Greek Orthodox subject entitled A Greek Acolyte (Birmingham Museums and Art Gallery). Among Pagan subjects, his In the Temple of Venus (ex Sotheby's, London, 15 June 1988, lot 215) was followed in 1866 by Heliogabalus, High Priest of the Sun (Forbes Magazine collection, New York). In addition he frequently returned to Jewish subjects, as in for example his Carrying the Scrolls of the Law (Whitworth Art Gallery, University of Manchester), of 1867. Solomon's A Deacon has apparently not been exhibited since it was shown at the Royal Academy in 1864. Exhibited: London, Royal Academy of Arts, 1864, no.273

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