A British <a href="https://www.sothebys.com/en/buy/luxury/maps-&amp;-botanicals?locale=en" rel="noopener noreferrer" target="_blank">map</a> of the Holy Land by <a href="https://www.sothebys.com/en/search?query=philip+lea&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Philip Lea</a>.<ul><li>Philip Lea (English).</li><li>A Map of Canaan With the Adjacent Countries Very Usefull for the Understanding of the Old Testament. Sold by .P. Lea, at the Atlas and Hercules in Cheap-side, and in Westminster-hall.</li><li>&nbsp;London: 1692.</li><li>Original outline color.</li><li>This work is presented unframed.</li></ul> A rare map of the Holy Land in Old Testament times, but extending to Rome, Alexandria, the Caspian Sea and Arabia, all extremely abridged. The route of the Exodus from Egypt is marked, and the cities of Sodom, Gomorah, Zeboim and Admiah are depicted in flames in the Dead Sea. This is an extremely rare map, not listed in the Laor Collection, probably published for a bible rather than an atlas. Philip Lea began business in 1683 and had premises in Westminster Hall between 1689 and 1695.

English Map of the Holy Land

A Dutch copy of Morden and Lea's map, first published in 1690, extending from Hyde Park clockwise to Marylebone, Islington, Hackney, Stepney, Limehouse, Southwark and Lambeth, with many of the important buildings and monuments shown as elevations.<ul><li>Robert Morden (English).</li><li>Philip Lea (English).</li><li>This Actual Survey of London, Westminster &amp; Southwark Is humbly dedicated to ye L.d Mayor &amp; Court of Aldermen.</li><li>Amsterdam: Jean Covens &amp; Cornelis Mortier, circa 1750.</li><li>The map has been updated with the developments around Grosvenor Square and Cavendish Square, and Westminster Bridge, approved 1736 and opened 1750, as shown.</li><li>Under the map are extensive numbered tables corresponding with numbers on the map and detailing Public Offices, Wards, Halls and Companies, Markets, Inns of Court and Chancery, Prisons, Palaces, Public Buildings, Hospitals and Parishes, un-updated.</li><li>Two sheets conjoined.</li><li>This work is presented unframed.</li></ul>

Dutch Map of London

Fine Books and Manuscripts, Including Americana. Part 2

Mortier, Pierre Carte General de la Caroline. Dresse sur les Memoires le plus Nouveaux par le Sieua [sic.] S***. Amsterdam: P. Mortier, [1700] Copper-engraved map (610 x 500 mm). Original colored outline in pink, yellow, and green; a few spots and stains, areas of primarily marginal neat repairs to margins and verso, slightly split along old vertical fold. Matted. First state of the first map of the Carolinas printed outside of England, including an inset of Charleston with the names and positions of early plantations along the Ashley and Cooper Rivers. The present map was included as part of Pierre Mortier's Suite de Neptune François, published in Amsterdam in 1700, and is often incorrectly attributed to Nicolas Sanson. It is directly derived from the extremely rare 1685 A New Map of Carolina by John Thornton, Robert Morden, and Philip Lea. All topographical details are identical to those of its antecedent, however most of the place names have been Gallicized. Also, "The table of settlers" has been omitted in favor of the title caption. Amusingly, a "Charle Ville ou Charles Towne" appears written in large letters near Cape Fear, while the actual Charles Towne is labeled in small letters further down the coast. REFERENCES Burden, The Mapping of North America II, 767; Cumming, The Southeast in Early Maps, 120; Koeman, Atlantes Neerlandici IV, M.Mor 7-33

View 1 of Lot 379: Mortier, Pierre | First state of the first map of the Carolinas printed outside of England

mortier, pierre | first state of the first map of the carolinas printed outside of england

Fine Books and Manuscripts, Including Americana. Part 1

Haas, Philip Active 1830s–1860s Portrait of George B. Vashon sixth-plate daguerreotype, signed P Haas NY and with hand-tinting and gilt-detail, push-button leather case, with extensive inscription in the interior of the case, 1856

View 1 of Lot 206: Haas, Philip | “Portrait of George B. Vashon”

haas, philip | “portrait of george b. vashon”

Books, Manuscripts & Music, from Medieval to Modern

An illuminated leaf from a Book of Hours depicting the Crucifixion by the Master of Guillebert de Mets

An illuminated leaf from a Book of Hours depicting the Crucifixion by the Master of Guillebert de Mets on vellum, in Latin, (Southern Netherlands, probably Ghent) c.1420–25, 17 × 95 mm; a beautiful miniature contained within a gently arched frame, surrounded by luxurious and substantial gold border, infilled with curling and unfurling vegetal and floral elements, with the vegetal elements creating colourful swirls at each corner of the frame; the miniature is surrounded on three sides by further decorative vines with trefoil leaves and floral elements; at the centre of the miniature is the emaciated body of Christ on the cross, flanked in the background by the crucified figures of Gestas and Dismas under a dark blue, foreboding-looking sky; in front of the cross to the left is the mourning Virgin Mary, clothed in dark blue, supported in her grief by the Apostle St John, while on the right of the composition a group of soldiers taunt and torment the crucified Dismas; verso inaccessible due to mount, excellent condition. PROVENANCE Made for a Book of Hours, c.1420–1425 by the Master of Guillebert de Mets (Hand A)‘t Goy-Houten, Antiquariat Forum.Paris/Chicago, Les Enluminures (inv.no.5768), 2007.Jörn Günther, 2008. A LUXURIOUS AND EXUBERANT WORK BY THE RENOWNED BUT ELUSIVE MASTER OF GUILLEBERT DE METS COMMENTARY The luxurious miniature at hand is executed most likely by the Master of Guillebert de Mets, specifically Hand A, found in the Rijm Hours (Baltimore, WAM, MS W166). Guillebert himself was an adept scribe and a native of Grammont. Working in the service of Philip the Good, he wrote the earliest vernacular chronicle of medieval Paris, called Description de Paris. While in Paris, the young Guillebert rubbed shoulders with some of France’s intellectual elite, including one of the most influential female authors, Christine de Pizan. However, after the murder of his main patron, John the Fearless, in 1419, Guillebert was forced to return to Grammont, where he started to build his own book business. While he executed the calligraphic elements of manuscript production, he assembled a group of accomplished illuminators who were soon in demand at the ducal court of Burgundy and created works for leading bibliophiles of the time. Sixty-four manuscripts and fragments have survived from this prolific workshop and were assembled by Vanwijnsberghe and Verroken in 2017. Their research highlighted the close relationship and artistic exchange between Paris, as a centre of the French book trade, and the Low Countries and the Burgundian court. This exchange and bilateral influence are tangible in the elegant products of the workshop of the Master of Guillebert de Mets, who in his capacity as a scribe had worked for both French and Flemish patrons. ILLUMINATION Using a beautiful and precious palette of blues and greens with orange and red accents, the artist creates long figures with alabaster complexions that are highlighted by the strong colours used for their floor-length garments. While the border is preciously rendered in gold, silver is used for the now darkened sky, an artistic technique that was also used on some pages of the Hours of John the Fearless. While the Book of Hours in which our leaf originated has not yet been identified, the Crucifixion usually introduced the opening of the Hours of the Cross. The sombre nature of the dramatic scenes is contrasted by a few small but poignant details that enliven the borders, such as a devil and angel near the head of the border who are grasping the souls of Gestas and Dismas, the impenitent and the good thief. While Dismas’s soul, in the form of a child-like human figure, looks towards the angel who carries it away to heaven, the soul of Gestas turns with a shocked expression towards the viewer, away from the smirking face of the devil. In the right-side margin, a shield of one of Jesus’s tormentors, which is decorated with a frowning human countenance, overlaps into the border of the initial, bridging the space between the illuminated scene and its surrounding decoration. The three figures of Christ’s tormentors are gaudily and exuberantly dressed; their faces stylised into grotesque masks. Especially the little face peering out between the cross and the frame has more animalistic features than human. The figure of the almost lifeless Mary and John the Baptist, who supports her, is gracefully modelled and presents a strong and composed contrast to the raucous group of tormentors on the right. While the two bodies of the thieves are twisting and turning in agony, the emaciated form of Christ’s body is displayed almost gracefully and still on the cross, only moments before his death. In their publication, Vanwijnsberghe and Verroken (2017, p.196) attribute the leaf to the Master of Guillebert de Mets, specifically Hand A. The leaf is executed in a style similar to that of the Rijm Hours, which were created for Daneel Rijm and his wife Elisabeth van Munte — well known and were prominent members of Ghent’s urban elite. The manuscript was probably commissioned around 1415–1425, when Daneel was at the height of his career and possessed a considerable fortune. Vanwijnsberghe and Verroken suggest that the Rijm Hours are an early work by the principal illuminator of the Mets group, who at that point was beginning to distance himself from the style of the Master of the Hours of John the Fearless by which he had been influenced and guided so far, and starting to take a more prominent role in the execution of this manuscript. Due to this transitional nature of the manuscript, it is however difficult to draw clear and immutable distinctions between the two hands. Our leaf extends and develops the already awe inspiring crucifixion scene found in the Rijm Hours through the addition of narrative detail that underlines the tragedy of the moment; such as the inclusion of the two crucified thieves and the angel and devil in the borders who carry away the souls of the thieves, one to heaven, one to eternal damnation. LITERATURE “The Master of Guillebert de Mets: An Illuminator between Paris and Ghent?” In Als ich can: Liber amicorum in memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 921–939. Leuven: Peeters, 2002. “The Master of Guillebert de Mets, Philip the Good, and the Breviary of John the Fearless.” Quaerendo 38, no. 2–3 (2008): 279–298. Vanwijnsberghe, Dominique, and Erik Verroken. À l’Escu de France: Guillebert de Mets et la peinture de livres à Gand à l’époque de Jan van Eyck (1410–1450). Brussels: KIK-IRPA, 2017. Croenen, Godfried. “Guillebert de Mets: A Bilingual Scribe, Author and Publisher between Flanders and Paris (c. 1390–c. 1438).” In Medieval French on the Move, Berlin: de Gruyter, 2025, 287–306. Somers, Sophie. “The Varied Occupations of a Burgundian Scribe: Guillebert de Mets.” In Als Ich Can, 2002, 1227–1246.

View 1 of Lot 14: An illuminated leaf from a Book of Hours depicting the Crucifixion by the Master of Guillebert de Mets, on vellum, in Latin, (Southern Netherlands, probably Ghent), c.1420–25

an illuminated leaf from a book of hours depicting the crucifixion by the master of guillebert de mets, on vellum, in latin, (southern netherlands, probably ghent), c.1420–25

Tapia Y Robles, Juan Antonio de Ilustracion del renombre de Grande. Madrid: Francisco Martinez, 1638 4to (185 x 130 mm). Text within double-ruled borders, 2 engraved plates of Conde Duque de Olivares and Philip IV of Spain after Diego Velasquez engraved by Herman Paneels, 18 engraved half-length portraits at the beginning of eulogies II–XIX by Pedro Perete dated 1637, woodcut tailpieces and initials; leaf 87 incorrectly numbered 7, scattered foxing and marginal staining, with browning most significant to final leaves. Contemporary vellum, vertical manuscript labeling on spine; worn, lightly rubbed with minor tear at center, inner hinge nearly detached, lacking ties and front free endpapers, pastedown endpapers taken from text of another work. First edition of eulogies on notable Spanish and French historical figures. Dedicated to King Philip IV of Spain, Illustracion del Renombre de Grande memorialises various saints, such as St. Basil and St. Nicolas as well as rulers King Philip IV and Alexander the Great. The portraits of Philip IV and Conde Duque de Oliviares are executed by celebrated seventeenth-century Spanish engraver Herman Paneels after portraits by Diego Velasquez. REFERENCES Palau 327462; Salvá 3520; Heredia 3510

View 1 of Lot 336: Tapia Y Robles, Juan Antonio de | First edition of eulogies of Kings and Saints

tapia y robles, juan antonio de | first edition of eulogies of kings and saints

Cabrera de Cordova, Luis Filipe Segundo, Rey de España. [Colophon:] Madrid: Luis Sanchez, 1619 Folio (305 x 200 mm). Engraved title-page, initials, vignettes; title page offset to the verso, small hole closer to hinge through twenty leaves (pp. 859–880), light foxing and occasional stains throughout, quire X contains a total of 11 leaves, X5-7 are added between pp. 328 and 329, these three leaves are foliated 329*, 330*, and 331*, the text follows uninterrupted. Late nineteenth-century half black morocco over marbled paper boards in double-ruled borders, spine in six compartments with semi-raised bands, labeled in second and date in fourth in gilt-lettering, remaining in gilt stars within double-ruled gilt borders, marbled endpapers; boards scuffed and rubbed, worn at extremities, hinges cracked but holding, endpapers mildly rippled, upper text block edges dust-soiled. First edition of this history on Phillip II’s reign from 1556 to 1583. An impressively detailed chronological account of the reign of Philip II with extensive indices, the present work includes numerous details of activities in the New World, including the expedition of Juan de Oñate to New Mexico, the housing of the archives at Simancas, the printing of the Biblia Regia in Flanders, and the move to the Gregorian Calendar. The engraved title page features Philip II, fitted for battle and pointing his sword at a crowd of oncoming soldiers. Cabrera de Cordova would quickly rise to prominence in royal circles, after being appointed the official scribe to the Duke of Osuna at age 25. Filipe Segundo's author would come into contact with King Philip II later in his life, when he was employed to organize the State archives. After the King's death, Cabrera de Cordova would become secretary to the queen and dedicate the present work to Philip's grandson. "This book was much used by all later Spanish historians." (Wagner) REFERENCES Alden & Landis 619/31; Heredia 7162; Salvá 2850; Palau 38917; Perez Pastor 1586; Wagner, Spanish Southwest 25 PROVENANCE José Maria Nepomuceno (library stamp to title-page)

View 1 of Lot 306: Cabrera de Cordova, Luis | First edition of this history of the reign of King Phillip II

cabrera de cordova, luis | first edition of this history of the reign of king phillip ii

John Thornton New Illustration of the Sexual System of Carolus von Linnaeus... the Temple of Flora, or Garden of Nature.. London: for the Publisher, by T. Bensley, [1799-] 1807 [-1812] 3 parts in one volume, folio (557 x 441 mm). Part 1: engraved half-title ("A British Trophy..."), engraved portrait of Thornton by Bartolozzi after Russell, engraved additional title ("A New Illustration..."), engraved portrait of Linnaeus by Meyer after Hollman and Bartolozzi, title-page (dated 1807), engraved portrait of Queen Charlotte by Bartolozzi after Beechy, engraved dedication to the Queen, 3 engraved tables, engraved part-title ("The Prize Dissertation..."), engraved plate of "The Universal Power of Love", engraved portrait of Sir Thomas Millington, engraved plate of "Farina of Flowers...". Part 2: engraved part-title, mezzotint portrait of Linnaeus in Lapland dress by Dunkarton after Hoffman (Dunthorne's state A), 2 engraved tables. Part 3: engraved title on 2 sheets (dated 1799), engraved table of contents, engraved dedication on 2 sheets, engraved part-title, 31 engraved plates, comprising: 3 coloured frontispieces ("Flora Dispensing her Favours on Earth", "Aesculapius, Flora, Ceres and Cupid...", and "Cupid Inspiring the Plants with Love" ) and 28 botanical plates ("The Snowdrop" (Dunthorne's first state), "The Persian Cyclamen" (first state), "Hyacinths" (second state), "Roses" (first state), "A Group of Carnations" (first state), "A Group of Auriculas" (two auriculas only, second state), "Tulips" (apparently a trial state, no caption for title), "The Queen", "The Aloe" (first state), "The Nodding Renealmea" (first state), "The Night-Blowing Cereus" (first state), "The oblique-leaved Begonia" (first state), "Large Flowering Sensitive Plant" (first state), "The Blue Passion Flower" (first state), "The Winged Passion Flower" (first state), "The Quadrangular Passion-Flower" (first state), "The White Lily with Variegated Leaves" (third state), "The Superb Lily" (plate B: "the Earlom plate", third state), "The Dragon Arum" (second state), "The Dragon-Bearing Stapella" (second state), "American Bog Plants" (second state), "The Pontic Rhododendron", "The American Cowslip" (first state), "The Narrow-leaved Kalmia", "The China Limodoron", "Indian Reed" (first state: with the additional hand-painted petals), "The Sacred Egyptian Bean", "The Blue Egyptian Water-Lily"), contemporary diced russia gilt, spine with raised bands in seven compartments, gilt edges, brown endpapers, some spotting and browning, "Dragon Arum" plate with closed tear along top of platemark, endleaves creased, rebacked retaining original spine, old staining to covers, extremities rubbed ONE OF THE GRANDEST AND MOST SUMPTUOUS OF THE ENGLISH BOTANICAL BOOKS, COUCHED IN THE ROMANTIC IDIOM, A HANDSOME COPY IN A CONTEMPORARY BINDING WITH MANY PLATES IN THE FIRST STATE, AND THE "TULIPS" PLATE APPARENTLY IN A TRIAL STATE. Conceived on a grandiose scale, New Illustration was to comprise three parts: a dissertation on the sexual reproductive cycle of plants; an explanation of Linnæus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and "The Temple of Flora," which was to have no less than 70 large plates of exotic plant species arranged according to the classification system of Linnæus. Each species was to appear in its native environment. The production of the plates for "The Temple of Flora" involved a variety of techniques—aquatint, mezzotint, stipple engraving, and stippling with line engraving, or etching, which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle, who executed most of the preparatory drawings; Abraham Pether, known for his moody quasi-Gothic landscapes; Sydenham Edwards and Peter Henderson; and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom. In spite of using a host of artists and engravers, Thornton managed to "maintain a remarkable homogeneity of style throughout" (Oak Spring Flora), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: "[M]ore or less coeval with Redouté in France came the production of the greatest English colour-plate flower book. … What Redouté produced under the patronage of L'Héritier, Marie Antionette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. … The result was almost total failure. … His fortune was engulfed and his family reduced to penury. … It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing … but he produced … the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world" (Great Books and Book Collectors, pp. 142–144). Yet, as its enduring appeal proves, Thornton's vision transcends the genre. That a book of botanical illustration could come to summarize the Age of Romanticism is a tribute to imaginative genius in aesthetic crossed with scientific inquiry. "To arrive at Thornton is to boil down all the diversities of the time in architecture, poetry, painting, fiction, music, from Walpole and Sir William Chambers to Shelley and the music of Weber, by way of Chatterton writing in Gothic or African mood of Medieval Bristol or reeking tigers, by way of the wild imaginings of Turner, or Martin or Francis Danby, by way of elements even in Blake, in Coleridge, in Wordsworth. An age is packed into these folio plates which Thornton directed" (Geoffrey Grigson in Thornton's Temple of Flora, p. 12). REFERENCE: Dunthorne 301; Grigson and Buchanan, Thornton's Temple of Flora (1951); Nissen 1955; Stafleu TL2 14.283. PROVENANCE: Christopher Tower: bookplate

View 1 of Lot 82: John Thornton | New Illustration of the Sexual System of Carolus von Linnaeus... the Temple of Flora, [1799-] 1807 [-1812], 3 parts in one volume, contemporary diced russia gilt

john thornton | new illustration of the sexual system of carolus von linnaeus... the temple of flora, [1799-] 1807 [-1812], 3 parts in one volume, contemporary diced russia gilt

An illuminated Carta Executoria de hidalguía a pedimento del doctor Andrés Zamudio de Alfaro, vecino de Sevilla

An illuminated Carta Executoria de hidalguía a pedimento del doctor Andrés Zamudio de Alfaro, vecino de Sevilla on vellum, in Latin and Spanish, issued in Granada, February 1572 325 × 230 mm; 97 leaves, written in Spanish Gothic bookhand of 34 lines, complete, with 4 full-page illuminated miniatures surrounded by borders of floral and vegetal elements, fleshy acanthus leaves, and Renaissance motifs, subjects of the full-page illuminations: Virgin and Child, St Francis of Assisi, coat of arms of the Alfaro family, and six full-length portraits in a genealogical tree; 1 large illuminated capital with portrait of King Philip II of Spain, and 38 smaller illuminated capitals throughout; in 19th-century modern binding of full brown morocco, covers gilt-tooled with fleurons, lions, Near Eastern, classical, zodiacal, and other ornaments, the whole forming an elaborate pattern similar to the one on the original binding, a cover of which is mounted as a front doublure; rear doublure and linings of crimson silk; good overall condition, particularly for this type of document, which was heavily used throughout its lifetime. PROVENANCE Carta Executoria de hidalguía, dated Granada, February 1572, issued on behalf of Andrés Zamudio de Alfaro of Seville.Grolier Society label.11 March 1919, lot 522, John W. Sterling, his sale.Bookplate Roderick Terry, his sale, American Art Association Anderson Galleries, Inc., 14 February 1935, lot 412.Bookplate from Robert Walsingham Martin, his sale, Parke-Bernet, New York, 12 November 1963, lot 409.By descent to current owner. A HIGHLY DECORATED CARTA EXECUTORIA ISSUED FOR ANDRES ZAMUDIO DE ALFARO, PHYSICIAN TO THE KING OF SPAIN COMMENTARY Issued on behalf of Andrés Zamudio de Alfaro (d.1599), a native of Seville, this Carta Executoria was created for one of the most prominent physicians of late sixteenth-century Spain. Andrés, a graduate of the University of Salamanca, was born into a medical dynasty: he was the grandson of Andrés Núñez de Garoza, physician to the Inquisition in Seville, a role which he took on as well following his studies. Andrés played a significant role in responding to plague and smallpox outbreaks. In 1568, following the outbreak of plague in Seville, the municipal authorities commissioned him, together with the physician Francisco Franco, to compose treatises on the diseases. While no printed edition of Andrés’ work survives, a manuscript copy, entitled Regimiento curativo y preservativo de la pestilencia, preserves one of his treatises. In 1572, he and his brother Diego de Alfaro, a prosecutor at the Royal Audiencia of Seville, brought their claim to noble lineage to the Chancery of Granada. Carta Executoria played a crucial role in sixteenth-century Spain as a legal instrument that affirmed a family’s claim to hidalguía (noble status), thereby securing both social prestige, tangible economic and legal advantages. Possession of such a document ensured exemption from certain taxes, most notably the pechos a highly discriminatory direct tax, and protected assets from taxation that applied to the lower classes. The Carta Executoria also provided a certain degree of legally recognised immunity, protecting nobles from certain forms of prosecution, imprisonment, or corporal punishment through their distinct juridical status. As a result, the Carta Executoria functioned not only as a simple record of lineage, but as a powerful tool to safeguard wealth, distinguish social standing, and to secure additional legal protection within the Spanish monarchy. Andrés’ reputation as a physician culminated in his appointment into royal service. In 1580, when Philip II fell gravely ill at Badajoz, Andrés was summoned from Seville and successfully treated the monarch. In recognition of his services, he was appointed physician to the royal chamber on 5 November 1580 and was subsequently elevated to the position of primer médico and chief physician of Castile. In this capacity, he also attended Philip II during his final illness in 1598. The Carta Executoria issued for Andrés Zamudio de Alfaro is elaborately and lavishly illuminated to underline its legal function and to serve as testimony of its owner’s lineage and status. The manuscript contains four full-page illuminations, an unusual amount for a Carta Executoria. As legal and representative documents, they usually focus on the heraldic devices of the recipient. The full-page illuminations depict the Virgin and Child, St Francis of Assisi, the family coat of arms, a genealogical tree with family portraits, alongside a large historiated initial featuring King Philip II of Spain. Numerous illuminated initials and decorative borders extend throughout the volume, and the Alfaro coat of arms is prominently displayed. The manuscript forgoes the usual martial depiction of St James at the Battle of Clavijo and instead includes a full-page illumination showing St Francis of Assisi, underlining the presence and influence of the Franciscan Order in the city of Seville. Crimson silk guards protect the miniatures, whose colours remain particularly vibrant and are well preserved. The miniatures are surrounded by dense borders of fleshy acanthus leaves, Greco-Roman motifs, angels, lion faces, fantastical creatures, human heads, and birds, which form a lively frame. The palette is striking, combining yellow gold with shades of rose, light green, pink, red, and blue, recalling the city of Seville with its spectacular sunsets and Islamic heritage. The artist’s style is exemplified in the miniature of St Francis of Assisi; set within a hilly landscape beneath a sky rendered in hues of blue and pink, a dramatic scene unfolds. The saint’s stigmata are clearly visible, with thin threads of blood extending from his wounds towards the figure of Christ appearing in the clouds above, creating a direct spiritual and physical connection between saint and Saviour. The combination of vibrant colour, intricate border decoration, and narrative detail mark the style of the manuscript, underlining its status both as a formal legal document and a luxurious work of art. LITERATURE Davis, Charles, and María Luz López Terrada. “Protomedicato y farmacia en Castilla a finales del siglo XVI: Edición crítica del Catálogo de las cosas que los boticarios han de tener en sus boticas, de Andrés Zamudio de Alfaro, Protomédico general (1592–1599).” Asclepio 62, no. 2 (2010): 579–626.

View 1 of Lot 3: Illuminated Carta Executoria de hidalguía for Doctor Andrés Zamudio de Alfaro, on vellum, in Latin and Spanish, issued in Granada, February 1572

illuminated carta executoria de hidalguía for doctor andrés zamudio de alfaro, on vellum, in latin and spanish, issued in granada, february 1572

Vincenzo Bellini Autograph manuscript of part of the Act I duet of Beatrice and Filippo from the opera Beatrice di Tenda, APPARENTLY UNPUBLISHED a composing manuscript, notated in dark brown ink on one 20-stave system per page, representing apparently an early version of part of the B-flat section of the Act I, scene 8, duet no.4 "E quali? quali? spergiura! ingrata!" (from the 'stretta' - '[pian]gente...la morte!' [Beatrice] - to the first eight bars of the cabaletta), c.34 bars of music in all, with a number of autograph deletions, erasures, revisions and corrections 4 pages, large oblong 4to (28.4 x 41.3cm), 20-stave paper, with a note of authenticity by Bellini's brothers in the outer margin of each leaf ("Autografo di Vincenzo Bellini / i suoi fratelli / Mario Bellini / Carmelo Bellini"), as well as notarial stamps ("...Carbonaro Carmelo Catania") and notes in other hands, including by Professor Venturino Caravella (dated Catania, 19 March 1902), modern green morocco gilt, gilt lettering to spine ("Bellini Beatrice di Tenda") A FRAGMENT OF THE FINEST NUMBER IN THE SCORE, THE GREAT DUET IN ACT I. Beatrice di Tenda, the first opera completed by Bellini after Norma, was written for the greatest soprano of the time Giuditta Pasta (1797-1865), whose natural style of singing and expressive harnessing of technique in the service of the drama proved an important influence on Bellini's (and Donizetti's) style of writing. Other title roles created by Pasta include those of Bellini's Norma (1831) and Donizetti's Anna Bolena (1830). It was the singer who, on seeing in Milan in October 1832 the ballet based on Tedaldi-Fores' play Beatrice Tenda, had enthused the composer about the subject - the real-life fifteenth-century tale of Beatrice Lascaris di Tenda's unhappy and ultimately fatal second marriage to Duke Filippo Maria Visconti in Milan. The composition of the work was delayed on account of the dilatoriness of Bellini's librettist, Felice Romani, and the first performance at the Venice Teatro La Fenice was pushed back from the second half of February to 16 March 1833. The opera was received indifferently, although subsequent performances drew large audiences. Bellini himself expressed his satisfaction with the work, stating that it was 'not unworthy of her sisters' (i.e. Bellini's recent operas Norma and La somnambula). Unfortunately, the very public recriminations of Romani in the press (which started with complaints about the delayed production) resulted in the rupture of the relationship between composer and librettist, although there were signs of a rapprochement before the composer's untimely death, at the age of 33, in September 1835. There have been a number of notable modern revivals of this jewel of bel canto writing, including those in 1961 at New York and at La Scala, with Joan Sutherland in the title role. The present manuscript, probably a rejected bifolium from the autograph score (preserved today at the Biblioteca del Conservatorio di musica "Santa Cecilia", Rome), differs considerably from the version of the duet's section as found in the posthumous full score, published in Rome, c.1840. While the beginning and end of the present fragment correspond fairly closely to the full score - aside from the latter's doubling of the note values - the music of the last six or so bars of the second page of the manuscript diverge markedly (even though the B flat pedal is present in both versions). Autograph music relating to Bellini's major operas is only rarely offered at auction. A critical edition of the opera has not yet been published. LITERATURE: Facsimile edition of the c.1840 printed full score in Early Romantic Opera, ed. Philip Gossett, vol. 5 (New York, 1980) [above numbering follows that of the facsimile]

View 1 of Lot 90: Vincenzo Bellini | Autograph manuscript of part of "Beatrice di Tenda", c.1833, apparently unpublished

vincenzo bellini | autograph manuscript of part of "beatrice di tenda", c.1833, apparently unpublished

Sardinha Mimoso, João Relacion de la real tragicomedia con que los Padres de la Compania de Jesus en su Colegio de S. Anton de Lisboa recibieron a la Magestad Catolica de Felipe II de Portugal, y de su entrada en este Reino, cõ lo que se hizo en las Villas, y Ciudades en que entrò. Lisbon: Jorge Rodrigues, 1620 4to (170 x 100 mm). Text within double-ruled woodcut borders, woodcut initials, engravings of Bragança ducal arms on title page, engraving of Portuguese royal arms on ¶5 recto; minor repair on verso and following leaf not affecting text, minor worming to the primary gatherings in lower margins, light repair of leaf A8 not affecting text, few holes and marginal spotting throughout. Late seventeenth or eighteenth-century specked sheepskin, spine with raised bands in six compartments, second gilt lettered, others with repeat decoration in gilt, marbled endpapers, edges speckled red; extremities lightly rubbed, few scuffs, slight split 4 cm from upper joints. Fine first edition of a play performed in front of Prince Philip II in 1619. Mimiso’s tragicomedy was staged and presented in a newly built court at the Jesuit College of San Anton, in honor of Phillip II of Spain’s arrival to Portugal. Centered on the discovery of Brazil and India, the play features 350 animals, birds, and marine creatures, some of which sing in a “Chorus brasilicus” in Tupi, the native language of the indigenous Brazilians. Details of the set design, stage entrances, and curtain colors are included by Mimoso within the preliminary matter (ff.1v-4r). REFERENCES Borba de Moraes (1983) II, 571-2; Bibliographica Brasiliana, 571-2; Sabin 69184; Innocêncio X, 346; Palha 2939; not in Rodrigues

View 1 of Lot 333: Sardinha Mimoso, João | First edition of this tragicomedy, performed in front of Prince Phillip II

sardinha mimoso, joão | first edition of this tragicomedy, performed in front of prince phillip ii

Euclid — Rodrigo Zamarano (trans.) Los seis libros primeros dela geometria de Euclides. Traduzidos en lengua española por Rodrigo Çamorano. Seville: En Casa de Alonso de la Barrera, 1576 4to (203 x 145 mm). Woodcut arms on title, woodcut geometric designs in text, initials, and tailpiece; light dampstain in lower margin of final 20 leaves not affecting text, several leaves mispaginated. Contemporary limp vellum, vertical manuscript title on spine; ties missing, vellum worn and with a few stains. Quarter red morocco over orange cloth folding box. First edition in Spanish of Euclid's geometry. Euclid’s Elements was first published in Venice in 1482 and has appeared in over a thousand editions. Zamarano’s translations of the first six of thirteen books comprise the first printing of any text by Euclid in Spain, and the only edition of this translation prior to 1999. Rodrigo Zamarano was an astrologer, mathematician, and cosmographer to Philip II. Thomas-Stanford attributes its school-book appearance as evidence of its rarity and compares its worn condition to other copies he examined. REFERENCES Adams E1018; Beardsley 95; BL, Pre-1601 Spanish STC p. 74; Catálogo colectivo E903; Duarte, Euclides, Arquimedes, Duarte, Euclides, Arquimedes, Newton pp. 46, 48; Heredia 4494; Honeyman 1011; Palau 84721; Riccardi, Bibliografia euclidea, 1576; Salvá 2570; Steck III, 88; Thomas-Stanford, 16-17, 43 PROVENANCE Landau Library (bookplate numbered 64704 to front pastedown — sold in our London rooms, 10 April 2002, lot 356)

View 1 of Lot 312: Euclid — Rodrigo Zamarano (trans.) | Euclid’s Elements, the first edition in Spanish

euclid — rodrigo zamarano (trans.) | euclid’s elements, the first edition in spanish

Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

Modern literature A group of 5 volumes, comprising: (i) Jack London. The Call of the Wild. New York: The Macmillan Company, 1903. FIRST EDITION, FIRST ISSUE (in the vertically ribbed cloth), 12mo (192 x 131 mm), frontispiece and 10 plates by Philip R. Goodwin and Charles Livingston Bull, decorations by Charles Edward Hopper, publisher's advertisement leaf at end, publisher's green cloth, front cover with 3 decorated panels in red, black and white of sled dogs and sled with title in gilt between the panels, spine lettered in gilt with a pictorial panel in red, black and white depicting Buck, pictorial endleaves, top edge gilt, housed in green cloth slipcase, [BAL 11876] FIRST EDITION of London's best-known novel, The story of Buck, a pampered dog who, after a series of adventures and mis-adventures, ends up leading a pack of wolves. (ii) T.H. White. The Sword in the Stone. London: Collins, 1938. FIRST EDITION, 8vo (193 x 129 mm), modern black morocco gilt by Sangorski & Sutcliffe, upper cover with a gilt stamp of Excalibur, lower cover with a gilt stamp of Merlyn holding an umbrella, gilt edges, patterned endpapers FIRST EDITION of White's acclaimed fantasy novel about the boyhood of King Arthur, the first instalment in his tetralogy The Once and Future King, in a handsome modern binding by Sangorski & Sutcliffe. (iii) E.M. Forster. Alexandria: A History and a Guide. Alexandria: Whitehead Morris Limited, 1922. FIRST EDITION, 8vo (188 x 121 mm), maps and plans, original boards, binding slightly soiledI, [Kirkpatrick A8a] (iv) Oscar Wilde—Cecil Beaton (illustrator). The Importance of Being Earnest. London: The Folio Society, 1960. INSCRIBED BY CECIL BEATON ON THE DEDICATION LEAF: "For Raymond Jerome | with such a (?)happy | souvenir of "The | School for Scandal" Best wishes | Cecil", 8vo (), original watered green silk boards, spine labeled in gilt, light blue pictorial endpapers, spine slightly sunned Beaton designed sets and costumes for the 1962 Comédie-Française production of Sheridan's School for Scandal, and the dedicatee was presumably involved in this production. (v) D.H. Lawrence. The Tales of D. H. Lawrence. London: Martin Secker, 1934. FIRST EDITION, 8vo (210 x 133 mm), modern green half morocco gilt, top edge gilt

View 1 of Lot 96: Modern Literature | Five volumes

modern literature | five volumes

Sherman, William Tecumseh A remarkable collection of unpublished correspondence from General Sherman to his aide-de-camp Colonel John Mosby Bacon, comprising 58 autograph letters signed (“W. T. Sherman”; “Sherman”) to Bacon (“Dear Bacon”), totalling approximately 209 pages (mostly ca. 204 x 125 mm, mostly on bifolia with Headquarters Army of the United States or other Army letterhead or personal letterhead of 912 Garrison Avenue, St. Louis, Mo.), various places (including Washington, D.C., Malta, St. Louis, Chicago, Green Bay, San Francisco, Fort Vancouver (Washington Territory), Portland (Oregon), San Antonio, Fort Coeur d’Alene, Lake Minnetonka, and New York, 17 August 1871–26 September 1890, the letters through 11 October 1883 written as Commanding General of the United States Army, letters after that date written as a retired, private citizen, eight letters written in pencil, the others in black or sepia (and one in violet) ink — accompanied by related materials including approximately 30 autograph envelopes in Sherman’s hand, a few with his franking signatures or signed in the third person (“Col John M. Bacon | ADC to General Sherman”); cabinet-card size albumen photograph portrait of Sherman on mount of Napoleon Sarony, signed and dated 1889 on the front and inscribed in pencil on the verso “To Col Jno. M. Bacon with best compliments of W. T. Sherman General, Fort Riley, KS, July 16, 1889”; few telegrams from Sherman to Bacon in clerical hands; three photographs of Bacon and his family; some other private correspondence to Bacon. Very occasional browning or soiling to letters; many envelopes torn with loss. Housed in mylar sleeves in a three-ring binder. After Civil War campaigns that made him the most ferocious and, arguably, most successful General of the Grand Army of the Republic, William Tecumseh Sherman took command of Division of the Mississippi, headquartered at St. Louis, in 1866. He was sent, somewhat against his will, on a diplomatic mission to Mexico that same year. When Ulysses S. Grant was elected president, Sherman succeeded him as Commanding General of the United States Army after Grant’s inauguration, March 1869, and it was during his tenure in that position that the majority of the letters in the present archive were written, to a newly appointed aide-de-camp, Colonel John Mosby Bacon. The extent and candor of the correspondence is evidence that Sherman respected and trusted Bacon, who joined his staff in 1870 and remained for his full appointment as Commanding General, which ended on 1 November 1883, when he retired from active service and was replaced by Philip Sheridan. The fact that their correspondence continued for another seven years, when Sherman was living in St. Louis and New York City—pursuing business opportunities and avoiding political ones—also demonstrates the compatibility of the two men and the significance of their relationship. Bacon was, in fact, retained by Sherman as an aide (together with John E. Tourtelotte) for some time after his official retirement, a courtesy he had requested of Secretary of War Robert Todd Lincoln. In his Memoirs, Sherman wrote that Bacon “who utterly ignored self in his personal attachment to me. He was then a captain of the Ninth Cavalry, but with almost a certainty of promotion to be major of the Seventh before the date of my official retirement, which actually resulted. [He] accompanied me to St. Louis, and remained with me to the end.” Yet the editors of “The Complete Annotated Edition” of The Memoirs of General William Tecumseh Sherman (Harvard, 2025) can muster little to say about Bacon in a single footnote: “John M. Bacon (1844-1913) was a U.S. volunteer solider from Kentucky during the Civil War. In 1866 he was commissioned as a captain of cavalry in the U.S. Army. He joined WTS's staff in 1870.” Perhaps because these letters have remained with Colonel Bacon’s descendants his role in Sherman’s later career remains unexplored by Sherman’s biographers. A wealth of new information can undoubtedly be mined from these letters. Bacon was, in fact, retained by Sherman as an aide (together with John E. Tourtelotte) for some time after his official retirement, a courtesy he had requested of Secretary of War Robert Todd Lincoln. In his Memoirs, Sherman wrote that Bacon “who utterly ignored self in his personal attachment to me. He was then a captain of the Ninth Cavalry, but with almost a certainty of promotion to be major of the Seventh before the date of my official retirement, which actually resulted. [He] accompanied me to St. Louis, and