Fearless: The Collection of Hester Diamond Part II

Sold Without Reserve A selection of books - General Italian sculpture and some museum catalogues Braziller, George. The Splendor of Dresden, five centuries of art collecting: An exhibition from the State Art Collections of Dresden, German Democratic Republic : the National ... of San Francisco, February 18-May 26, 1979. Metropolitan Museum of Art, 1978. Pratesi, Giovanni. Scultura Fiorentina del Cinquecento: Vol. I – III. Umberto Allemandi, 2003. Macci, Fazio. Chapel of Sansevero Museum. Aloc, 1999. Tino Di Camaino a Napoli. Libreria Scientifica Editrice. Charles, Seymour. Pelican History of Art: Sculpture in Italy 1400-1500. Publisher, Year. Pope-Hennessy, John. Italian Gothic Sculpture. Vintage Books, 1985. Milano, Carlo. Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova. Yale University Press, 2001. Giovanni, Mariacher. I Maestri Della Scultura Antonio Rizzo. Fratelli Fabbri, c1966. Briganti, Giuliano. Antologia di Belle Arti, N. 21-26, 1984-1985. Roma : F. Apolloni e M. Tazzoli, 1977-2004. Liberman, Alexander. Campidoglio. Random House. Koeppe, ed. Wolfram. Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe (Metropolitan Museum of Art). Metropolitan Museum of Art, 2008. Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria and Albert Museum: Vol. 1- 3. London, H.M. Stationery Off., 1964. Pope-Hennessy, John. Italian Renaissance Sculpture: An Introduction to Italian Sculpture. Vintage Books, 1985. Darr, Alan P. Catalogue of Italian Sculpture in the Detroit Institute of the Arts. Vol I. Harvey Miller, 2003. Darr, Alan P. Catalogue of Italian Sculpture in the Detroit Institute of the Arts. Vol II. Harvey Miller, 2003. Gregori, Mina. In the light of Apollo. Catalogo della mostra (Atene, 2003). Cinisello Balsamo, Milano, c2003. Abbate, Francesco. La Scultura Napoletana del Cinquecento. Roma : Donzelli, c1992. Ioele, Walter Cupperi, Gregoire Extermann, Giovanna. Scultura a Roma nella seconda metà del Cinquecento. Protagonisti e priblemi. Libro Co. Italia, 2012. Ciatti, Marco. Angeli, santi e demoni: otto capolavori restaurati per Santa Croce. Santa Croce quarant'anni dopo (1966-2006). Edifir, 2006. Heller, Enna. Icons or Portraits: Images of Jesus and Mary from the Collection of Michael Hall. Museum Of Biblical Art, 2007.Scultura Fiorentina del Seicento e Settecento, Archivi di Arte Antica. Vol I – III. Umberto Allemandi, 1993.

a selection of books - general italian sculpture and some museum catalogues

The Library of Henry Rogers Broughton, 2nd Baron Fairhaven Part II

Saverio Manetti Storia naturale degli uccelli. Florence: in aedibus Mouckianis, 1767-1776 5 volumes, folio (450 x 355mm.), all volumes: plain engraved additional titles, title-page vignettes, head- and tail-pieces; volume 1: engraved author portrait; volumes 4 and 5: engraved allegorical frontispieces; 600 hand-coloured engraved plates, fine contemporary calf gilt, spines with raised bands in eight compartments, morocco labels to second and third compartments, gilt edges, marbled endpapers, volume 3, plate 41 with repaired tear at verso, some dampstaining at margins, some worming to tails of spines "Storia naturale degli uccelli... was one of the finest bird books issued to that date and one of the most sumptuous publications of the Eighteenth century in Italy" (Christine Jackson, Dictionary of Bird Artists of the World). "Impressive, too, was... Manetti's Ornithologia methodice digesta, the flamboyant forerunner of the splendid ornithological folios which were to appear in the nineteenth century. The production of its five massive folio volumes must have been one of the most remarkable publishing ventures ever undertaken in Florence. Begun in 1767 and completed ten years later, it was larger, better engraved and more vividly colored than any previous book on birds" (S. Peter Dance, The Art of Natural History, p. 70). Saverio Manetti (1723-1785) was an Italian physician and botanist known for his ornithological drawings. From 1749 to 1782 he was the supervisor of the Orto Botanico di Firenze in Florence, and it was during his tenure there that the present monumental work was published. The book was commissioned by Maria Luisa, the Grand duchess of Tuscany. Carl Linnaeus named the plant genus Manettia after him. LITERATURE: Fine Bird Books, p. 10; McGill/Wood, p. 450; Nissen IVB 558 PROVENANCE: Edward Davenport, armorial bookplates

View 1 of Lot 422: Saverio Manetti | Storia naturale degli uccelli, Florence, 1767-1776, 5 vols, fine contemporary calf gilt

saverio manetti | storia naturale degli uccelli, florence, 1767-1776, 5 vols, fine contemporary calf gilt

Sold Without Reserve A Selection of Books on American Museums B.L. Dunbar, The Collection of the Nelson-Atkins Museum of Art: German and Netherlandish Paintings 1450-1600, The Nelson-Atkins Museum of Art in Association with the University of Washington Press 2005 (English) L. Castelnuovo-Tedesco, Italian Medieval Sculpture in the Metropolitan Museum of Art and the Cloisters, Yale University Press 2010 (English) B. Burn, Masterpieces of the Metropolitan Museum of Art, Bulfinch Press 1993 (English) E.W. Rowlands, The Nelson Atkins Museum of Art: Italian Paintings, The Nelson-Atkins Museum of Art in Association with the University of Washington Press 1996 (English) E. Zafran, Reunited Masterpieces, Wadsworth Atheneum Museum of Art 2010 (English) M. Ormond, John Ringling: Dreamer, Builder, Collector, The John and Mable Ringling Museum of Art 1997 (English) P.C. Sutton, Northern European Paintings in the Philadelphia Museum of Art, University of Pennsylvania Press 1990 (English) J.O. Hand, German Paintings of the Fifteenth through Seventeenth Centuries, The National Gallery of Art with Cambridge University Press 1993 (English) S.L. Hoyt, Treasures From the Minneapolis Institute of Arts, The Minneapolis Institute of Arts 1998 (English) J.A. Welu, Worcester Art Museum: Selected Works, The Worcester Art Museum 1994 (English) L.B. Kanter, Italian Paintings in the Museum of Fine Arts Boston, Volume 1, Northeastern University Press 1994 (English) R.P. Townsend, Botticelli to Tiepolo: Three Centuries of Italian Paintings from Bob Jones University, University of Washington Press 1994 (English) E. Zafran, Renaissance to Rococo: Masterpieces from the Collection of the Wadsworth Atheneum Museum of Art, Yale University Press 2004 (English) B. Burn, Metropolitan Museum Journal Volume 27/ 1992, The Metropolitan Museum of Art 1992 (English) M.W. Ainsworth, From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art, The Metropolitan Museum of Art 1998 (English) E.D. Schmidt, Bronze, Boxwood, and Ivory in the Robert H. Smith Collection of Sculpture, The Burlington Magazine 2015 (English) F. Zeri, Italian Paintings, North Italian School, The Metropolitan Museum of Art, The Metropolitan Museum of Art 1986 (English) F. Zeri, Italian Paintings, Venetian School, The Metropolitan Museum of Art, The Metropolitan Museum of Art 1973 (English) M.W. Ainsworth, Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies, The Metropolitan Museum of Art 2001 (English) T. Potts, Kimbell Art Museum Handbook of the Collection, Yale University Press 2003 (English) M. Boskovits, Italian Paintings of the Fifteenth Century, National Gallery of Art, Oxford University Press 2003 (English) H. Hibbard, The Metropolitan Museum of Art, Harrison House 1980 (English) N. Simon, Masterpieces from the Norton Simon Museum, Norton Simon Museum 1989 (English) E. Koss, The Frick Collection: Handbook of Paintings, The Frick Collection/Scala Publishers 2004 (English) E.A. Powell, National Gallery of Art, Thames and Hudson and National Gallery of Art 2006 (English) C. Seymour, Early Italian Paintings in the Yale University Art Gallery, Yale University Press 1970 (English) B. Brent, Saint Louis Art Museum Handbook of the Collection, Saint Louis Art Museum 2004 (English) B. Sweeny, Catalogue of Flemish and Dutch Paintings: John G. Johnson Collection, John G. Johnson Collection 1972 (English) R. Ward, The Nelson Atkins Museum of Art: A Handbook of the Collection, Hudson Hills Press 1993 (English) C. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery, Yale University Art Gallery 2001 (English) C. Ishikawa, The Samuel H. Kress Museum at the Seattle Art Museum, Seattle Art Museum 1997 (English) A. Shestack, Italian Primitives: The Case History of a Collection and its Conservation, Yale University Art Gallery 1972 (English) J.P. O’Neill, The Metropolitan Museum of Art: Europe in the Middle Ages, The Metropolitan Museum of Art 1987 (English) J.P. O’Neill, The Metropolitan Museum of Art: The Renaissance in Italy and Spain, The Metropolitan Museum of Art 1987 (English) (two copies) J. Russell, In August Company: The Collection of the Pierpont Morgan Library, The Pierpont Morgan Library 1993 (English) Various Authors, 15 miscellaneous members' magazines and bulletins from the Frick Collection, the Metropolitan Museum of Art,The Cleveland Museum of Art, The Harvard Art Museums, and The Museum of Fine Arts Boston, The Frick Collection, The Metropolitan Museum of Art, The Cleveland Museum of Art, The Harvard Art Museums, and the Museum of Fine Arts Boston 1981 to 2012 (English) C. Denison, The Thaw Collection: Master Drawings and New Acquisitions, The Pierpont Morgan Library 1994 (English) B. Davidson, Paintings in the Frick Collection: American, British, Dutch, Flemish and German, The Frick Collection 1968 (English) (two copies) S. Sachs, Masterpieces of European Painting from the Toledo Museum of Fine Art, The Frick Collection 2003 (English) (two copies) M.B. Burke, A Selection of Spanish Masterworks from the Meadows Museum, The Meadows Museum 1986 (English) J. Walsh, The J. Paul Getty Museum Handbook of the Collections, The J. Paul Getty Museum 1988 (English) J. Walsh, The J. Paul Getty Museum Guide to the Villa and its Gardens, The J. Paul Getty Museum 1988 (English) M. Gardner Gates, Seattle Art Museum: Bridging Cultures, Seattle Art Museum 2007 (English) R.P. Townsend, The Samuel H. Kress Collection at Philbrook, The Philbrook Museum of Art 1991 (English) I. Gaskell, An Offbeat Collection of Dutch and Flemish Paintings, Fogg Art Museum 1993 (English) M.J. Harris, Continuity, Innovation, and Connoisseurship: Old Master Paintings at the Palmer Museum of Art, Palmer Museum of Art 1995 (English) F. Zeri, Italian Paintings: North Italian School, The Metropolitan Museum of Art 1986 (English) J.C. Harrison, The Chrysler Museum: Handbook of the European and American Collection, The Chrysler Museum 1993 (English) C. Hess, Blue Boy and Co.: European Art at the Huntington, The Huntington Library 2015 (English) H. Alswang, Selected Works: Museum of Art, Rhode Island School of Design, Rhode Island School of Design 2008 (English) W.A. Liedtke, Flemish Paintings in the Metropolitan Museum of Art (2 volumes), The Metropolitan Museum of Art 1984 (English) J.T. Spike, Italian Paintings in the Cincinnati Art Museum, Cincinnati Art Museum 1993 (English) J.O. Hand, Early Netherlandish Painting: National Gallery of Art, Washington, National Gallery of Art 1986 (English) K. Baetjer, European Paintings in the Metropolitan Museum of Art (3 volumes), The Metropolitan Museum of Art 1980 (English) C. Bailey, The Frick Collection, New York, The Frick Collection 2011 (English) G.C. Bauman, Flemish Paintings in America, Fonds Mercador 1992 (English) J. Flam, New York Collects: Drawings and Watercolors, 1900-1950, The Pierpont Morgan Library 1999 (English) A. Robinson, Building a Collection, National Gallery of Art 1997 (English) F. Zeri, Italian Paintings, Florentine School, The Metropolitan Museum of Art, The Metropolitan Museum of Art 1971 (English) D. Myers, Sculpture: An Illustrated Catalogue, National Gallery of Art, National Gallery of Art 1994 (English) N. Simon, Masterpieces from the Norton Simon Museum, Norton Simon Museum 1993 (English) W.A. Liedtke, Flemish Paintings in the Metropolitan Museum of Art (volume 2), The Metropolitan Museum of Art 1984 (English) F. