A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> set of <a href="https://www.sothebys.com/en/search?query=history+of+painting&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">The History of Modern Painting</a> by Richard Muther.<ul><li>Sold as a set of 3 volumes.</li><li>Richard Muther (German).</li><li>London:&nbsp;Henry &amp; Co.,&nbsp;1895.</li><li>Bound by Sotheran in three-quarters brown morocco and linen boards with the covers and raised ban spines gilt-tooled, top edges gilt with marbled endpapers.</li></ul>

The History of Modern Painting

The Venetian edition of A History of Painting.<ul><li>Sold as a set of 8 volumes.</li><li>Haldane Macfall (British).</li><li>Preface by Frank Brangwyn.</li><li>Boston: Dana Estes &amp; Co., 1910.</li><li>Illustrated with 200 plates in color.</li><li>This edition is limited to 124 numbered copies, of which this is no. 12.</li><li>Bound in three-quarter brown morocco and linen boards with the covers and raised band spines decorated in gilt-tooling, the top edges are gilt with marbled endpapers.</li></ul>

A History of Painting

Fine Books & Manuscripts, Including Americana

Prisse D’Avennes, Achille Constant T. Emile

Prisse D’Avennes, Achille Constant T. Emile La Décoration Arabe. Paris: J. Savoy, 1885 Folio (394 x 282 mm). Half-title, 110 plates, 87 of which chromolithographed, with several double-page plates numbered twice; closed tear to plate 7-8, light offsetting, occasional spotting primarily to margins, a few plates toned. Contemporary quarter red morocco and marbled paper boards, spine with raised bands in six compartments, second gilt-lettered, marbled endpapers; joints starting, extremities rubbed, corners bumped, head and foot of spine lightly chipped, repair to upper pastedown. First edition—a beautifully illustrated work on Arab decorative art, serving as both a scholarly reference and a tribute to the enduring legacy of Islamic artistry. Prisse d'Avennes, the French archaeologist, Egyptologist, architect and writer, is celebrated for his extensive study of Islamic art, architecture, and decorative design. La Décoration Arabe is one of his most significant contributions to the field of Islamic art history, presenting a detailed examination of the ornamental traditions that flourished in the Arab world. Its 110 plates offer intricate illustrations of arabesque patterns, geometric designs, and floral motifs that define the aesthetics of Islamic decoration and textile design. As a pioneer in documenting the artistic heritage of the Islamic world, Prisse d'Avennes helped bridge the gap between Eastern and Western aesthetic traditions, influencing generations of designers and architects.

View 1 of Lot 1088: Prisse D’Avennes, Achille Constant T. Emile | La Décoration Arabe, first edition

prisse d’avennes, achille constant t. emile | la décoration arabe, first edition

The Library of Barry Yampol: A First Selection. Part 2

Boerhaave, Herman A new method of chemistry, including the history, theory, and practice of the art, translated from the original Latin of Dr. Boerhaave’s Elementa Chemiae … by Peter Shaw, M.D. London: T. Longman, 1741 2 volumes, 4to (250 x 190 mm). 25 folding engraved plates on 17 sheets, woodcut head and tailpieces; a few stray spots. Full contemporary speckled calf, spines in six compartments, second gilt lettered on red morocco labels, third gilt numbered, others with repeat motif in gilt, edges speckled red; some rubbing to extremities with minor loss, joints tender, dust-soiled to top edge. The first and best English translation of the authentic edition of Elementa chemiae (1732). One of the most famous texts in the history of chemistry and the authoritative chemical manual for decades after its publication. Though called the second edition on the title-page, this is in fact the first edition of the official English translation of Elementa chemiae (1732). An earlier edition by Shaw had been published in 1727, but this was translated from the text’s 1724 unauthorized edition, lot 26 in this sale (Duveen). REFERENCES Cole 169; Duveen, p. 84; ESTC 117633 PROVENANCE Henry Home of Kames (armorial bookplate to upper pastedown) — Dr. Sydney Ross (booklabel to upper pastedown) — Joseph A. Freilich (booklabel to upper pastedown; Sotheby’s New York, 10 January 2001, lot 65)

View 1 of Lot 52: Boerhaave, Herman | A new method of chemistry, London, 1741

boerhaave, herman | a new method of chemistry, london, 1741

Bibliotheca Brookeriana VIII

GALENUS, CLAUDIUS. De compositione pharmacorum localium, libri decem. Lyon: Philibert Rollet and Barthélemy Frein for Guillaume Rouillé, 1549

GALENUS, CLAUDIUS. De compositione pharmacorum localium, libri decem. Lyon: Philibert Rollet and Barthélemy Frein for Guillaume Rouillé, 1549 A POCKET EDITION OF AN IMPORTANT WORK BY GALEN IN A CHARMING INLAID BINDING FOR MARCUS FUGGER WITH HIS OWNERSHIP INSCRIPTION. A series of small-format medical texts bound for Marcus Fugger, plausibly by Wotton Binder C, formed part of Bibliotheca Brookeriana, 10 December 2024: lot 1086 (Dubois), lots 1097 and 1099 (Galen), and 1170 (Ostericher). From the shelfmark "Arc.134 Nro.251" inscribed in the present volume, we can assume that it was shelved near one of these other editions of Galen, lot 1097 ("Arc. 134 Nro. 260"), in the Fugger library. Fugger’s copy of Galen's Methodus medendi (Lyon 1549) bound in olive goatskin with citron onlay was shelved at "Arc. 134 Nro. 249" (Foot, Henry Davis Gift III, no. 57). This copy features 39 additional leaves at the end with alphabetical initials in two columns at the head, probably for an index which was never completed. 16mo (123 x 78 mm). Roman type with italic marginalia, 29 lines plus headline. Collation: πA-B8 a-z8 A-Z8 Aa-Ff8 (z5 missigned z3): 432 leaves (+ 39 blanks at end). Woodcut printer's device on title-page, woodcut initials and headpieces, manuscript index at end left blank. (Dampstaining to foot of first few leaves and quire h, some very slight browning.) Binding: Parisian inlaid binding (129 x 82 mm), plausibly by Wotton Binder C for Marcus Fugger, c. 1550, olive brown morocco, gilt and enamelled, black enamelled border flanked by gilt fillets enclosing a panel with an inlay of interlaced strapwork of tan morocco outlined with gilt fillets, interwoven with tendrils ending in empty leaf tools enamelled black, flat spine with horizontal band of cable work enamelled black and outlined in gilt at ends, large central compartment filled with open leafy arabesques, enamelled black, small gilt stars in interstices, edges gilt, in a cloth box. (Joints cracking.) Provenance: Marcus Fugger (1529-1597), inscription "Marx Fugg." on upper pastedown, early shelfmarks "Arc.134 Nro.251", by family descent to—Marquard Fugger, Graf von Kirchberg und Weissenhorn (1596-1655)—Öttingen-Wallerstein, family library at Schloss Maihingen, armorial inkstamp on title-page—Eugen Wolfgang Karl Friedrich Joseph Notger, Fürst zu Öttingen-Öttingen und Öttingen-Wallerstein (1885-1969)—sale, Karl & Faber, Munich, 6–7 November 1933, lot 429—Raphaël Esmerian (1903-1976), bookplate to upper pastedown, sale, Georges Blaizot & Claude Guérin, Paris, 6 June 1972, lot 67. Acquisition: Purchased in 1989 from Martin Breslauer Inc., New York. References: von Gültlingen XI: Rollet & Frein 33; USTC 150207; Adams G-80. Exhibited: Walters Art Gallery, The History of Bookbinding, 1957, no. 315; The Grolier Club, Bookbinding Styles during the Renaissance in France, 1966, no. 2

View 1 of Lot 136: Galenus, De compositione pharmacorum localium, Lyon, 1549, interlaced morocco by Wotton Binder C for Marcus Fugger with his signature

galenus, de compositione pharmacorum localium, lyon, 1549, interlaced morocco by wotton binder c for marcus fugger with his signature

Davila, Pedro Francisco and Jean-Baptiste Louis Romé de l’Isle

Davila, Pedro Francisco and Jean-Baptiste Louis Romé de l’Isle Catalogue systématique et raisonné des curiosités de la nature et de l'art, qui composent le cabinet de M. Davila. Paris: Briasson, 1767 3 volumes, 8vo (197 x 122 mm). 30 plates, five folding, by Marie-Thérèse Reboul, C. Bresse, or Caresme; occasional pale spots and faint toning, a few of the usual short tears to plates around the folds, annotated prices in the margins, library stamp on title. Brown mottled calf, gilt tooled spines with five raised bands, red and green morocco spine labels, all edges stained red; worn, with a few surface losses to calf at spines and edges, some chipped spine ends and corners, cracked or starting joints and hinges, nevertheless a sound set. First edition of Pedro Francisco Davila’s important auction catalog for his natural history collection, written in part by the young Romé de l’Isle. Davila was born wealthy in Guyaquil, Peru (now Ecuador) and, soon after arriving in Paris in 1748, began voraciously collecting both artwork and natural history specimens. After nearly twenty acquisitive years, his collection had become the largest of its kind in France - the catalog describes 8,096 minerals, 5,253 shells, 600 preserved animals, 402 books, 12,000 prints and engravings, and 1,741 original artworks, among other categories. Though he had hoped that King Carlos III of Spain would buy the collection outright and use it to establish an institution, the purchase was eventually declined, and Davila was forced to auction everything to pay his creditors. The sale, undoubtedly one of the major auctions of the 18th century, aided by this well-printed and widely circulated catalogue, brought in 800,000 Spanish Reales. With the proceeds, Davila was able to repay his creditors, move to Madrid, and immediately begin another collection. In 1771, his second collection, a more carefully selected group specializing in minerals, became the foundational collection of the Royal Gallery of Natural History in Madrid, where Davila was appointed the institution’s first director. It is now part of the National Museum of Natural Sciences. “This catalog is far more than a mere listing of items, in fact each object is more or less adequately described and sometimes fully, causing some critics of this work to call it ‘outstanding’ and ‘useful’… The first volume is devoted to products of the sea… the second volume lists earths, stones, and minerals… volume three is in two parts, the first on fossils… while the second part is on art objects… [and] lists Davila’s books” (Sinkankas, 1594). Romé de l’Isle, in the second volume, wrote a detailed catalog of the mineralogical specimens, in which stresses the importance of crystalline form in mineralogical description. REFERENCES Schuh (2008), Vol. I, 1311; Sinkankas, 1594 PROVENANCE Catholic Missionary Society Library (ink stamp on title)

View 1 of Lot 86: Davila, Pedro Francisco and Jean-Baptiste Louis Romé de l’Isle | Catalogue systématique et raisonné des curiosités de la nature et de l'art

davila, pedro francisco and jean-baptiste louis romé de l’isle | catalogue systématique et raisonné des curiosités de la nature et de l'art

BAÏF, LAZARE DE. Lazari Bayfii Annotationes in legem II De captiuis & postliminio reuersis, in quibus tractatur De re nauali, per autorem recognitae. Eivsdem Annotationes in tractatum De auro & argento legato, quibus Vestimentorum et Vasculorum genera explicantur. His omnibus imagines ab antiquissimis monumentis desumptas ad argumenti declarationem subiunximus. Item Antonii Thylesii De coloribus libellus, à coloribus uestium non alienus. Basel: Hieronymus I Froben & Nicolaus I Episcopius, 1537 [bound with]

BAÏF, LAZARE DE. Lazari Bayfii Annotationes in legem II De captiuis & postliminio reuersis, in quibus tractatur De re nauali, per autorem recognitae. Eivsdem Annotationes in tractatum De auro & argento legato, quibus Vestimentorum et Vasculorum genera explicantur. His omnibus imagines ab antiquissimis monumentis desumptas ad argumenti declarationem subiunximus. Item Antonii Thylesii De coloribus libellus, à coloribus uestium non alienus. Basel: Hieronymus I Froben & Nicolaus I Episcopius, 1537 [bound with] Leonardo Bruni, Leonardi Aretini Rerum suo tempore in Italia gestarum commentarius. Eiusdem De rebus Graecis Liber. Lyon: Sébastien Gryphe, 1539 A collection of commentaries by the humanist Lazare de Baïf (ca. 1496–1547) on vases, clothing, and boats in antiquity, with woodcut illustrations derived from sketches of the pillar of Trajan sent to the author by the French ambassador in Rome, and from other sources. Antonio Telesio’s lexicon of some 150 color-related terms used by classical authors is appended. The book is bound together with the De temporibus suis of Leonardo Bruni (1370–1444), edited by Luigi Annibale della Croce (1499–1577). Thirteen bindings executed in Rome in the 1540s and all bearing the initials F.T. are now recorded. Anthony Hobson first drew attention to the collector “F.T.” in 1982, suggesting that he might be the erudite Jesuit theologian Francisco Torres (1509–1584), and listing nine volumes. In this initial study, “Who was F.T.?,” published in Philobiblon 36 (June 1982), pp. 166–176, Hobson argued that the bindings were Venetian; he subsequently returned them to Rome in “Some Sixteenth-century Buyers of Books in Rome and Elsewhere,” which appeared in Humanistica Lovaniensia: Journal of Neo-Latin Studies 34a (1985), pp. 65–75. Two more volumes were added to that census by T. Kimball Brooker in his doctoral dissertation, 1996, when Fernando de Torres (1521–1590) was proposed as their owner (no relation of Francisco). Another two bindings have subsequently come to light (see list below). One of them, a copy of Herodian’s Roman history, strengthens the arguments made in 1996 in favor of Fernando de Torres: it is inscribed on an endleaf “Lodovicus de Torres,” no doubt Luis II (Lodovico) de Torres (1533–1584), the younger brother of Fernando. The same inscription “Lodovicus de Torres” is found in a copy of the 1503 Aldine Euripides, which had been bound for Luis I de Torres (1495–1553). Evidently, Luis II Torres had the use, if not also possession, of the family library. Fernando de Torres was born in Málaga, one of five sons of Juan de Torres, Comendador de Santiago and Regidor of Málaga (1521–1561), and Catalina de la Vega, granddaughter of the prosperous local merchant Juancho de Haya. Apart from the eldest, Diego (ca. 1520–1582), who followed in his father’s footsteps, becoming Regidor perpetuo de Málaga, the boys sought advancement through the church: Luis (1533–1584), becoming archbishop of Monreale (1573–1584); Francisco (d. 1568), becoming archdeacon of Vélez-Málaga; Alonso (d. 1596), successively canon, treasurer, and dean of the Cathedral of Málaga. At an unknown date, Fernando de Torres was sent to Rome, where his uncle, Luis de Torres, held lucrative sinecures in the apostolic chancery. On 23 March 1538, Luis de Torres resigned to Fernando his office of Scriptor brevium. Fernando is recorded in January 1551, assisting his uncle, now Archbishop of Salerno, in his diocese. On 26 April 1551, Fernando married Pentesilea Sanguigni (1536–1572), and they welcomed their first (of eleven) children, Luis III de Torres, on 28 October 1551. The building of the Palazzo Torres, initiated by Luis de Torres, was completed around 1560, and Fernando became the first of the family to occupy it. He acquired honors, becoming a Cavaliere di S. Giacomo della Spada, and a Cavaliere dell’Ordine di Malta, and assumed prestigious offices in the municipal administration. From about 1559, Fernando was the curial agent for Philip II of Spain in the Kingdom of Naples (Regiae Catholicae Majestatis famulo et Agenti in Curia Romana). Shortly after his election, Pius V named Fernando secretarius and a papal familiare. When he died in 1590, Fernando was interred in the Cappella de Torres, Santa Caterina dei Funari, Rome, beneath a ledger stone laid by his son, Luis III. The thirteen bindings contain altogether twenty-one works printed between 1524 and 1545, mostly in Latin (one work is in Greek, two in Greek and Latin, and three are in Italian). They were executed in two different shops. Five bindings, including this one covering De Baïf and Bruni, were produced in an anonymous shop which worked also for Luis I de Torres (Hobson, op. cit., 1982, nos. 1-4; and no. 11 below). A title is lettered within a roundel on the upper cover, and the owner’s initials are similarly situated on the lower cover. All the other bindings were executed in the Roman shop of Niccolò Franzese. They are variously decorated, and some have the initials F.T. on both covers. All the F.T. bindings which retain the original back have a longitudinal gold-tooled spine title. Additions to Hobson's Census of F.T. Bindings (10) Pietro Bembo, Prose (Venice: [Comin da Trino], 1540), bound with: Bembo, Gli Asolani (Venice: Comin da Trino, 1540), and with: Bembo, Rime (Venice: [Comin da Trino], 1540). Fernando de Torres (supralibros) — Thomas Coke, 1 st Earl of Leicester (1697-1759) — Paris, Bibliothèque nationale de France, Réserve P.Z. 1949 (1-3). Brooker, op. cit., 1996, p.818 (as Niccolò Franzese); Brooker, op. cit., 1999, pp.32-53 (p.47) (11) Marcus Tullius Cicero, M. Tullii Ciceronis De Philosophia volumen secundum (Venice: Paolo Manuzio, 1541). Fernando de Torres (supralibros). Bibliotheca Brookeriana (Aldine Collection A–C, 12 October 2023, lot 330). (12) Herodianus, De imperatorum Romanorum praeclarè gestis lib. VIII (Basel: Heinrich Petri, 1543). Fernando de Torres (supralibros ) — Luis I de Torres (1494-1553), or Luis II de Torres (1533-1584), signature on endpaper — Marcantonio Borghese (1814-1886), oval exlibris (Bragaglia 2014) — Vincenzo Menozzi, Catalogue de la bibliothèque de s. e. d. Paolo Borghese, prince de Sulmona, Première partie, Rome, 16 May-7 June 1892, lot 4515 — Arthur Jeffrey Parsons (1856-1915); by descent to Agnes Stockton Royall Parsons (1861-1934); American Art Association, Illustrated catalogue of selections from the private library of the late Arthur Jeffrey Parsons of Washington, D.C., New York, 24 January 1923, lot 130 — Estelle C. Getz (née Cohn) (1880-1943); American Art Association (Anderson Galleries), The notable library formed by Mrs Milton E. Getz, Beverly Hills, California, New York, 17-18 November 1936, lot 157 (“The signature Lodovicus de Torres is written at the beginning of the notes, and the initials F. T. on the back cover are probably by a member of the same family, for whom the book was originally bound”) — unidentified owner - bought in sale ($11). (13) Florentius Volusenus, De animi tranquillitate dialogus (Lyon: Sébastien Gryphe, 1543). Fernando de Torres (supralibros) — Rome, Biblioteca Angelica, YY.9.22. Margherita Cavalli & Fiammetta Terlizzi, Legature di pregio in Angelica: Secoli XV-XVIII (Rome 1991), no. 6; Brooker, op. cit., 1996, p.820 (as Niccolò Franzese); Brooker, op. cit., 1999, pp.32-53 (p.47) 4to (208 x 157 mm). Roman types, with some Greek, 32 lines plus headline. Collation: (I) a–r4 s6 t–z4 A–E4 F6 G–M4 N6 O4 P6 Q4: 164 leaves. 32 woodcut illustrations, including 27 full-page, historiated woodcut initials, woodcut Froben devices on title-page and Q4v. (II) Roman types, 28 lines plus headline. a–b4 A–O⁴ P⁶: 140 leaves. Decorative woodcut initials, woodcut Gryphe devices on title-page and P6v. (Scattered browning and spotting, chiefly marginal.) Binding: Contemporary Roman dark brown goatskin (213 x 163 mm), for Fernando de Torres, covers with two concentric frames formed by double gilt fillets flanked by blind fillets, corners mitred with gilt flame tool at outer angles of inner frame, central roundel formed by a single gilt fillet and repetitions of small tools, containing on upper cover “LA | ZARVS | BAYFI |VS ·” and on lower cover initials “· F · T ,·” traces of 4 pairs of fabric ties, spine with 3 full bands and 4 half bands, title lettered in compartments running up spine in center two compartments “LAZA | RVS | BAYF | IVS”, edges gilt. (Rebacked with central portion of original spine laid down, extremities rubbed.) Provenance: Fernando de Torres (supralibros) — Ligated initials “APD“ on title-page (unidentified) — Capt. Charles Maxwell Richard Schwerdt (1889–1968; Sotheby’s, London, 23–24 March 1953, lot 12. Purchased by) — McLeish & Sons, London (£10 10s) — Albert Ehrman (1890–1969; exlibris) — Bernard Quaritch, London (their Catalogue 897, item 35, £80) — Arthur Vershbow (1922–2012) and Charlotte Vershbow (1924–2000) (joint exlibris; Christie’s, New York, 9–10 April 2013, lot 98. Acquisition: Purchased at the Vershbow sale through Robin Halwas. References: (1) VD16 B 157; USTC 671791 (2) FB 59295; USTC 147695; Baudrier, VIII, p. 128; Gültlingen, V, p. 88: 488; cf. for the binding: Tammaro de Marinis, La Legatura artistica in Italia nei secoli XV e XVI, no. 2979; Hobson, “Who was F.T.?,” in Philobiblon 36 (Heft 2, June 1982), pp. 166–176 (p. 166 no. 2); Brooker, Upright Works: the Emergence of the Vertical Library in the Sixteenth Century, Thesis (Ph.D.), University of Chicago, 1996, pp. 815–821 (“Exhibit 7: Roman bindings with spine titles [late 1530s–1545]. Owner’s initials F.T.”); Brooker, “Who was L.T.? Part II” in The Book Collector 48 (1999), pp. 32–53

View 1 of Lot 34: Baif, Annotationes in legem II, Basel, 1537, contemporary Roman morocco for Fernando de Torres

baif, annotationes in legem ii, basel, 1537, contemporary roman morocco for fernando de torres

Important Judaica

Established in Jerusalem in 1920 as an independent offshoot of the Bezalel School of Arts and Crafts, the Marbadiah (also spelled Marvadiah) workshop represents one of the most creative chapters in the development of Jewish decorative arts in the early twentieth century. Established under the direction of Shmuel Ben David, Abraham Bar-Adon, and Yaakov Kontrovich, all distinguished designers associated with Bezalel, Marbadiah sought to produce high-quality carpets rooted in Jewish themes while drawing on the stylistic languages of Art Nouveau, Persian weaving, Middle Eastern ornament, and ancient Mediterranean mosaics. Although financial uncertainty forced the closure of the workshop in 1924, it reopened later that year and continued to operate until 1931. Rugs from this short but fertile period are prized today for their expressive design, technical refinement, and rarity.

Established in Jerusalem in 1920 as an independent offshoot of the Bezalel School of Arts and Crafts, the Marbadiah (also spelled Marvadiah) workshop represents one of the most creative chapters in the development of Jewish decorative arts in the early twentieth century. Established under the direction of Shmuel Ben David, Abraham Bar-Adon, and Yaakov Kontrovich, all distinguished designers associated with Bezalel, Marbadiah sought to produce high-quality carpets rooted in Jewish themes while drawing on the stylistic languages of Art Nouveau, Persian weaving, Middle Eastern ornament, and ancient Mediterranean mosaics. Although financial uncertainty forced the closure of the workshop in 1924, it reopened later that year and continued to operate until 1931. Rugs from this short but fertile period are prized today for their expressive design, technical refinement, and rarity. The present rhomboid-medallion carpet is a superb example of Marbadiah’s ambition to create distinctively Jewish rug design. Its entire composition celebrates the imagery of vines, tendrils, and abundant grape clusters—motifs deeply rooted in the visual and spiritual vocabulary of Judaism. Here, 260 grape clusters spiral through the field and medallions, arranged in scrolling patterns, tight lattices, and repeating border sequences. While Islamic carpets avoid wine symbolism altogether, and Jewish tradition warns against excess, grapes and wine nonetheless hold a central place in Jewish ritual life. This carpet transforms those themes into a jubilant expression of blessing, fruitfulness and plenty. The vast decorative program is handled with exceptional artistic control. In the main border, meandering vines bear heavy clusters of grapes flanked by elegant pairs of facing deer, while the outer border introduces classical motifs of peacocks and urns. The palette—muted, harmonious, and deliberately antique in tone—evokes both the ancient mosaics being uncovered in the region during the 1920s and the refined natural-dye traditions of earlier Oriental weaving. This carpet stands as a milestone in the early effort to define a modern Jewish decorative art in the Land of Israel. Its combination of Bezalel-inspired craftsmanship, Marbadiah’s signature originality, and richly symbolic iconography places it among the most compelling textiles produced in Jerusalem during this formative period. 336 x 243 cm. (11' x 8 '); original Marbadiah tag still attached to the back of the carpet PROVENANCE Formerly in the collection of Anton Felton, noted scholar of Jewish carpets. LITERATURE Jewish Carpets: A History and Guide (Oriental Rugs Series) by Anton Felton. England:1997 Published by the Antique Collectors' Club. no. 50, p. 119

View 1 of Lot 54: A Marbadiah Wool Carpet with Rhomboid Medallion and Vine Motifs, Jerusalem, 1923

a marbadiah wool carpet with rhomboid medallion and vine motifs, jerusalem, 1923

A Rare Hebrew Bible with Micrographic Masorah

A Rare Hebrew Bible with Micrographic Masorah [Toledo, late 13th-early 14th century] 249 folios (10 1/4 x 9 in.; 260 x 230 mm), manuscript on parchment. Bound in elaborately blind-tooled dark brown nineteenth-century leather. A magnificent Hebrew Bible from Spain. The present lot is a masterfully copied medieval Hebrew Bible accompanied by the text-critical notes of the Masorah magna and Masorah parva in the upper and lower margins and between text columns, respectively. Based on its elegant calligraphy, it was produced within the Sephardic geo-cultural zone of the thirteenth century. We can narrow the location further by closely examining its codicology: almost all of its surviving quires are composed of ternions, that is, three bifolia comprising six folios or twelve pages. This particular method of manuscript construction has been linked specifically to scribes working in Toledo up to about 1300, perhaps due to the impact of a local Arab tradition that had crystallized when the city was under Muslim rule. (Most other Sephardic manuscripts, by contrast, were composed of quaternions, that is, four bifolia comprising eight folios or sixteen pages.) Another indication of a connection to the city is the volume’s decorative program, an Islamic-influenced style found in several Toledo manuscripts that is characterized by geometric micrographic designs using the masoretic text in the margins and at the end of biblical books or pericopes. One of these geometric designs, found at several points throughout the volume, takes the form of a Star of David. The use of this motif in Hebrew biblical manuscripts goes back at least to early eleventh-century Egypt but spread with time to other parts of the Jewish world, including Iberia, Provence, and Germany. These book-art examples of Stars of David combine with others from medieval Jewish material culture more generally to argue in favor of a premodern date for the hexagram’s adoption as a distinctly (though not exclusively) Jewish symbol. The attribution of this lot to Toledo is significant, as the city was renowned for the accuracy of the biblical codices originating therein. Indeed, one of the towering figures of high medieval Masorah studies, Rabbi Meir ha-Levi Abulafia (Ramah; ca. 1170-1244), author of the influential masoretic treatise Massoret seyag la-torah, lived and headed a yeshiva in Toledo. The city was also home to the celebrated Hilleli Codex, a legendary, ancient Hebrew Bible cited and used as an authoritative model by Iberian copyists from the early thirteenth through the fifteenth centuries but subsequently lost to history. Finally, Toledo produced two particularly famous scribes, Israel ben Isaac Ben Israel (fl. 1222-1241) and Joseph ben Judah Ibn Merwas (fl. 1300-1334), whose work, some of which survives to the present day, was greatly esteemed and/or relied upon by the likes of Rabbis Menahem ben Solomon Me’iri (1249-1316), Isaac Abarbanel (1437-1508), and Moses ben Jacob Ibn Zabara (fifteenth century). Between 1300 and 1334, Joseph ben Judah ibn Merwas copied and signed three Bibles. In 1300, he produced a Bible that is now in the British Library in London (MS Or. 2201). His second Bible, written in 1307, is currently in the Toronto University Library (Friedberg MSS 5-001) and in 1334, Ibn Merwas wrote a third Bible for Judah Ben Asher in Toledo. His Bibles, and especially his second from 1307, feature the imagery of the Star of David formed from expert micrographic lettering throughout the text. The present bible, though unsigned, may well have been produced by Joseph ben Judah ibn Merwas, as the similarity of the elegant script and the use of the star of David micrographic designs, are strong indications that this manuscript was written and decorated by the celebrated scribe. Some time after the manuscript’s completion, a later user with a neat Sephardic hand added headers, chapter numbers, and marginal haftarah (lection from the Prophets) references that cite the chapter in which the haftarah occurs. These modifications were presumably intended to make the volume more user-friendly in both the synagogue and the study hall. A still later, Judeo-Spanish-speaking owner seems to have continued where his predecessor left off by actually marking the starting point of haftarot in the books of Samuel through Isaiah. Contents The order of the preserved biblical books in the present lot mirrors that of ancient Masoretic Bibles such as the Aleppo Codex, the Leningrad Codex, and Codex Sassoon: Torah (ff. 1r-34r) ff. 1r-2v: Leviticus 16:25-19:13a, 26:37b-end ff. 2v-15v: Numbers 1:1-26a, 4:26b-7:54a, 13:33b-21:23a, 23:10b-end ff. 15v-34r: Deuteronomy Prophets (ff. 35v-175r) ff. 35v-47r: Joshua ff. 47r-59r: Judges ff. 59r-85v: I-II Samuel ff. 85v-114v: I-II Kings ff. 114v-122v: Isaiah 1:1-4a, 41:11-end ff. 122v-148r: Jeremiah ff. 148r-162v: Ezekiel 1:1-34:26 ff. 163r-175r: Amos 5:1-end of Twelve Minor Prophets Writings (ff. 175v-249v) ff. 175v-204v: I-II Chronicles ff. 204v-230v: Psalms ff. 231r-237r: Job 14:9-end f. 237v: Proverbs 1:1-2:13 ff. 238r-239v: Esther 5:12b-end ff. 239v-246v: Daniel ff. 246v-249v: Ezra 1:1-8:12a Provenance: Asher Abarbanel (f. 7v); The Chicago Theological Seminary, Hammond Library; Current owner

View 1 of Lot 63: A Rare Hebrew Bible with Micrographic Masorah, Spain c. 1300

a rare hebrew bible with micrographic masorah, spain c. 1300

DU BELLAY, MARTIN. Les Memoires de Mess. Martin du Bellay ... contenans le discours de plusieurs choses advenuës au Royaume de France, depuis l'an MDXIII jusques au trespas du Roy François premier. Paris: Pierre L'Huillier, 1572 (28 November 1571)

DU BELLAY, MARTIN. Les Memoires de Mess. Martin du Bellay ... contenans le discours de plusieurs choses advenuës au Royaume de France, depuis l'an MDXIII jusques au trespas du Roy François premier. Paris: Pierre L'Huillier, 1572 (28 November 1571) OUTSTANDING LARGE-PAPER COPY OF THE SECOND EDITION FROM THE LIBRARY OF CHARLES DE BOURBON-CONDÉ, PREMIER COMTE DE SOISONS; THE HOLFORD–VAN-DER-ELST–ESMERIAN COPY. Martin du Bellay (1495-1559) was a French chronicler and diplomat and the brother of Guillaume du Bellay and Cardinal Jean du Bellay. This historiographical work, his Memoires, traces the reign of François I, beginning in 1513, two years before François took the throne, until his death in 1547, in ten books. The final three contain extracts from his brother Guillaume’s memoirs. This copy was bound for Charles de Bourbon-Condé, Count of Soissons (1566-1612). The son of Louis 1er Bourbon de Condé and his second wife Françoise d’Orléans-Longueville, he was a first cousin of King Henry IV of France. It later passed through the hands of notable book collectors: Sir George Holford (1860-1926), whose collection was formed around the nucleus of Lord Vernon's library, Charles van der Elst (1904-1982), Raphaël Esmerian (1903-1976) and Jean A. Bonna (b. 1945). Folio (382 x 237 mm). Roman type, 36 lines plus headline. Collation: ā6 2ā6 2ē4 a-y6 z4 A-Nn6, [2]O6: 368 leaves. Woodcut printer's device on title-page, woodcut initials and head- and tailpieces, ruled in red throughout. (Large ink stain on Aa2v, 100mm repaired tear to lower margin of H5 affecting a couple of letters, small marginal stain to o6, 40mm ink stains to S1v and S2r at fore-edge, minimal marginal worming from quire Mm to end.) Binding: Near-contemporary olive brown morocco (388 x 245 mm), wide gilt border of double fillets containing fleur-de-lys and intertwined double-C's within oval wreaths, panel containing a repeated patter of fleur-de-lys and intertwined double-C's surrounding central wreath containing arms of Charles de Bourbon-Condé, flat spine with similar gilt decoration, 2-line title lettered towards head, edges gilt, in a brown half morocco over beige cloth box. (Expert repairs to corners, spine ends, and joints, spine slightly and uniformly darkened, ink stain to fore-edge, small wormholes to head of lower pastedown.) Provenance: Charles de Bourbon-Condé, premier comte de Soissons (1566-1612), arms on binding—inked-over ownership inscription to title-page, dated 1731—George John Venables Vernon, 5th Baron Vernon (1803 -1866), sold part collection to—Robert Stayner Holford (1808-1892), by descent to—Sir George Holford (1860-1926), manuscript note in brown ink affixed to upper pastedown, his sale, Sotheby's, 5 December 1927, lot 281 ("from the collection of Lord Vernon"), sold to—Raphaël Esmerian (1903-1976), ex-libris, his sale, Tajan, 6 June 1972, lot 57—bookplate of Charles van der Elst (1904-1982)—Ader Picard Tajan & Claude Guérin with Dominique Courvoisier, Précieux livres anciens, Monte Carlo, 13 May 1985, lot 80 (upper cover illustrated), to H.P. Kraus, New York—their Catalogue 174 (New York, [1986]), item 50—Jean A. Bonna (b. 1945), ex-libris, his sale, Christie's, London, 16 June 2015, lot 74. Acquisition: Purchased at the preceding sale. References: USTC 7039. Exhibition: Dorothy Miner, The history of bookbinding 525-1950 A.D., catalogue of an exhibition in cooperation with the Baltimore Museum of Art, 12 November 1957-12 January 1958 (Baltimore, 1957), no. 376 and Pl. 77; Grolier Club, Bookbinding styles during the Renaissance in France from the collection of Raphael Esmerian (New York, 1966), no. 48

View 1 of Lot 114: Du Bellay, Les memoires, Paris, 1572, contemporary armorial binding for Charles de Bourbon-Condé, the Holford–van-der-Elst–Esmerian copy

du bellay, les memoires, paris, 1572, contemporary armorial binding for charles de bourbon-condé, the holford–van-der-elst–esmerian copy

Gersaint, Edme-Francois Two works bound in one volume: I. Catalogue raisonné des Coquilles, et Autres Curiosites Naturelles. Etched frontispiece by Duflos after Boucher. Paris: (Valleyre fils for) Flahault & Prault, 1736 12mo (175 x 94 mm). Engraved frontispiece of corals and shells by Duflos after Boucher. Including half-title but without the final errata leaf; light spotting and intermittent dampstaining. Contemporary French mottled calf gilt with morocco lettering-piece; a bit worn and chipped at extremities. The catalogue of a sale of shells and natural history specimens organized by the Parisian art dealer and auctioneer Gersaint (1694-1750), it includes an introductory essay on conchology, a survey of important collections, and a brief annotated bibliography of the subject. Includes a list of European Cabinets de curiosites naturelles such as those of Reaumur, Julienne, Dezallier d'Argenville, and Bonnier de La Mosson “plus physicien encore que curieux” (p.33). [Bound with:] II. Catalogue raisonné d’une collection considérable de diverses Curiosités en tous Genres. Paris: Jacques Barois, Pierre-Guillaume Simon, 1744 12mo. Repeated frontispiece. Half-title. Presentation copy, inscribed by Gersaint in the lower margin of the frontispiece. A priced copy, with marginal annotations and occasional insertions. Rare auction catalogue of the nine scientific curiosity cabinets of Joseph Bonnier de la Mosson (1702-1744): chemistry, pharmacy, drugs, utensils for making instruments, three cabinets of natural history objects (many shells), a cabinet of physics and machinery (e.g. a magic lantern), prints and paintings (incl. "The goldsmith's shop" by Quinten Matsijs) and jewelry, totaling 966 lots.

View 1 of Lot 108: Gersaint, Edme-Francois | Collection of two auction catalogues

gersaint, edme-francois | collection of two auction catalogues

Books, Manuscripts & Music

The Haggadah, executed by Arthur Szyk, edited by Cecil Roth, London: Beaconsfield Press, Limited, [1940]

The Haggadah, executed by Arthur Szyk, edited by Cecil Roth, London: Beaconsfield Press, Limited, [1940] 4to (282 x 240mm), NUMBER 26 OF 125 COPIES SIGNED BY THE ARTIST AND EDITOR, printed on vellum in Hebrew and English, artwork by Arthur Szyk including decorative initials, borders, and 14 full-page illustrations, original full blue morocco pictorial gilt binding by Sangorski and Sutcliffe, spine gilt in seven compartments, pictorial silk doublures with monochromatic illustration of Moses, housed in original publisher's blue half morocco clamshell case, extremities of case rubbed and bumped LIMITED EDITION — NUMBER 26 OF 125 VELLUM COPIES SIGNED BY SZYK AND ROTH FOR SALE IN THE BRITISH EMPIRE. A FINE COPY of The Szyk Haggadah, representing the culmination of a thousand-year-old tradition of illuminated Hebrew manuscripts. Upon its publication, The Szyk Haggadah was described by the Times Literary Supplement of London as “a book worthy to be placed among the most beautiful of books that the hand of man has produced.” Each individually illuminated text is an example of both extraordinary artistic accomplishment and of profound scholarship. Given the unfolding events in Nazi Europe, the Haggadah became, for Szyk, a personal and political statement. Dedicating his Exodus narrative to King George VI (1895-1952), Szyk acknowledged the key role that England, his temporary place of residence, had to play in Jewish survival: “At the Feet of Your Most Gracious Majesty i [sic] humbly lay these works of my hands, shewing forth the Afflictions of my People Israel. arthur szyk [sic], illuminator of Poland.” Of his accomplishments, Szyk wrote in French on the page opposite the title: “I am but a Jew praying in art, and if I have worked, if I have succeeded to some degree, if I have been favorably accepted among the elite of society, I owe it all to the teachings, traditions, and eternal virtues of my people.” LITERATURE: Irvin Ungar, “Telling the Story: A History of the Szyk Haggadah,” in Byron L. Sherwin and Irvin Ungar (eds.), Freedom Illuminated: Understanding the Szyk Haggadah (Burlingame, CA: Historicana, 2008); Avraham Yaari, Bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ve-ad ha-yom (Jerusalem: Bamberger & Wahrman, 1960), 159 (no. 2285); Isaac Yudlov, Otsar ha-haggadot: bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ha-ivri ad shenat [5]720 (Jerusalem: Magnes Press, 1997), 271 (no. 3713); Isaac Yudlov, “Defusei kelaf be-beit ha-sefarim ha-le’ummi ve-ha-universita’i,” Kiryat sefer 68 (supplement) (1998): 261-273, at p. 273 (no. 42).

View 1 of Lot 102: Arthur Szyk and Cecil Roth | The Haggadah, [1940], number 26 of 125 vellum copies signed by Szyk and Roth

arthur szyk and cecil roth | the haggadah, [1940], number 26 of 125 vellum copies signed by szyk and roth

Baumeister, Joseph Edler von Die Welt in Bildern vorzuglich zum Vergnugen und Unterricht der Jugend. Vierter Band. Vienna: “Gedruckt und verlegt in der K. K. priv. von Vaumeristerischen Buchdruckeren,” 1791 4to (265 x 215 mm). Hand-colored engraved vignettes on title and last text leaf, 23 hand-colored plates (the last numbered 24; copies are often described as having 24 plates, though 24 is a vignette). Modern green morocco. First edition. “The volume described was published as the fourth number of Die Welt in Bildern (6 vols., Vienna, 1788-92), which was directed towards juveniles. The set's focus was to show the young reader a comprehensive view of the world through realistic pictures. This part treats things dug from the earth by marvelously illustrating a wide variety of minerals, agates and marble samples. Johann Sollander [see note below] prepared the master plates from actual specimens, and his effort shows in this truly beautiful illustrated mineralogy” (The Mineralogical Record). The original engravings by Johann Mansfield are from paintings by Johann Sollerer, a Viennese painter of miniatures. According to Virtual Museum of the History of Mineralogy: “The work exists in two states. One with the title vignette and plates untinted, and the other with these illustrations hand-colored [as here]. The colored copies are printed on a better quality paper that makes the volume noticeably thicker.” Not in any of the standard bibliographies.

View 1 of Lot 41: Baumeister, Joseph Edler von | Die Welt in Bildern vorzuglich zum Vergnugen und Unterricht der Jugend

baumeister, joseph edler von | die welt in bildern vorzuglich zum vergnugen und unterricht der jugend

The Library of Barry Yampol: A First Selection. Part 1

(Probier Büchlein) Probir Büchlin, auff Goldt, Silber, alle Ertz und Metall. Mit vil kostbarlichen Alchimeijschen Künsten. Sampt allem zugehör und Instrumenten darzu dienlich. Die Bergknamen, für die newen angonde Bergkleut. Register such am end. Strassaburg: Christian Egenolph, 1530 8vo (133 x 86 mm). Four woodcut diagrams on title, a few small diagrams in-text; B3 and B6 printed askew with text shaved. Modern stiff vellum. Folding chemise and card slipcase. The second edition, considered by Duveen to be" of the utmost rarity." "The Probierbüchlein is a treatise very important for the history of the development of mineral chemistry. Early manuscripts contained much detailed and accurate information concerning the methods of separating gold and silver from other metals and from one another by so-called cementation processes as well as information concerning the preparation and use of the strong mineral acids in the treatment of metals and ores. [...] This is the first printed work on assaying, and it displays the art already full-grown, so far as concerns gold and silver, and to some extent copper and lead. It publishes technical details much as they are still practiced in the assayer's office today. However, the random collection of procedures given suggests that the original manuscript was produced by a working assayer who collected together useful snippets of information rather than a coherent discussion of the subject" (Schuh). REFERENCES Duveen 485; Curtis Schuh, The Mineralogical Record (https://mineralogicalrecord.com/new_biobibliography/probier-b252chlein/: accessed 15 November 2025); this edition not in Darmstaedter, Ferguson, or Hoover PROVENANCE Joseph A. Freilich (booklabel; Sotheby's New York, 10 January 2001, lot 441)

View 1 of Lot 21: (Probier Büchlein) | "Of the utmost rarity" (Duveen)

(probier büchlein) | "of the utmost rarity" (duveen)

BUDÉ, GUILLAUME. Summaire ou epitome du livre de Asse fait par le commandement du Roy par maistre Guillaume Bude conseiller du dict seigneur, et maistre des requestes ordinaires de son hostel, par ledict bude, reveu & additionne oultre les precedentes impressions. Paris: (Pierre Vidoue for) Galliot du Pré, (3 January 1529)

BUDÉ, GUILLAUME. Summaire ou epitome du livre de Asse fait par le commandement du Roy par maistre Guillaume Bude conseiller du dict seigneur, et maistre des requestes ordinaires de son hostel, par ledict bude, reveu & additionne oultre les precedentes impressions. Paris: (Pierre Vidoue for) Galliot du Pré, (3 January 1529) A shortened version of Budé’s respected work on Roman coinage, De asse (Paris, 1514), reprinted from the 1522 edition, in an elegant lettered binding attributed to the royal binder, Étienne Roffet. For a similar epigraphic binding by Roffet, see Bibliotheca Brookeriana II, 12 October 2023, lot 203, a copy of Boccaccio’s Fiammetta (1524) which was also in the 1929 Gumuchian catalogue and Esmerian’s library. Identical tools were used by the Salel Binder (Laffitte and Le Bars, Reliures royales de la Renaissance, 11b), who was active in Paris and binding books for the royal library at the same time as Étienne Roffet. The overall design is not dissimilar to some early Grolier bindings (such as the 1528 Macrobius, Bookbindings from the library of Jean Grolier, no. 19). 8vo (166 x 100 mm). Roman type, 28 lines plus headline. Collation: π4 a-k8: 84 leaves. Title printed in red, woodcut printer’s device on title-page and final verso (otherwise blank), woodcut initials. (Lightly browned, occasional light damp-staining.) Binding: Contemporary dark brown morocco gilt (170 x 109 mm), attributed to Étienne Roffet and probably executed in the early 1540s, an epigraphic binding with the title in within a double gilt fillet frame surrounded by curved leafy tools, an outer frame of blind and gilt fillets with corner fleurons, spine with blind ruling around bands, gilt edges, stubs from two pairs of ties, with engraved portraits of St Neot of Paris and Gregory I pasted to inside of covers. In modern black drop-backed box. (A few small neat repairs to binding, including ends of spine, pastedowns and flyleaves stained.) Provenance: Babin, name at top of title-page — Siméon Stilitte des Moulins de Cheviré (1653-1731), inscriptions on front flyleaf, title and rear flyleaf — Librairie Gumuchian & Cie, Catalogue de reliures du XVe au XIXe siècle (Paris, 1929), item 29 and plate XIV, and their small G stamp on inside lower cover — Raphaël Esmerian (1903-1976), booklabel, his sale, part one, Antoine & Étienne Ader, Jean-Louis Picard & Jacques Tajan, Paris, 6 June 1972, lot 41 — Cuvreau Expertises Enchères, sale, Paris, 24 March 2009, lot 4. Acquisition: Purchased at the preceding sale. References: BP16 105865; USTC 24225; Dorothy Miner, The history of bookbinding 525-1950 AD, catalogue of an exhibition in cooperation with the Baltimore Museum of Art (Baltimore, 1957), no. 251; Grolier Club, Bookbinding styles during the Renaissance in France from the collection of Raphaël Esmerian (New York, 1966), no. 3

View 1 of Lot 59: Budé, Summaire ou Epitome du livre de Asse, Paris, 1529, Parisian epigraphic binding attributed to Étienne Roffet

budé, summaire ou epitome du livre de asse, paris, 1529, parisian epigraphic binding attributed to étienne roffet

Bible, Latin Biblia Latina, a bifolium printed on vellum from the Gutenberg or 42-line Bible. [Mainz: Johann Gutenberg, c.1454-1455] 360 x 240 mm, Royal folio, joint bifolium (separated at one point now attached again) (I:25, 26 (3/5·6)) from volume I containing the text of Genesis 42:31 until 46:12, 42 lines, double column, type 140G, two 2-line initials in red, one in blue, chapter numbers and running title supplied in red, some capitals marked in red with a slanted stroke with serif; leaves browned overall, stain in upper right corner of first recto, a few small wormholes at right foot of first recto, some minor staining, creases where leaves were folded as paste downs, occasionally slight fading of text A REDISCOVERED BIFOLIUM FROM THE GUTENBERG BIBLE, THE FIRST PRINTED BIBLE IN EUROPE, FROM THE COLLECTION OF PAUL HIRSCH. This newly discovered bifolium from the Gutenberg Bible contains a substantial section of the book of Genesis (42:31 until 46:12). Not only the text but also the decoration of the lost fragment matches our fragment. The decoration of the St Louis and Dallas leaves is characterised by the purely red headlines, and slanted capital strokes with serifs, and a small dot after the chapter numerals, mirroring the decoration in our fragment. The so-called 42-line Bible, or Gutenberg Bible, was created by German printer and publisher Johannes Gutenberg (c.1400-1468) in his workshop in Mainz in 1454/55. Using Jerome’s ‘Vulgate’ translation, the text is laid out in two columns of 42 lines. With its elegant Gothic type that was designed to emulate manuscript, the Gutenberg Bible was a revolutionary masterpiece, uniting the art of fine printing with ingenious craftsmanship, immortalising the historic significance of the Bible. While around 158 to 180 copies were made on paper, only 12 more or less complete Bibles on vellum are extant, and most of these are held in public institutions (White, p.21, 2010). In light of this survival rate, every fragment is a precious piece of cultural history. The Gutenberg Bible was not only the first Bible, but the first book to be printed in Europe using movable type. While printing itself was not a new invention, Gutenberg is credited with having revolutionised the printing process through the introduction of individual ‘movable’ letters made of metal. Using individual letters that could be rearranged at a moment’s notice with minimum effort – instead of complete text blocks made from wood – radically hastened the production of printed materials and exponentially increased the amount of texts in circulation at the time. Gutenberg’s technical advancement of the printing press acted as a catalyst for the Reformation movement that led to a cultural shift of unforeseeable proportions, an event that was coined the ‘printing revolution’ by Elizabeth Eisenstein in 1983. Almost overnight, it became possible to duplicate and multiply human knowledge within a few hours, making it accessible to a wider readership. The production of this Bible signified a turning point in human history, whose legacy and impact scholars are still trying to understand today. SISTER LEAVES: 1. I:24 (3/4) = Genesis 41-42. Saint Louis, Missouri, Art Museum, 40:1922. 2. I:27 (3/7) = Genesis 46-48.Dallas, Texas, Southern Methodist University, Bridwell Library, Prothro B-51. 3. I:50 (5/10) = Leviticus 4-5. Coburg, Landesbibliothek, Inc. Ca 23:1; see E. Herold, “Die Coburger Gutenbergfunde und ihre Bedeutung für die Gutenberg-Forschung”, Gutenberg-Jahrbuch (1941), 52. 4. II:298 (30/4) = Acts 21-23. Karlsruhe, Landesarchiv, 65/11987; see Hermann Ehmer, “Ein neuentdecktes Pergamentfragment der 42-zeiligen Gutenbergbibel”, Zeitschrift für die Geschichte des Oberrheins 123 (1975), 251-252, with two illustrations. PROVENANCE: 1. Printed in Mainz by Johann Gutenberg in his workshop between 1454 and 1455. 2. A sister leaf from Coburg, which was used on a copy of the 1572 edition of Brant’s Stultifera Navis from Basel, indicates that this copy of the Gutenberg Bible must have been disassembled at some point before 1572. 3. The fragment is likely to be identified with the lost leaf belonging to the ‘Durlach Group’, designated by Eric White (White 2010, p.24). In 1909, the celebrated Munich bookseller Jacques Rosenthal acquired four leaves (two single leaves and our bifolium) encompassing Genesis 41 to 48. The bifolium was likely acquired around 1920 by Paul Hirsch. One leaf was purchased by Paul Gottschalk, who sold it to the St Louis Art Museum (f.I:24) in 1922. The remaining leaf (f.I:27) passed to Jacques Rosenthal’s son after his death in 1937, Dr. Erwin Rosenthal, who sold the leaf to H. P. Kraus in 1953 (his catalogue, The Cradle of Printing: From Mainz and Bamberg to Westminster and St Albans. One Hundred Incunabula and Manuscripts Important for the Development of Early Printing, New York, [1954]). Kraus sold the leaf in 1954 to Harold J. Maker of Irvington, New Jersey. The next known owner, Samuel D. Steinberg, presented it to Sinai Temple in Los Angeles in 1961. In 1964, John Howell Books in San Francisco sold the leaf to Charles Prothro of Wichita Falls, Texas, as a Christmas gift for his wife Elizabeth Perkins Prothro; she presented it to Bridwell Library in 1996 where it is still held today. Our fragment was sold to: 4. The renowned bibliophile Paul Hirsch (1881–1951). Born into a German-Jewish industrial family, he soon developed a great appreciation for books and was a passionate and accomplished musician. He created the largest private library in Europe, and his collection of music, encompassing over 18,000 items, is now held at the British Library. Following the rise of National Socialism in Germany Hirsch fled Germany in 1936 to settle in Cambridge; 5. by descent to the current owner. See following lot and lots 147-149. LITERATURE: ISTC ib00526000; White, Eric Marshall (2010). "The Gutenberg Bibles that Survive as Binder's Waste". In Wagner, Bettina; Reed, Marcia (eds.). Early Printed Books as Material Objects: Proceedings of the Conference Organized by the Ifla Rare Books and Manuscripts Section Munich, 19–21 August 2009. De Gruyter, pp. 21–35; Goff, Frederick R. Incunabula in American libraries: a third census. Millwood (N.Y.), 1973. (Reproduced from the annotated copy of the original edition (New York, 1964) maintained by Goff). (Supplement. New York, 1972.) B526 FURTHER READING: Als die Lettern laufen lernten: Medienwandel im 15. Jahrhundert. Inkunabeln aus der Bayerischen Staatsbibliothek München. ed. by Bettina Wagner. Wiesbaden: Dr. Ludwig Reichert Verlag, 2009; Hooks, Adam G. “Breaking Gutenberg Apart.” http://www.adamghooks.net/2013/04/breaking-gutenberg-apart.html; Kapr, Albert. Johann Gutenberg: the Man and His Invention. Douglas Martin, trans. Aldershot, England: Scolar Press, 1996; Meuthen, Erich. “Ein neues frühes Quellenzeugnis (zu Oktober 1454?) für den ältesten Bibeldruck”, Gutenberg-Jahrbuch 57 (1982): 110; Needham, Paul (1999). "The Changing Shape of the Vulgate Bible in Fifteenth-Century Printing Shops". In Saenger, Paul; Van Kampen, Kimberly (eds.). The Bible as Book: the First Printed Editions. British Library. pp. 53–70; Needham, Paul (2010). "Copy Specifics in the Printing Shop". In Wagner, Bettina; Reed, Marcia (eds.). Early Printed Books as Material Objects: Proceedings of the Conference Organized by the Ifla Rare Books and Manuscripts Section Munich, 19–21 August 2009. De Gruyter Sur. pp. 9–20. Newton, A. Edward. A Noble Fragment: Being a Leaf of the Gutenberg Bible, 1450-1455; with a Bibliographical Essay. New York: Gabriel Wells, 1921; White, Eric Marshall. Editio Princeps: a History of the Gutenberg Bible. London: Harvey Miller Publishers, 2017

View 1 of Lot 5: Bible, Latin | A bifolium from the Gutenberg Bible

bible, latin | a bifolium from the gutenberg bible

Milbert, Jacques-Gérard Itinéraire Pittoresque du Fleuve Hudson et des parties latérales de l'Amérique du Nord. Paris: Henri Gaugain et Cie, 1828-1829 3 volumes, comprising 2 text volumes, 4to (355 x 268 mm) and an atlas, folio (324 x 495 mm). Text: Half-titles; minor foxing. Atlas: 54 lithographed views on india paper, mounted, numbered 1-53 (plate 19 bis misnumbered, and plate 26 unnumbered as issued), after Milbert by Deroy, V. Adam, Villeneuve, and others, 1 hand-colored double-page lithographed map after H. Toquet; some foxing, generally to the mounts and not in the image. Text: Contemporary purple morocco backed marbled paper covered boards, spines gilt with semi-raised bands. Atlas: Black morocco backed lithographed pictorial wrappers. Atlas housed in a blue cloth box. First edition of an outstanding series of American views, with the scarce India Paper issue of the plates. "Milbert sailed from Havre on the 1st of September, 1815, and arrived in New York on the 20th of the following October. He settled in New York, where his first work was the making of several drawings of the mechanism of steamboats. He soon, however, turned to portrait-painting, and taught drawing. Milbert was later attached to the commission in charge of the levelling preparatory to the establishment of the Champlain Canal. In this connection he made a journey in one of the large steamers plying upon the Hudson. It was on this voyage that he collected much of the material for his Itinéraire Pittoresque. A few years after his arrival in New York he was charged by M. Hyde de Neuville, the French Minister, with the preparation of certain collections of natural history specimens, destined for the King's Garden in Paris. In his report on this collection, which is printed in full in his Itinéraire Pittoresque, he styles himself 'Voyageur, Naturaliste du Gouvernement et Correspondant du Museum d'Histoire Naturelle au Jardin du Roi.' It was through Milbert's efforts that the first living specimen of the American buffalo was introduced into France. On pages 33-6 of the first volume of text is given a very interesting description of the architecture and interior arrangement of the private houses of New York at this period" (Stokes Iconography of New York). Most of the plates depict scenes in New York State, ranging from New York City, to West Point, Albany, Troy, Saratoga Springs and Niagara Falls. This set includes the rare 54th plate that is often lacking, as well as the finely colored folding map of the northeastern United States, covering the area west to Ohio and the Great Lakes, and south to Virginia, with a significant portion of Canada. It also includes an inset of the Hudson River region. There are also views of Massachusetts, Rhode Island, New Jersey, Pennsylvania, Maryland and Virginia. "As an artist, Milbert loved to paint American landscapes, particularly those which showed the Hudson, 'King of Rivers,' flowing majestically through the mountains ... boundless curiosity, plus a contagious enthusiasm and a delightful sense of humor, make the journal as lively a document today as when it was penned a hundred and forty years ago. The pictures of what he saw, as of the time he drew them, constitute a unique and valuable record" (Sherman). REFERENCES Brunet III:1713; Deak 299; Howes M592; Monaghan 1072; Ray, French 110; Sabin 48916; Constance D. Sherman "A French Explorer in the Hudson Valley" in the New York Historical Society Quarterly 45 (July 1961), pp.255-280; Stokes Iconography of New York p.569; cf. Streeter Sale 910

View 1 of Lot 1038: Milbert, Jacques-Gérard | First edition of this outstanding series of American views, the scarce India Paper issue 

milbert, jacques-gérard | first edition of this outstanding series of american views, the scarce india paper issue

The second edition of the enormously influential Amsterdam Haggadah.

The second edition of the enormously influential Amsterdam Haggadah. In 1695, a Passover Haggadah was published in Amsterdam that charted new territory by developing a distinctive iconography. As noted by the printers, the old Haggadot printed in Venice were no longer readily available, and so a new publication was needed. The illustrations were supplied by the artist Abram bar Jacob, “of the family of our forefather Abraham,” a German cleric who had converted to Judaism in Amsterdam. Instead of using traditional woodcuts, Abraham bar Jacob created superior copperplate engravings. He modeled the vast majority of his illustrations on those created by the Swiss engraver Matthäus Merian, who was in turn inspired by the German painter Hans Holbein. He displayed his originality, however, in a few instances: he included a depiction of a young Abram smashing his father’s idols; he added an image of Abram crossing the river into Canaan in the background of his portrayal of the arrival of the three angels; and he grouped the Four Sons together in a single image. In the 1695 edition, the Haggadah text was accompanied by an abridged version of Don Isaac Abarbanel’s (1437–1508) Zevah Pesah, together with a short esoteric commentary, and its instructions were given in Hebrew, Yiddish, and Ladino. Two versions of the korekh (“sandwich”) formula and birkat ha‑mazon (“grace after meals”) were printed to accommodate the variances between the Ashkenazic and Sephardic rites. The volume closed with Abraham bar Jacob’s engraved Hebrew map of the Holy Land that traced the itinerary of the Israelites in the Wilderness and their entry into the Land of Israel. It is one of the earliest printed Hebrew maps of the Holy Land. The present 1712 edition, printed by Solomon Proops, is a slightly altered reprint of that influential 1695 Amsterdam Haggadah. It essentially preserves Abraham bar Jacob’s copperplate cycle and his large folding Hebrew map of the Holy Land, while introducing a new engraved title page with Moses at the Burning Bush, additional historiated woodcut initials, and adapted cycles of illustrations for the stages of the Seder and the progression of the Ten Plagues. In addition to Abarbanel’s Zevah Pesah and the mystical commentary of the first printing, this edition contains a further commentary culled from a range of sources. The volume also retains the trilingual directions in Hebrew, Yiddish, and Ladino. In subsequent years, the illustrations of the Amsterdam Haggadot would achieve great popularity and go on to be imitated more than those of any other Haggadah in history. Physical Description Folio (287 x 185 mm); [1], 31 folios on paper, with an intricately engraved fold-out map of the exodus from Egypt and the entry into the Land of Canaan. Engraved title page featuring Moses and Aaron flanking the text, surmounted by a vignette of Moses kneeling in awe at the Burning Bush; one full-page engraved cycle of illustrations of the stages of the Seder on f. 2r; fifteen half-page engraved illustrations on ff. 5v, 6r, 7v, 8r, 9v, 10v, 11r, 12r, 12v, 13r, 14v, 15r, 16r, 23r, 29r; woodcut ornaments on ff. [1r], 20r; numerous woodcut historiated initials. Binding: later black calf-backed paper boards. Literature Harold Brodsky, “The Seventeenth-Century Haggadah Map of Avraham bar Yaacov,” Jewish Art 19-20 (1993-1994): 149-157. Harold Brodsky, “Clues to The Hidden Midrash on Bar Yaacov’s Hebrew Map,” Israeli Map Collectors Society Journal 13 (July 1996): 36-43. Amir Cahanovitc, “Mappot be-haggadot pesah” (M.Ed. thesis, Achva Academic College, 2015), 34-85. David Frankel, “Illustration, Allusion, and Commentary: Choosing the Four Sons in 1695,” Images 4 (2010): 18-24. A.M. Habermann, “The Jewish Art of the Printed Book,” in Cecil Roth (ed.), Jewish Art: An Illustrated History, revis. Bezalel Narkiss (London: Vallentine, Mitchell, 1971), 163-174, at p. 173. Abraham J. Karp, From the Ends of the Earth: Judaic Treasures of the Library of Congress (New York: Rizzoli; Washington, D.C.: Library of Congress, 1991), 78-80, 82-83. Cecil Roth, “Ha-haggadah ha-metsuyyeret she-bi-defus,” Areshet 3 (1961): 7-30, at pp. 22-25. Vinograd, Amsterdam 949 Avraham Yaari, Bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ve-ad ha-yom (Jerusalem: Bamberger & Wahrman, 1960), 9-10 (no. 73). Avraham Yaari, “Gerim bi-melekhet ha-kodesh,” in Mehkerei sefer: perakim be-toledot ha-sefer ha-ivri (Jerusalem: Mossad Harav Kook, 1968), 245-255, at p. 250. Yosef Hayim Yerushalmi, Haggadah and History (Philadelphia: The Jewish Publication Society, 2005), plates 59-62, 66-69. Isaac Yudlov, Otsar ha-haggadot: bibli’ogerafyah shel haggadot pesah me-reshit ha-defus ha-ivri ad shenat [5]720 (Jerusalem: Magnes Press, 1997), 14 (no. 120).

View 1 of Lot 69: Passover Haggadah According to the Ashkenazic and Sephardic Rites, with the Rare Map of the Holy Land. 

passover haggadah according to the ashkenazic and sephardic rites, with the rare map of the holy land.

Thomson, John Illustrations of China and its People. A series of two hundred photographs, with letterpress descriptions of the places and people represented. London: Sampson Low, Marston Low, and Searle, 1874 4 volumes, folio (472 x 348 mm). Letterpress titles and descriptions to each volume, 222 photographs on 96 plates, produced by the Autotype Mechanical Printing Process of Spencer, Sawyer, Bird and Co., London, with guards; some intermittent pale spotting, mainly to prelims, one leaf in vol. II with upper corner irregularly trimmed by binder. Publisher’s maroon morocco-grain cloth, covers with large pictorial designs and lettered in gilt, beveled edges, edges gilt; skillful repairs to spines and corners, some uneven toning to vol. 1, upper outer corners lightly bumped. "My design in the accompanying work is to present a series of pictures of China and its people, such as shall convey an accurate impression of the country I traversed as well as the arts, usages, and manners which prevail in different provinces of the Empire. With this intention I made the camera the constant companion of my wanderings, and to it I am indebted for the faithful representation of the scenes I visited and the types of races I came into contact" (Introduction). First edition of volumes II-IV, second edition of volume I, of this important photographic record of China, made by the pioneering Scottish photographer John Thomson, one of the first photographers to travel to the Far East. Thomson documented the people, landscapes, art, and artifacts of the Chinese culture. He established a studio in the Commercial Bank building in Hong Kong in 1868, and spent the next four years traveling extensively into many regions, some remote and unpopulated. "His images display a genuine interest in Chinese customs and seem influenced by traditional Chinese painting, as exemplified by his treatment of the landscape in 'Wu-Shan Gorge, Szechuan' (pl. no. 138)" (Rosenblum 125). While earlier portrait photographs had made it to the West, Thomson's series offered the first actual views of street life. While some, like 'Itinerant Tradesman, Kiu Kiang Kiangsi' (pl. 192) may have been staged, "its sharpness and detail were meant to convince 19th-century viewers of the reality of a scene happened upon by accident" (ibid. 172). Ultimately, Rosenblum describes it as "perhaps the most completely realized result of a kind of curiosity about the way people live... the work attempted to make an arcane and exotic way of life understandable and acceptable to the British public by showing industrious and well-disposed natives interspersed with unusual architectural and natural monuments. In doing so, Thomson helped create a style and format for documentation that carried over to projects concerned with social inequities" (ibid. 346). Thomson traveled from the southern trading ports of Hong Kong and Guangzhou (Canton) to the cities of Beijing and Shanghai, to the Great Wall in the north, and deep into central China. From 1870 to 1871 he visited the province of Fujian, venturing up the Min River by boat with the American Protestant missionary Rev. Justus Doolittle, and then visited Amoy and Shantou. His travels were often perilous, and many of the people he visited had never seen a Westerner, nor a bulky wooden view camera, before. His subject matter ranged widely, from beggars on the street to Mandarins, Princes and government officials; from remote monasteries to Imperial Palaces. Nearly 700 of his photographs were acquired by the collector Henry Wellcome, and are now preserved in his venerable collection in London: glass-plate negatives coated with collodion. In the words of Françoise Heilbrun, Thomson possessed "an ethnographic and journalistic turn of mind, impeccable technique, original vision, and an admirable sense of composition" ("Around the World: Explorers, Travelers, and Tourists" 164). One of the most extensive photobooks of China in the nineteenth century. REFERENCES "Around the World: Explorers, Travelers, and Tourists," in A New History of Photography, ed. Michel Frizot; Rosenblum, A World History of Photography (3d ed.); Western Travellers in China 91

View 1 of Lot 1075: (China) — John Thomson | One of the most extensive photobooks of China in the nineteenth century

(china) — john thomson | one of the most extensive photobooks of china in the nineteenth century

Oil on linen, 34 x 23 inches (84 x 59 cm.)

Oil on linen, 34 x 23 inches (84 x 59 cm.) Inscribed in Judeo-Persian: The tar player Arus ben Shlomo Some of the most distinguished achievements in the long history of Persian artistic production emerged under the Qajar dynasty in the nineteenth century. Although Persian art is often associated in the popular imagination with intricate miniature paintings, and other luxury decorative arts, Qajar-period aesthetics favored grand scale, vivid coloration, and the embrace of new visual technologies. Within this tradition, depictions of Jewish subjects are exceedingly rare, making this evocative portrayal of Arus playing a tar especially noteworthy. More than a portrait, it stands as a vivid testament to the intersection of Qajar visual culture and the lived experience of Iran’s Jewish communities, offering a glimpse into a world seldom represented in Persian painting. Provenance: From the collection of Alfred Rubens and published as such in A Jewish Iconography, by Rubens, Alfred. London: Nonpareil, 1981 Item #201). Sold from the Ruben's collection at Sotheby's NY, Important Judaica, March 16, 1999 lot 185.

View 1 of Lot 56: A RARE QAJAR PORTRAIT OF A YOUNG MAN PLAYING A STRINGED MUSICAL INSTRUMENT

a rare qajar portrait of a young man playing a stringed musical instrument

Salvador Dalí Aliyah Portfolio Description Limited edition—number 74 of 250 copies signed by the artist—of a famous portfolio of lithographs celebrating the Jewish people’s return to its historical homeland. Commissioned in honor of the twentieth anniversary of the State of Israel’s independence in 1968, Salvador Dali’s “Aliyah, The Rebirth of Israel” suite portrays, in the artist’s signature Surrealist style, the history of ancient Jewish exile from, as well as modern Jewish immigration to, resettlement of, and struggle for, the Land of Israel. The original gouaches, unveiled at the Gallery of Modern Art (Huntington Hartford Museum) in New York on April 1, 1968, were converted into a limited lithographic edition, of which the present lot is an exemplar. In the words of Israeli Prime Minister David Ben-Gurion, in his letter of introduction to the portfolio, “The distinguished artist Salvador Dali has succeeded through the power of his great artistry in embodying in a number of prints the marvel of aliyah, which in a short time fashioned a renewed people, a renewed country, and a renewed as well as renewing State.” Physical Description 24 of 25 colored lithographs (approx. 25 3/8 x 19 5/8 in.; approx. 644 x 497 mm) on Arches wove paper, each sheet signed by the artist and numbered in pencil; two lithographs (“The Land Come to Life” and “The Land of Milk and Honey”) backed on cardboard. Lacking “The Pioneers of Israel” lithograph; four lithographs somewhat toned; light, intermittent foxing and spotting; sporadic, minor creasing. Aqua-colored linen-covered folding case with title and artist’s signature lettered above and below a reproduction of one of the gouaches; front cover somewhat warped; corners worn; two corners starting; scattered staining; metal clasp catching on fore-edge. Accompanied by a booklet containing a letter of introduction by David Ben-Gurion, an essay on the history of aliyah by Gerson D. Cohen, and a catalogue of the 25 lithographs. Literature Albert Field (ed.), The Official Catalog of the Graphic Works of Salvador Dali (New York: Salvador Dali Archives, 1996), no. 68-I, illustrated in color pp. 152-154. Ralf Michler and Lutz W. Löpsinger (eds.), Dali: Catalogue Raisonné of Prints II: Lithographs and Wood Engravings, 1956-1980 (New York: Pretsel, 1995), nos. 1193-1217, illustrated pp. 124-127.

View 1 of Lot 98: Dali's Aliyah portfolio, celebrating the Jewish people’s return to Israel

dali's aliyah portfolio, celebrating the jewish people’s return to israel

William Lewin The Birds of Great Britain, systematically arranged, accurately engraved, and painted from nature; with descriptions including the natural history of each bird. London: For J. Johnson, 1795-1801 [but c. 1812] LARGE PAPER ISSUE of the second edition, 8 volumes in 4, quarto (292 x 235mm.), parallel text in English and French, 336 hand-coloured etched plates (of which 58 show eggs) by and after Lewin and his sons, contemporary half russia over marbled paper boards, spines gilt in 5 compartments "Lewin was the best zoological painter and one of the most practical naturalists of his day" (Swanson). Lewin has been described as the Dr Johnson of British ornithology, his Birds of Great Britain being an achievement no less monumental than Johnson's Dictionary in its own field. The first edition of this work was limited to 60 or 66 copies and entirely illustrated by original watercolours. This second edition was produced using copper plates onto which Lewin directly etched the images: not copies from the first edition work, but entirely new and very much more detailed. Even as he was still painting birds for his first edition, Lewin was preparing the etched copper plates for the second, several of the plates being dated as early as 1793. Lewin died suddenly in 1795 having completed only the first 103 copper-plates himself. His sons (Thomas, Thomas William and John William) completed the remaining plates (104-336) after Lewin's death. Plates by his sons started to appear halfway through volume IV, which was first issued in 1797 PROVENANCE: Sir Montague Cholmeley, Bart, armorial bookplate; J.F. Symons-Jeune, armorial bookplate REFERENCES: Anker 306; Fine Bird Books (1990) p. 119; Nissen IVB 562; Wood p. 435; Zimmer p. 395

View 1 of Lot 89: William Lewin | The Birds of Great Britain, London, 1795-1801 [but c. 1812], 8 volumes in 4, contemporary half russia

william lewin | the birds of great britain, london, 1795-1801 [but c. 1812], 8 volumes in 4, contemporary half russia

Explore the World of Fine Wine | The Institute of Masters of Wine Benefit Auction

EXPLORE THE WORLD OF FINE WINE | CLOS VOUGEOT, CÔTE DE NUITS, FRANCE

EXPLORE THE WORLD OF FINE WINE | CLOS VOUGEOT, CÔTE DE NUITS, FRANCE 1 Bottle of Domaine de Montille Clos Vougeot 2016 together with a private tour of the cellars of Maison Joseph Drouhin in Beaune and a two week-night stay at La Folie de Vougeot, for 2 guests WINE : 1 Bottle of Clos Vougeot Grand Cru 2016 Domaine de Montille The wine included in this lot is lying in Burgundy, France, to be collected by the winning bidder at the time of the visit. Offered Duty Paid with VAT on the Hammer Price Sotheby's will provide the buyer with the contact details of the donor to arrange collection / organisation of the experience. EXPERIENCE: This lot includes a private tour of the cellars of Maison Joseph Drouhin in Beaune and a two week-night stay at La Folie de Vougeot, for 2 guests This experience to take place at a mutually agreed date before 31 December 2026. Accommodation based on 2 people sharing a room. Breakfast is included. Flights and transport to and from Clos Vougeot are not included. Local transport to and from Beaune is not included. Minimum age of guests subject to local regulations. MORE ABOUT THIS LOT: Two Nights at La Folie de Vougeot in the Heart of the Clos Vougeot Vineyard A once-in-a-lifetime, fairy-tale vineyard stay, this lot offers two weeknights in the magnificent Folie de Vougeot, an Art Nouveau icon tower built in 1892 in the heart of the Clos de Vougeot. The Clos de Vougeot is deeply entwined with the rich history of Burgundy’s winegrowing heritage. Established around 1150 by the Cistercian monks, this legendary vineyard—surrounded by ancient dry-stone walls that have stood for five centuries—extends across 50 hectares of uninterrupted vines. It commands admiration not only for its storied past and remarkable setting, but above all for the exceptional wines it produces. Today, this prestigious clos is shared by around 80 owners — among them Domaine de Montille and Maison Joseph Drouhin. The wine cellar of the Folie de Vougeot features the largest historic collection of Clos de Vougeot wines, from 1918 to present day. Almost every producer who has made Clos de Vougeot in the last century has a bottle resting in the cellar." Christy Canterbury MW A rare bottle of 2016 Domaine de Montille Clos Vougeot made from vines nestled in the very heart of the Clos de Vougeot — on either side of the Folie de Vougeot — will await you upon arrival. The narrow rows of this small 0.29-hectare parcel are cultivated with utmost respect for the land, following organic and biodynamic principles, and are ploughed by horse. This experience is complemented by a private tour of the Maison Joseph Drouhin cellars in Beaune — the oldest in the city, dating back to the 13th and 15th centuries. These expansive, underground cellars are not just the centre of winemaking for this fabled family...it was through the cellars that grandfather Maurice Drouhin escaped into the Hospices de Beaune to evade capture during World War II. These cellars tell the story not only of the iconic wines made by the family but also the history of the city of Beaune itself through its successive owners from the Romans to the dukes of Burgundy and the kings of France. After the exploration of the cellars enjoy a tasting of 6 emblematic wines from the Maison Joseph Drouhin in the heart of the 15th century cellars. The winning bidder may opt to relish the region’s exceptional cuisine with a dinner in the tower created by one of a few hand-picked, locally renowned chefs for a truly unparalleled experience. Kindly note that the dinner option is not included in the package and would be payable separately by the winning bidder. This lot is subject to non-refundable VAT @20% on the Hammer Price, Buyer's Premium and Overhead Premium. The buyer is solely responsible for determining the legality and the tax/duty consequences of having the goods delivered to the desired destination. Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT and/or sales tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 9: Explore the World of Fine Wine | Clos Vougeot, Côte de Nuits, France | 1 Bottle of Domaine de Montille Clos Vougeot 2016 together with a private tour of the cellars of Maison Joseph Drouhin in Beaune and a two week-night stay at La Folie de Vougeot, for 2 guests 

explore the world of fine wine | clos vougeot, côte de nuits, france | 1 bottle of domaine de montille clos vougeot 2016 together with a private tour of the cellars of maison joseph drouhin in beaune and a two week-night stay at la folie de vougeot, for 2 guests

Leupold, Jacob [and Joachim Ernst Scheffler]

Leupold, Jacob [and Joachim Ernst Scheffler] Theatrum machinaruvm. Leipzig: Printed by Christoph Zunkel and Sold by the Author and J. F. Gleditschens (vols. 1-6); and by the Author and B. C. Breitkopf, 1724-39 7 volumes bound in 8, folio (387 x 244 mm). 427 plates on 425 leaves (some folding); some even browning (mostly minor). Near-contemporary marbled Danish calf, arms of Moltke on all covers (see below), red edges; a few endbands rubbed. A virtually complete set of Leupold’s important works on mechanics and engineering. This uniformly bound set contains the first editions of Leupold's Theatrum Machinarum Hydrotechnicarum (1724), Theatrum machinarum hydrotechnicarum Tomus I [-II] (1724), Theatrum machinarum generale (1724), Theatrum machinarium, oder, Schau-Platz der Heb-Zeuge (1725), Theatrum arithmetico-geometricum (1727); the second edition of the Theatrum staticum universale: pars I[-IV] (1726); and the first edition of Joachim Ernst Scheffler's Theatri machinarum supplementum: das ist: Zufas zum Schau-Platz der Maschinen und Instrumenten... (1739) one of the first encyclopedias of technology, and the most complete and the most extensively illustrated work on mechanical engineering published to date, with detailed discussions of hydraulic engineering, weights and measures, the art of gold and silver assaying and analysis, mathematical instruments and scientific devices such as the barometer, thermometer, and Leupold's own, ingenious calculating machine (plate IX in the Theatrum arithmetico-geometricum), and more. Leupold was director of mines to the Elector of Saxony and the author of a number of works on mechanics and engineering. Each volume of his Theatrum machinarum is complete in itself. The volumes are typically found separately issued, with Ferguson stating that he had never seen a complete set. The present set is remarkably complete: only the Theatrum pontificiale (Leipzig, 1726) and the Theatrum machinarum molarium (Leipzig, 1735) are not present. In the above copy the Theatrum staticum universale: pars I[-IV] (1726) is a page-for-page reprint of the first edition (published earlier that year), identifiable by the imprint statement: "Zu finden" instead of "Zufinden" on title (the "Corrigenda" on the last page are repeated in full, even though a few of the corrections called for are incorporated in the text). With fine provenance: The present set bears the large armorial device of the cadet branch of Moltke on all covers. Count Adam Gottlob Moltke (1709-1792), Danish minister and confidant of Frederick V, was also Lord Chamberlain of the Royal Household. According to Reitstap, Armorial general, Moltke was ennobled as count in 1750; the present bindings would therefore post-date that time. REFERENCES Ferguson Bibliography of the History of Technology, pp. 45-46; Wolf History of Science in the Eighteenth Century, pp. 657-658; not in Roberts & Trent PROVENANCE Count Adam Gottlob Moltke (supralibros) — Joseph A. Freilich (sold Sotheby’s New York, 10 January 2001, lot 353)

View 1 of Lot 17: Leupold, Jacob [and Joachim Ernst Scheffler] | A virtually complete set of Leupold’s important works on mechanics and engineering

leupold, jacob [and joachim ernst scheffler] | a virtually complete set of leupold’s important works on mechanics and engineering

This striking early Bezalel wool carpet presents one of the school’s most accomplished pictorial compositions: a sweeping, idealized panorama of Jerusalem silhouetted behind three linked Art Nouveau menorahs, all framed by a border of rectangular cartouches containing the Hebrew word “Zion.” The palette—combining pale yellow, ochre, dark green, and near-black—creates a luminous evocation of Jerusalem at dawn, the city rising in golden silhouette just before sunrise. Signed “Bezalel Jerusalem” in Hebrew and inscribed with the verse from Isaiah 2:2 (“In the days to come, the Mount of the Lord’s House shall stand firm above the mountains and tower above the hills”), the carpet expresses a powerful fusion of biblical vision, Zionist aspiration, and modern decorative design.

This striking early Bezalel wool carpet presents one of the school’s most accomplished pictorial compositions: a sweeping, idealized panorama of Jerusalem silhouetted behind three linked Art Nouveau menorahs, all framed by a border of rectangular cartouches containing the Hebrew word “Zion.” The palette—combining pale yellow, ochre, dark green, and near-black—creates a luminous evocation of Jerusalem at dawn, the city rising in golden silhouette just before sunrise. Signed “Bezalel Jerusalem” in Hebrew and inscribed with the verse from Isaiah 2:2 (“In the days to come, the Mount of the Lord’s House shall stand firm above the mountains and tower above the hills”), the carpet expresses a powerful fusion of biblical vision, Zionist aspiration, and modern decorative design. The skyline that anchors the composition is an imaginative montage rather than a literal topographical view—an intentional aesthetic choice by early Bezalel designers. The placement of the Dome of the Rock, for example, reflects a perspective from the north, while the Tower of David echoes a vantage from the northwest. By harmonizing these disparate viewpoints, the artists created a single, emblematic portrait of Jerusalem, one that satisfied Bezalel’s commitment to recognizable Jewish landmarks, adhered to the flowing elegance of Jugendstil / Art Nouveau, and maintained the formal balance essential to textile design. This rug belongs to the earliest phase of production at the Bezalel School of Arts and Crafts, founded in Jerusalem in 1906 by the sculptor and cultural visionary Boris Schatz. Conceived as a national arts workshop for the emerging Jewish community in Ottoman Palestine, Bezalel sought to revive Jewish craftsmanship by uniting European design principles with local materials and Middle Eastern motifs. Carpets became one of the school’s most successful undertakings: housed in Bezalel’s original stone building overlooking the Old City, the weaving department quickly grew to include dozens of young artisans—many from Yemenite families—who spun, dyed, and wove wool using traditional methods and natural dyes. By 1909 the school had produced nearly a thousand rugs, establishing Bezalel as a defining force in early twentieth-century Jewish art. With its masterful balance of symbolism, ornament, and vision, the present carpet stands among the finest pictorial weavings of the early Bezalel era—a work that captures the school’s union of craft revival, national imagination, and artistic modernism. 91 X 230 cm. LITERATURE Jewish Carpets: A History and Guide (Oriental Rugs Series) by Anton Felton. England:1997 Published by the Antique Collectors' Club. no. 30, p. 97

View 1 of Lot 53: A Bezalel Wool Carpet with Menorot and the Jerusalem Skyline.  Jerusalem, ca. 1908

a bezalel wool carpet with menorot and the jerusalem skyline. jerusalem, ca. 1908

Schmidel, Casimir Christoph Fossilivm Metalla et Res Metallicas Concernentivm Glebae suis coloribus expressae quas descripsit et digessit D. Casimirus Christophorus Schmiedel. Nuremberg: Johann Michael Seligmann, 1753 4to (256 x 188 mm). One (of two) engraved title-pages, Latin and German, text in both languages, 26 hand-colored engraved plates; a few marginal tears, browning, instances of light spotting, lacking second engraved title. Contemporary marbled boards; rubbed. First edition of this attractive mineralogical work, issued simultaneously with Latin and German text. A collaboration between the naturalist Casimir Christoph Schmidel and the engraver and artist Johann Michael Seligmann, the book presents specimens of ores, minerals, and metalliferous rocks. The plates are based on original paintings by Schmidel himself. Schmidel, professor of medicine and natural history at the University of Altdorf, was among the earliest to systematize mineral classification by visual traits, anticipating Werner’s later reforms. Seligmann, better known for his hand-coloured editions of Catesby’s Natural History of Carolina, brought equal artistry to these depictions of mineral “types,” printed with attention given to tone and surface texture. Copies vary in the number of plates. REFERENCES Hoover 728; Schuh 4322; Ward & Carozzi 1980 & 1981 (listing 26 plates)

View 1 of Lot 193: Schmidel, Casimir Christoph | First edition of Fossilivm Metalla Et Res Metallicas

schmidel, casimir christoph | first edition of fossilivm metalla et res metallicas

Selby, Prideaux John "[Plate XXXI] Jack-daw | Magpie," from Illustrations of British Ornithology. Edinburgh and London: (1821-) 1834 (-1839) Etched copper printing plate (545 x 420 mm), plate-maker's stamp on verso ("Willm. Pontifex Son & Co./ No 46/ Shoe Lane London"). [With:] An uncolored proof print from the plate (640 x 510 mm); one or two faint spots. A fine original copper printing plate from "the finest and largest book about British Birds" (Jackson). The present lot was used to print plate 31 from Selby's major work. Christine Jackson writes of the prints: "The copper plates were superbly executed and the monochrome printed plates have an austere beauty unmatched in other bird books illustrated by line. Every feather is clearly visible, with all the details of the large flight feathers and the softer plumage standing out in immaculate precision. Tone, shade, and texture were all exploited to the fullest extent and demonstrate the best of which copper etching and engraving were capable" (Bird Etchings 1985, p.204). Natural history and ornithology had been Selby's passion from childhood, and as Christine Jackson notes, besides "collecting and preserving birds, Selby had observed them in the field, making careful notes of their habitat and habits. At his leisure, he also sensitively colored drawings of them. With this accumulation of practical knowledge, specimens, and some drawings, Selby embarked in 1819 on an ambitious project to publish the most up-to-date, life-size illustrations of British birds. Since he had an incomplete pictorial record of his birds, many remained to be drawn while publication of the parts of the work proceeded. The aim was to issue each part comprising twelve plates at regular intervals of six months. The size of the paper chosen was elephant folio (27" x 211/2") in order that most of the birds might be represented life-size. For each plate, Selby made watercolor paintings of the species" (Sotheby's, the Collection of H. Bradley Martin). "Selby etched his drawings on copper plates and then either took or sent the plates to William Home Lizars in Edinburgh. Either Lizars or one of his workmen took a pull [proof impression] from Selby's plate and worked on any parts necessary to bring the plate to a very fine state of completion. Selby and Sir William Jardine both purchased their copper plates and etching ground from Pontifex of London, and their letters refer to the progress made in drawing and 'biting' or etching their plates. If they made a mistake or accidently over-etched a plate, they relied on Lizars to correct by burnishing to lighten it" (Jackson, Bird Etchings pp. 202-204). REFERENCES Cf. Fine Bird Books (1990) p.141; cf. Nissen IVB 853; cf. Zimmer p.571

View 1 of Lot 1093: Selby, Prideaux John | "Jack-daw | Magpie," copper printing plate from Illustrations of British Ornithology

selby, prideaux john | "jack-daw | magpie," copper printing plate from illustrations of british ornithology

Fine Watches featuring Exceptional Discoveries: The Olmsted Complications Collection

The library comprising approximately 144 reference books and catalogue publications in English, French and German including:

The library comprising approximately 144 reference books and catalogue publications in English, French and German including: Berner, G. A. Dictionnaire Professionnel Illustré de l'Horlogerie. Editions de l’Homme, 1995. Clutton, Cecil & George Daniels. Watches. Philip Wilson Publishers Ltd., 1979. Daniels, George. The Art of Breguet. Sotheby Parke Bernet Publications Ltd., 1974. Lloyd, H. Alan. Some Outstanding Clocks Over Seven Hundred Years: 1250–1950. Leonard Hill Ltd., 1958. Chapuis, Alfred, and Edmond Droz. Automata: A Historical and Technological Study. Éditions du Griffon, 1958. Dawson, Percy G. The Iden Clock Collection. The Antique Collectors’ Club Ltd, 1987. Jaquet, Eugene, and Alfred Chapuis. Technique and History of the Swiss Watch from Its Beginnings to the Present Day. Translated by D.S. Torrens and C. Jenkins. Swiss Society of Chronometry and the Swiss Watch Chamber, 1953 Mortensen, Otto. Jens Olsen's Clock. Technical Institute Publishing Department, 1957. Chamberlain, Paul M. It's About Time. The Holland Press ltd., 1964. Von Bassermann-Jordan, Ernst. Uhren. Klinkhardt & Biermann, 1961. Symonds, R.W. Thomas Tompion: His Life and Work. Balding and Mansell Ltd., 1951. Saunier, Claudius. A Treatise on Modern Horology. W. & G. Foyle Ltd., 1952. Rees, Abraham. Clocks, Watches, and Chronometers 1919-20. David and Charles, 1970. Tardy. Dictionnaire des Horlogers Français. Imprimerie Courvoisier, 1968. Frodsham, Chas. Tables for Facilitating the Construction and Higher Adjustments of Watches and Chronometers. Charles Frodsham F.R.A.S., Assoc.C.E. Daniels, George. Watchmaking. Philip Wilson Publishers Ltd., 1981. Chapuis, A., and Eugène Jaquet. The History of the Self-Winding Watch 1770–1931. Translated by R. Savarè Grandvoinet. Central Book Company Inc., New York, 1956. Thomann, Charles. Les Dignitaires de l'Horlogerie. Éditions Du Griffon, 1981. Britten, F.J. Old Clocks and Watches and Their Makers. S.R. Publishers Ltd., 1971. Salomons, David Lionel. Breguet: 1747-1823. Kent and Sussex Courier Company, 1923. Lecoultre, François. A Guide to Complicated Watches. A. Simonin, 1985. Higginbotham, Charles T. Precision Time Measures: Their Construction and Repair. North American Watch and Tool Supply Company, 1952. Gazeley, W.J. Clocks and Watch Escapments. Heywood and Company Ltd., 1956. Gazeley, W.J. Watch and Clock Making and Repairing. Heywood and Company Ltd., 1953. Roberts, Derek. Carriage and Other Traveling Clocks. Schiffer Publishing Ltd., 1993. Mercer, Vaudrey. The Frodshams: The Story of a Family of Chronometer Makers, 1758-1980. The Antiquarian Horological Society, 1981. Allix, Charles. Carriage Clocks: Their History and Development. Antique Collectors’ Club Ltd., 1974. Mercer, Vaudrey. Edward John Dent and His Successors. The Antiquarian Horological Society Ltd., 1977. Thiout, Antoine. Traité de l’Horlogerie Mecanique et Pratique. Editions du Palais Royal, 1972.

View 1 of Lot 447: The horological reference library of Mr. Robert Olmsted

the horological reference library of mr. robert olmsted

Beringer, Johann Bartholomaeus Adam, and Georg Ludvig Hueber

Beringer, Johann Bartholomaeus Adam, and Georg Ludvig Hueber Lithographiae wirceburgensis, ducentis lapidum figuratorium a potiori insectiformium, prodigiosis imaginibus exornate specimen primum. Wurzburg: Mark Anton Engmann [for] Philipp Wilhelm Fuggart, 1726 Folio (321 x 210 mm). Engraved title-page, 21 engraved plates. With the signature of "Corollaries" at the end (see Norman) and errata. Contemporary buntpapier wrappers; somewhat rubbed, portion of spine restored. First edition, first state, with the corollaries; infamous fossil hoax. Beringer was a professor at the University of Wurzburg who sometimes lectured on natural history, referring to "petrifactions found in the Wurzburg Musselkalk, from which he collected fossil shells for his cabinet" (DSB). Two of Beringer's colleagues at the university perpetuated a hoax on him by hiding stones of shell lime that had been carved into various shapes around Mount Eibelstadt. Known as the "Lying Stones," these artifacts became infamous among antiquarians. The present volume publishes illustrations of the "fossils" and includes the text of Corollaries by Hueber, a young colleague of Beringer. The two gentlemen who created the hoax were taken to court by Beringer even though they had attempted to dissuade him from publishing the present volume. Perhaps the most revealing section of Beringer's text can be found on pages 65-66, in which he exclaims the "hand of Nature" had written characters in Greek, Latin, and Hebrew, including actual "rabbinical" and "cabalistic" words. Ever hopeful, Beringer exemplified the sad reality of confirmation bias, continued to seek justifications for the veracity of his “finds”. He attributed the presence of the Hebrew text to the proximity of an ancient Jewish cemetery close to the place where the specimens were found: “Light … is a flow of minute solar particles … that has the truly marvellous faculty of depicting, portraying and forming the images of the bodies that it falls on in its flow. Could it not also be supposed that it has a certain active and creative power of imprinting on suitable matter the same forms which it has already taken the impression?” (H.P. Powell in Fake? The Art of Deception, ed. Mark Jones with Paul Craddock and Nicolas Barker, 1990, no. 78). Other indications as to the inauthenticity of the "fossils" are revealed by the unlikely, fanciful nature of the images themselves: a spider in its own web, a bee perched on an intact flower, and a wormlike creature with a smiling face – all very obvious in this clean, bright copy. REFERENCES Nissen ZBI 330; Norman I:195 PROVENANCE Joseph A. Freilich (bookplate; Sotheby's New York, 10 January 2001, lot 49)

View 1 of Lot 43: Beringer, Johann Bartholomaeus Adam, and Georg Ludvig Hueber | Lithographiae wirceburgensis

beringer, johann bartholomaeus adam, and georg ludvig hueber | lithographiae wirceburgensis

This elaborate silk carpet, woven in Kashan in the closing decade of the nineteenth century, is one of the most ambitious survivals of Jewish iconography within the broader tradition of Qajar textile arts. Richly colored, densely patterned, and animated by an unprecedented range of biblical scenes, the carpet exemplifies the inventive visual vocabulary that flourished in Iran under the Qajar dynasty (1794–1925).

This elaborate silk carpet, woven in Kashan in the closing decade of the nineteenth century, is one of the most ambitious survivals of Jewish iconography within the broader tradition of Qajar textile arts. Richly colored, densely patterned, and animated by an unprecedented range of biblical scenes, the carpet exemplifies the inventive visual vocabulary that flourished in Iran under the Qajar dynasty (1794–1925). At the heart of the composition is a sweeping program of biblical imagery that unfolds vertically. The lower register features Aaron, the High Priest (at left) shown barefoot before the Menorah and wearing his jeweled breastplate, paired with Moses (at right) holding the Tablets of the Law. Between them is a vision of the holy of Holies. Above them rises a complex architectural rendering of the Temple (on top) surmounted by the symbols of the Twelve Tribes of Israel. The structure itself bears strong Qajar stylistic influence: an ornate gate replaces massive stone walls, and the foreshortening applied to its inner chambers reflects the impact of late nineteenth-century European draftsmanship. The entire design is unified by a vivid palette and an intricate mesh of floral motifs that reference the workshop traditions of Kashan, long celebrated for its silk production and its role as a center of Jewish craftsmanship. At the bottom center appears a unique rendering of the Western Wall, before which three figures stand in prayer—possibly portraits of the carpet’s maker or intended recipients, echoing the historical convention of artists inserting their likenesses within devotional works. The border is a narrative cycle in its own right. Framed by richly detailed cartouches and accompanied by Hebrew inscriptions, it presents key biblical episodes: Noah and his sons before the Ark, the Binding of Isaac, the sale of Joseph into slavery, the discovery of infant Moses among the reeds, and Elijah’s ascent to heaven, along with depictions of the traditional tombs of the patriarchs and Rachel. The coherence and density of this iconographic program are unparalleled among documented Jewish Qajar carpets. Both the artistic quality and the extraordinary iconography are consistent with works attributed to the highly skilled Jewish workshops active in Kashan during the period. Literary and oral traditions recorded by Hakham Yedidia Shofet (1908–2005), former Chief Rabbi of Iran, identify this carpet type as having been commissioned by the Shah of Persia, Naser al-Din (reigned 1848–96) as a gift for his esteemed Jewish court physician, Hakim Nour Mahmood (1822–1899). According to this account, the Shah offered the carpet in gratitude and admiration following Mahmood’s survival of an assassination attempt by jealous colleagues at court. This story, preserved within the Iranian Jewish community and echoed in scholarship, underscores the prestige the work held from the moment of its creation and illuminates the complex social position of Jewish professionals in Qajar Iran. This carpet is among the most significant examples of its kind to come to market. Its technical virtuosity, narrative ambition, and richly layered history make it a landmark object within the intertwined artistic traditions of Iran and the Jewish diaspora. 82 × 52.5 in. (208.3 × 133.5 cm.) LITERATURE Jewish Carpets: A History and Guide (Oriental Rugs Series) by Anton Felton. England:1997 Published by the Antique Collectors' Club. No. 90 pp. 156-157. Art and Tradition: Treasures of Jewish Life, Beth Tzedec Reuben & Helene Dennis Museum. By Dorion Liebgott, Toronto, Canada: 2000. p. 109.

View 1 of Lot 55: A PICTORIAL JUDAICA SILK RUG, KASHAN: CIRCA 1900               

a pictorial judaica silk rug, kashan: circa 1900

COLONNA, FRANCESCO. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546

COLONNA, FRANCESCO. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546 First edition of the first French translation of this famous archaeological-architectural romance, lavishly illustrated with woodcuts based on those designed for the first edition (Venice, 1499; see lots 381 and 382 in the sale of Bibliotheca Brookeriana, 12 October 2023), and fourteen new subjects. It is often considered one of the most beautiful books of the French Renaissance. The genesis of the translation (in fact, a condensed adaptation) is obscure. The editor, Jean Martin (ca. 1507–1553), claims in his dedicatory letter to Henri de Lenoncourt, that it was made by a “Gentilhomme vertueux, & de bon savoir,” adding, in the book’s preface, that he had needed to give it only finishing touches. Jacques Gohory, in a bitter preface to the second edition, published after Martin’s death by Kerver (1554; reprinted 1561), identifies the translator as “a knight from Malta, a cultured and talented man,” and insists that the translation was in his hands before Martin’s, who botched the job (Duché-Gavet, “Jacques Gohory’s copy of the Poliphile (1546): A first analysis of his handwritten marginalia,” in Marginal Notes: Social Reading and the Literal Margins [2000], pp. 21–40). Some modern critics doubt the existence of this Eques Meltensis, and credit Martin with crafting the entire book; others persist in uncovering his identity: the Lyonese humanist, Jean de Vauzelles (or his brother George), are the latest contenders. Martin, a self-styled “studieux d’architecture”, most certainly shaped the book. He was working, almost simultaneously, on French translations of the treatises on architecture by Serlio, Vitruvius, and Alberti, and he explicates here much architectural terminology, adds printed glosses and scholia in the margins (found on twenty-eight pages, and absent in the original), and strips from the text many non-architectural descriptions. New woodcuts of buildings and formal gardens are incorporated, and architectural or antique elements are placed in some others. The book nourished antiquarian fantasies and became a sort of model book for designers of ephemeral architecture and garden art. The blocks were cut by multiple cutters (Mortimer recognized four hands), one of whom might be Jean Goujon, the illustrator of Martin’s translation of Vitruvius (1547). A preparatory drawing for the title-block is associated with the Fontainebleau designer Luca Penni. This copy was bound for Marcus Fugger (1529–1597), the eldest son of Anton Fugger, head of the powerful textile trading, banking, and mining family based in Augsburg. Marcus matriculated in June 1546 at the Collegium Trilingue in Louvain, and began there to build a library, acquiring books both new and second-hand, sometimes inscribing on the pastedown of the upper cover his name or initials MF, a date, the adage O.R.V.E. (Omnium Rerum Vicissitudo Est, from Terentius Afer’s Eunuchus), and a drawing of the family arms. A few years later, Marcus was buying heavily in Paris, commissioning (until about 1552) large numbers of standard bindings, in brown calf, these simply decorated, often with the small tool of a hand holding a branch, upon which perches a bird, or a crowned double-headed eagle (for reproductions of three such bindings, see Hobson & Culot, Italian and French 16th-century Bookbindings, no. 41). He also commissioned exquisite bindings from the royal binder, Gomar Estienne, from Claude de Picques, and from a shop known as “Wotton Binder C”. He habitually wrote his name (“Marx Fugg.,” “Marcus Fugger,” or similar) on the paste-down of the upper cover, and some of his luxury bindings are tooled in gold with the letters O.R.V.E. and his initials. After his father’s death, in 1560, Marcus became leader of the firm, and thereafter his book purchases dwindled. Folio (331 x 214 mm). Roman type, with some italic including shoulder-notes, 45 lines plus headline. Collation: ã*6 A-Z6 Aa-Bb6 CC8: 164 leaves. Woodcut title-border signed with Jacques Kerver’s initials and the turtle symbol of Louis Blaubom, 181 woodcut illustrations (including 13 full-page), variously attributed to Jean Cousin and Jean Goujon, 10-line woodcut floriated initials, Kerver’s woodcut device on Cc8v. (Occasional very light marginal spotting, marginal restoration to upper fore-edge corner of Aa6.) Binding: Parisian tan calf over pasteboards (339 x 224 mm), ca. 1550, by Wotton Binder C, gilt fillets around sides, double gilt fillets framing an interlaced rectangle and lozenge with loops at angles of rectangle, gilt quatrefoils at outer angles, central cartouche composed of circles of an open leaf and tendrils, with azured stirrup tool at first sides, in center “DISCOURS. / DV. SONGE. DE. / POLIPHILE.,” spine with 6 full and 2 half bands, gilt quatrefoil in each compartment, gilt edges. (Corners, joints, and second spine compartment restored.) Black morocco folding-case. Provenance: Marcus Fugger (signature “Marcus Fuggerus” on front pastedown), by descent to — Philipp Fugger (1567–1601), by descent to — Marcus Philipp Fugger (1598–1620), by descent to — Marquard Fugger, Graf von Kirchberg und Weissenhorn (1596–1655) — Öttingen-Wallerstein, family library at Schloss Maihingen (armorial ink-stamp on title-page — Eugen Wolfgang Karl Friedrich Joseph Notger, Fürst zu Öttingen-Öttingen und Öttingen-Wallerstein (1885–1969; Karl & Faber, Munich, 6–7 November 1933, lot 170) — Raphaël Esmerian (1903–1976; Antoine & Étienne Ader, Jean-Louis Picard, Jacques Tajan & Claude Guérin with Georges Blaizot, 6 June 1972, lot 50), purchased by — unidentified owner (FF 116,000) — Fernand Pouillon (1912–1986; Ader Picard Tajan & Claude Guérin, Monte Carlo, 1 July 1986, lot 172) — François Ragazzoni (Tajan, Paris, 13 May 2003, lot 9) — Livio Ambrogio (bookplate). Acquisition: Purchased from Stéphane Clavreuil Rare Books, London, 2019. References: BP16 112393; USTC 12610; P. Renouard, ILP, IV: no. 160; Mortimer, French, no. 145; for the binding see: Foot, “Thomas Wotton and his binders,” in The Henry Davis Gift: … Volume I: Studies in the History of Bookbinding (London, 1978), p. 153 (Appendix V: Bindings by Wotton’s binder III [Wotton’s binder C] for other collectors, no. 23); for the translator of this edition see: Elsa Kammerer, Jean de Vauzelles et le creuset lyonnais: un humaniste catholique au service de Marguerite de Navarre entre France, Italie et Allemagne (1520–1550) (Geneva 2013), pp.399–403

View 1 of Lot 90: Francesco Colonna, Hypnerotomachie, Paris, 1546, Parisian calf by Wotton Binder C for Marcus Fugger

francesco colonna, hypnerotomachie, paris, 1546, parisian calf by wotton binder c for marcus fugger

BIBLE—ITALIAN. La Biblia la quale in se contiene i sacrosanti libri del Vecchio & Nuouo Testamento, i quali ti apporto, christianissimo lettore, tradotti da la hebraica & greca uerita in lingua toscana, nuouamente corretta & con ogni diligentia stampata. Con le concordantie di tutta essa scrittura santa, et li summari de ciascun capitolo. Et con due tauole, l’una delle quali mostra i luoghi & l’ordine di quella, & l’altra dichiara tutte le materie che si trattono in essa, rimettendo a’suoi luoghi i lettori. Cosa nuova et utilissima a tutti i christiani. Venice: Girolamo Scoto, 1547

BIBLE—ITALIAN. La Biblia la quale in se contiene i sacrosanti libri del Vecchio & Nuouo Testamento, i quali ti apporto, christianissimo lettore, tradotti da la hebraica & greca uerita in lingua toscana, nuouamente corretta & con ogni diligentia stampata. Con le concordantie di tutta essa scrittura santa, et li summari de ciascun capitolo. Et con due tauole, l’una delle quali mostra i luoghi & l’ordine di quella, & l’altra dichiara tutte le materie che si trattono in essa, rimettendo a’suoi luoghi i lettori. Cosa nuova et utilissima a tutti i christiani. Venice: Girolamo Scoto, 1547 A VOLUME FROM THE LIBRARY OF PAOLO GIORDANO ORSINI (1541–1585), THE MUCH MALIGNED DUCA DI BRACCIANO, suspected of murdering both his first wife, Isabella de’ Medici, daughter of Cosimo I and Eleonora of Toledo, and the husband of his mistress, Vittoria Accoramboni. This Bible belongs to a group of some twenty-six volumes bound for the fifteen-year-old Paolo Giordano during his first and only visit to Paris, in May–September 1556, when he accompanied the apostolic legate Cardinal Carafa to secure an alliance with Henri II against the Spanish. With the exception of a copy of Erasmus’s Adagiorum (Basel 1551), the books are all in Italian, three printed at Florence, the others at Venice, the earliest book in 1522, the latest in 1554. The books most likely were obtained in Italy and taken to France for binding. The bindings are generally brown goatskin, the covers decorated either with strapwork ornament (often enameled or silvered), or with gilt corner and centerpieces. Each has Paolo Giordano’s armorial gilt stamp, the shield divided per pale, showing on the viewer’s left the Orsini symbols of the rose and eel, and on the right the sei palle of the House of Medici, lettered around “Pavl Iordan Vrs D. Aragon.” Working partly from illustrations, Mirjam Foot assigned nine bindings to an unidentified Parisian atelier, designated “Wotton Binder C” on account of its work for the English bibliophile Thomas Wotton, and another binding, with hesitation, to a craftsman known as the Cupid’s Bow Binder. This Bible can be assigned to Wotton’s Binder C. The Orsini bindings were first studied by G. D. Hobson, who correctly recognized them as French, not Italian; afterwards by Tammaro De Marinis; then by Anthony Hobson, who claimed knowledge of twenty bindings made for Paolo Giordano. A list of twenty-four bindings was published in 2016 by Federico and Livio Macchi. A remboîtage—described in Zisska & Lacher, Katalog 62, Munich, 6 November 2013, lot 403—can be added to Macchi’s census. Anthony Hobson believed that Paolo Giordano was “no bibliophile” because he “did not trouble to acquire any bindings during the last thirty years of his life.” A recent study by Barbara Furlotti, based on inventories found in Roman archives, proves that Hobson was mistaken. After his marriage to Isabella (1558), Paolo Giordano became determined to replicate the splendor of the Medici court. He committed himself to an orgy of spending, collecting and commissioning paintings, tapestries, antiquities, sculpture, and especially furnishings, accumulating in Rome and at his castle at Bracciano huge quantities of table silver, embroideries, silk wall and bed hangings, rugs and pillows, in luxurious fabrics, color-coordinated, and usually trimmed with silk. That taste for varied and brilliant colors extended into Paolo Giordano’s library, where—on the evidence of these inventories—he shelved books bound in, red, yellow, and green velvet, in red, green, blue, and white leather, some bichrome, many with red or blue silk ties. On the whole, these are quite unusual preferences for bookbindings, and suggest strong bibliophile tastes. The earliest of the inventories itemizes some seventy-five books which Paolo Giordano brought to Bracciano in 1575. Many entries are truncated or so abbreviated that the text and edition cannot be identified; however, five or six entries may correspond to works which Paolo Giordano gave in 1556 to Parisian bookbinders; one of these, “La Biblia la quale contiene il sacro santi libri,” might refer to this copy of Antonio Bruccioli’s translation of the Bible. Confounding Hobson’s expectations, many of the Italian books were first published years after Paolo Giordano’s return from Paris, and twenty-six entries describe books in Latin. The disposition of Paolo Giordano’s artworks after his death has been widely investigated; however, nothing is yet known of the immediate fate of his books. Only a few volumes have recognizable evidence of ownership before the nineteenth century, notably Giovio’s La seconda parte dell’historie del suo tempo (Florence, 1553), which is said to contain the ink-stamp of a Medici Palace library (Macchi no. 17). 4to (216 x 155 mm). Roman type, 50 lines plus headline, in double columns. Collation: π4 A–Z8 AA–ZZ8 AAA–KKK LLL12, Aa–Oo8 Pp4: 580 leaves (LLL12 blank). Historiated and floriated woodcut initials. (Title-page supplied in facsimile [by at least 1897, when so described by Quaritch], some browning and soiling, small burnhole to A1 costing a couple of letters.) Binding: Contemporary Parisian polished calf (224 x 168 mm), by Wotton’s Binder C for Paolo Giordano Orsini, gold- tooled and enameled, single gilt fillet around sides with small circle at corners, panel tooled with a design of foliate arabesques in a flowing architectonic interlace pattern, outlined in gold and enameled in black, silver and blue, a few open and azured tools, central armorial stamp of Orsini impaled with Medici encircled by PAVL IORDAN VRS. D. ARAGON; traces of 2 pairs of ties, spine with 5 full and 2 half bands, compartments containing 3 marguerites arranged horizontally and enameled black, blue, black, edges gilt and gauffered. (Joints and other extremities restored.) Red morocco folding-case gilt, chemise, by Sangorski & Sutcliffe. Provenance: Paolo Giordano Orsini, duca di Bracciano (supralibros; possibly inventory of Paolo Giordano Orsini’s books brought to Bracciano, 18 August 1575: “La Biblia la quale contiene il sacro santi libre” [inventory transcribed by Furlotti, p. 285]) — Giovanni Gancia, Brighton & Paris ( Delbergue-Cormont & Librairie Bachelin Deflorenne, Catalogue de la Bibliothèque de M. G. Gancia composée en partie de livres de la première bibliothèque du Cardinal Mazarin et d’ouvrages précieux, Paris, 27 April–2 May 1868, lot 4), purchased by — Ricardo Heredia y Livermore, conde de Benahavís (1831–1896; [FF125], exlibris; Maurice Delestre & Ém. Paul, L. Huard et Guillemin, Bibliothèque de M. Ricardo Heredia, comte de Benahavis. Première partie, Paris, 22–30 May 1891, lot 32 (“Le titre de ce volume a été très habilement refait. …”), purchased by — unidentified owner (FF 145) — Bernard Quaritch, London (Catalogue 166 [1897], item 389. £21, “having the title in facsimile”) — Sotheby’s, London, 17–21 December 1898, lot 598, purchased by — Bernard Quaritch, London (£6) — Michael Tomkinson (1841–1921; exlibris; Sotheby’s, London, 3–7 July 1922, lot 1084), purchased by) — Beauchamp (£7 5s) — Sotheby’s, London, 5– 7 February 1923, lot 492, purchased by — Tomkinson (£5) [perhaps Herbert (1873–1951), son of Michael Tomkinson (1841–1921), retrieving a book from the dispersed library?] — Sotheby’s, London, 8–9 November 1960, lot 393), purchased by — Proctor (£160) — Henry Bradley Martin (1906–1988; exlibris; Sotheby’s, New York, 14 June 1990, lot 3373). acquisition: Purchased at the Martin sale through Martin Breslauer Inc. References: Edit16 5772; USTC 803217; Spini, “Bibliografia delle opere di Antonio Brucioli” in La Bibliofilía 42 (1940), pp. 129–180; Lumini, La Bibbia: edizioni del XVI secolo (Florence, 2000), no. 81 (as fifth edition of Bruccioli’s Bible); for the binding and the books of Paolo Giordano Orsini, see Federico & Livio Macchi, “Le legature francesi di Paolo Giordano Orsini d’Aragona: Storia di un personaggio e di una legatura” in Misinta: Rivista di Bibliofilia e Cultura 23 (June 2016), pp. 143–49 (p. 147, no. 22); Foot, The Henry Davis Gift … Volume I (London, 1978), pp. 150, 152–154 (“Appendix V: Bindings by Wotton’s Binder III [Wotton binder C] for other collectors”); G. D. Hobson, “Une reliure au Musée d’Art et d’Histoire” in Genava 9 (1931), pp. 204–207; De Marinis, Appunti e ricerche bibliografiche (Milan, 1940), pp. 129–131 (“IX. Legature Francesi del Cinquecento in Raccolte Italiane,” nos. 43–46; A. Hobson, French and Italian Collectors and their Bindings Illustrated from Examples in the Library of J. R. Abbey (Oxford 1953), no. 18; A. Hobson, catalogue entry for Sotheby’s sale, 8–9 November 1960, lot 393 (referring to 21 Orsini bindings, including one remboîtage); Furlotti, A Renaissance Baron and his Possessions: Paolo Giordano I Orsini, Duke of Bracciano (1541–1585) (Turnhout, 2012), pp. 283—291.

View 1 of Lot 45: La Biblia, Venice, 1547, Parisian armorial morocco by Wotton Binder C for Paolo Giordano Orsini

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