remained with me to the end.” The letters provide details, military and domestic, of Sherman’s dizzying schedule of travel to inspect various army installations (as witnessed by the many places of origin of the letters), but on 6 September 1871, he took time to congratulate Bacon on his marriage and urge him to to take his bride with him on his own travels: “Make your mind easy. Send for your wife, and enjoy the years of youth as you best can.” Some of Sherman’s time is taken up with entertaining dignitaries of all stripes, including other general officers. He notes on 5 August 1875, in a letter written on letterhead of Headquarters Military Division of he Missouri, that “Genl [Henry Warner] Slocum arrived at 8 pm … I find General Slocum most anxious to see the Country west of the Mississippi, and therefore we will probably cross over from Saint Paul to Omaha and reach Saint Louis from the direction of Leavenworth. As to mails, you may send to Green Bay Wisconsin this week—and to St. Paul next week—After that hold all mails for me till I come.” On 1 September 1876, writing from Washington, D.C., Sherman informs his aide, “I am going with the Sec of War [J. Donald Cameron] to California … and will be back in time for the Army meeting here. … Mr Cameron takes two of his daughters and a son. I take Mrs Sherman, Tom, Elly and Company.” In a letter of 12 August 1879, Sherman again expresses deep personal concern for Bacon, whose wife and new baby had been ill: “I am glad that you went back to Oakland [Maryland] for your presence was of infinite service to Mrs Bacon and the baby during their critical illness. I now hear that Mrs Bacon & the baby are much better and will soon leave Oakland. … If you come back to Washington I am a little afraid of the effort. … I know that August and September are unsafe months in Washington because of malaria. Still if you return Mrs Bacon can find better food here than at Oakland and probably better physicians.” A “week of gorgeous luxury,” reported Sherman from San Francisco, 20 September 1880, was spend partly in the company of President and Mrs. Rutherford B. Hayes—the very first presidential visit to the Golden State. Another dispatch from the west coast, Portland, Oregon, 7 October 1880, reads a bit like a Chamber of Commerce endorsement: “We are just back from Walla Walla, the same dusty, dirty place you can easily recall to memory, but very populous and prosperous. The River is as beautiful as ever and the weather very fair, so that we have had occasional glimpses of the peaks—On Saturday we go to Olympia to spend Sunday there. On Monday we take a chartered boat and make pretty much the same tour of the Sound we did, only stopping a little longer at Seattle and Port Townsend to do more hand shaking & speaking.” Perhaps the most remarkable letter of the archive was written from Washington, D.C., 2 July 1881, at 10:20 a.m., and describes in great detail the shooting of President James Garfield by Charles Guiteau. (Oddly, once in custody, Guiteau wrote to Sherman urging him to seize control of the government. This letter is directed to Generals Philip Sheridan, O. O. Howard, and Irwin McDowall and was evidently intended for Bacon to duplicate and transmit to those three. The President, Sherman relays, was walking with his cabinet through the capital city’s train station, when Garfield “was shot from behind by a man almost in contact, one shot through the arm, a flesh wound the other in the back toward the right side. the ball ranging downward—this last round is serious—I have just come from the depot. The President was in a Room up stairs with several … competent surgeons. … The would be assassin is in Custody. He seems to have acted absolutely alone. No combination or conspiracy apparent. … I will keep you all advised.” In a postscript, Sherman adds, “The President has just been brought up to the White House and is now there.” Of equal significance is a very lengthy letter of 29 May 1884, in which Sherman makes clear his own disinclination to accept the Republican nomination for president (their national convention was to meet in Chicago the next week) and also regrets the effects on Ulysses S. Grant of his own successful foray into presidential politics. “I have had one or two [letters] from delegates to the Chicago convention to the effect that I would surely be nominated and must not decline—but my invariable answer has been that … if the convention should disregard my wishes—I will decline with an expression as damaging to them as unpleasant for myself. Henderson was here night before last and I think he can (being a delegate) satisfy the nominating committee that I am in Earnest I am sure Grant damaged his fame by his Presidential Career—still more by seeking a third term, and infinitely more by his recent experience as a Banker.” The letters continue, detailed and warm, although necessarily of a more personal nature after Sherman’s retirement, until the final letter is reached, 26 September 1890, less than five months before the general’s death. This letter expresses, as so many previous ones had done, the deep personal regard Sherman felt for Bacon and shows that his interest did not diminish after Bacon left his staff. It also contains advice foe advancing Bacon’s career and significant insight into the future of warfare: “I am much pleased to receive your letter of the 21st from Fort Riley and equally so that you had been chosen as the Acting Inspector General for the Dept of the Platte HdQrs. Omaha. You have a good reputation as Post Commander, as also as a Cavalry officer generally. Those are the two foundations for a lasting reputation in the Military Profession. Your new office will enlarge your sphere of Study and observation and will be to your young and beautiful wife much more agreeable than the compliment of garrison life. “I have seen Omaha from its beginning to the present condition. I am sure you will find there social advantages on a larger scale than at Riley and if you profit by the opportunity you will be better qualified for ultimate advancement. No military officer should cease his struggle for promotion till he is General, and then he must await opportunity. “War is becoming each year more and more an expensive luxury. And no nation can resort to war without a big purse, therefore in our country—especially wars will be rare but when they do come, that officer who can best organize and command troops will be the first to have a chance to gain Fame. The practical experience of Grant, Sheridan, and Sherman with troops in our late war was of more use to the Country than the Book Knowledge of Halleck McClellan and Meade. For this reason I have always contended that Staff officers should serve with troops before being appointed to Staff duty. “This you have done completely. … Give my best love to that sweet wife of yours and may happiness and contentment continue with you to the end— Affectionately yours. W. T. Sherman.”

View 1 of Lot 389: Sherman, William Tecumseh | A major unpublished correspondence by the Commanding General of the United States Army

sherman, william tecumseh | a major unpublished correspondence by the commanding general of the united states army

Vincenzo Bellini Two autograph sketchleaves for Norma, APPARENTLY UNPUBLISHED comprising a variety of unilinear and multi-stave sketches, some representing initial first thoughts, others, more neatly written, indicative of a more advanced stage in the composing process, DIVERGING IN MANY DETAILS FROM THE LATER MUSICAL TEXT, notated in dark brown ink, on up to 19 staves per page, including for: Pollione's cavatina, no.2, "Meco all'altar di Venere" (from the cabaletta "Me protegge, me difende [...] L'empio altare abbatterò"), with autograph title ("La Cavatina di Pollione"), 21 bars [fol.2v, staves 16-18]; Scena e Terzetto (Finale I), no.5, "Ma di'...l'amato giovane", c.66 bars [fol.1r, staves 7-19; fol.1v, staves 1-2]; the chorus "Guerra, guerra!" from Finale II, no.8, c.54 bars [fol.2v, staves 7-14]; the duet between Norma and Pollione ("In mia man alfin tu sei...[up to "Al tuo piè son io piangente!]") in Finale II, no.8, c.121 bars [fol.1v, staves 14-19; fol.2r, staves 1-18; fol.2v, staves 1-4]; and including a number of unidentified sketches, as well as a sketch possibly relating to the chorus "Guerra, guerra!", with autograph title ("tema marziale"), 2 bars [fol.1v, stave 12]; with autograph tempo indications, singers' names ("Norma"; "Nor:"; "Adal:" etc.), and many autograph cancellations, corrections and revisions 4 pages, large oblong 4to (28.3 x 41cm), 20-stave paper, later cancelled numbering of the leaves ("22" on fol. 1v; "21" on fol. 2r), with a note of authenticity by Bellini's brothers in the margins of each leaf ("Autografo di Vincenzo Bellini / i suoi fratelli / Mario Bellini / Carmelo Bellini"), as well as notarial stamps ("Notaro Carbonaro Carmelo Catania") and notes in other hands, including by Professor Venturino Caravella (dated Catania, 19 March 1902), on guards, modern green morocco gilt, gilt lettering to spine ("Vincenzo Bellini Norma"), c.September to December 1831, a few small tears to margins of first leaf, two with old repairs, three vertical creases, some light browning and spotting THE MOST SIGNIFICANT BELLINI AUTOGRAPH TO APPEAR AT AUCTION FOR OVER 20 YEARS. Norma is Bellini's masterpiece, widely considered to be the greatest Italian Romantic opera before Verdi. One number in particular, the celebrated "Casta diva", where the tragic eponymous heroine and High Priestess of the Druids, addresses the chaste moon, is one of the most adored arias in all opera, its affecting and seemingly endless melodic periods regarded as the epitome of the bel canto style. The present leaves provide a fascinating glimpse into Bellini's composing 'workshop' in the months before the opera's premiere at La Scala, Milan, on 31 December 1831: they well illustrate the composer's methodical approach to drafting and refining melodies, the jotted-down sketches either drawn upon immediately for current projects, or used as an idea-bank for future projects. In one regard the present leaves are unusual among the corpus of Bellini sketchleaves since they contain evidence of different stages of the composing process: in addition to sketches proper, there are also more neatly written-out entries which evidently belong to a later phase of work on the opera: see the entries relating to Pollione's cavatina, no.2, and the duet in no.8 - the latter an extensive 121-bar notation of the famous confrontation between Norma (the role created by the great soprano Giuditta Pasta) and the Roman proconsul in Gaul, Pollione at the climax of the drama ("In mia man alfin tu sei"). Although autograph manuscripts from Bellini's major operas appear only rarely at auction, a large amount of autograph material relating to Norma does in fact survive. In addition to the autograph score of the complete opera (preserved today at the Biblioteca del Conservatorio di musica "Santa Cecilia", Rome), and a 4-page section originally from it, containing the opening of the chorus "Guerra, guerra!" from Finale II, no.8 (Sotheby's, 6 December 1991, lot 37), over 140 pages of related sketches, drafts and rejected versions are known to exist, including: 128 pages of sketches, in the Museo Belliniano, Catania; 6 pages of draft fragments for the duetto, no.4, "Va, crudele", in the New York Public Library; 2 pages of melodic sketches for Norma, Beatrice di Tenda and I puritani, formerly in the private collection of Arturo Toscanini ('Toscanini 1-2': Sotheby's, 6 December 1991, lot 38); and a 2-page draft for Pollione's act I aria "Meco all'altar di Venere" (Sotheby's, 21 May, 2004, lot 32). LITERATURE: Philip Gossett, ed., Norma [...] a facsimile edition of the original autograph manuscript and the surviving sketches, 2 vols., (1983) [the above numbering follows that of the facsimile edition]

View 1 of Lot 89: Vincenzo Bellini | Two autograph sketchleaves for "Norma", 1831, apparently unpublished

vincenzo bellini | two autograph sketchleaves for "norma", 1831, apparently unpublished

A dramatic scene from the romuléon, the only manuscript copy of the text of french origin, illuminated by the artist pierre gautier

A dramatic scene from the romuléon, the only manuscript copy of the text of french origin, illuminated by the artist pierre gautier PROVENANCE: 1. The Romuléon manuscript from which this and other dispersed miniatures originated was traced in Niort (now at the Médiathèque Pierre-Moinot, Cote RES G2F). The manuscript was given to the library in 1884 by Edmond-Emmanuel Arnauldet (1827–1899), , a local judge. 2. The present cutting was part of lot 9 from an album of 14 miniatures dispersed at Christie's, 21 June 1989, lots 6-11. 3. Christie's, New York, 12 December 2017, lot 31. 4. Purchased from Maggs Brothers, London, 2019/20; COMMENTARY: The dramatic scene depicted in the miniature shows the defeat of the Seleucid emperor Antiochus at the Battle of Magnesia in 190 BC by the forces of the Roman Republic and their allies, the Kingdom of Pergamon. His defeat resulted in a substantial loss of land of the Seleucid empire and Antiochus died only three years later on a subsequent expedition. The battle wages in front of a beautiful landscape of soft hills. Separated by a meandering river is an imposing Gothic castle with a prominent rectangular donjon reminiscent of the Château de Vincennes that was used by the French kings. Like a black tide, the knights are enmeshed in battle on horse back and the bodies of the fallen begin to pile up under their horses hoves. The miniature was part of the Romuléon, a monumental work that covered the history of Ancient Rome from the time of Romulus and Remus to Constantine the Great. Its original compiler, Benvenuto Rambaldi da Imola (1330 –1388), drew on a variety of classical and Christian sources to create his influential compilation. In the course of the 1460s histories as well as chronicles were in high demand among the noble and learned elite, which resulted in not only one, but two writers translating the work from Latin into French — independently of each other (cf. McKendrick, pp.149-69). This translation shows the immense increase in popularity of the work, making it more easily accessible to the wider audiences at court and beyond. Our miniature stems from a manuscript translated by Jean Miélot, who worked as a translator and scribe in the service of Philip the Good, Duke of Burgundy, one of the time’s leading patrons of the arts who commissioned the work. Only six complete manuscript copies of Miélot’s translation are extant and all of them originate in the orbit of the Burgundian court and were sophisticated luxury editions. Thirteen other leaves, most likely from the same manuscript are known, and were sold together with the present miniature at Christie's, 21 June 1989, lots 6-11. The leaves were attributed to the artist Pierre Garnier, a court painter of Duke René of Anjou between 1476-1480 (Lauga, 2007) and active in Langres until 1493 (Reynaud p.376). This miniature stems from the only known copy of the Romuléon that can claim a French origin. The dramatic scene is an expression of the changing literary taste and thirst for histories by the Burgundian elite in the second half of the 15th century. LITERATURE: Avril, François, and Nicole Reynaud. Les manuscrits à peintures en France, 1440–1520. Paris: Bibliothèque nationale de France, 1993. Lauga, Jacques. “Les manuscrits liturgiques dans le diocèse de Langres à la fin du Moyen Âge: les commanditaires et leurs artistes.” PhD diss., Université Paris IV–Sorbonne, 2007. McKendrick, Scot. “The Romuléon and the Manuscripts of Edward IV.” In Proceedings of the 1992 Harlaxton Symposium, 149–169. Stamford: Paul Watkins, 1994. McKendrick, Scot. “Charles the Bold and the Romuléon: Reception, Loss and Influence.” In Kunst- und Kulturtransfer zur Zeit Karls des Kühnen, edited by Norberto Gramaccini and Markus C. Schurr, 59–84. Turnhout: Brepols, 2012.

View 1 of Lot 75: Illuminated Manuscript—The Defeat of Antiochus, King of Syria at the Battle of Magnesia, miniature from the Romuléon [Eastern France, c.1480]

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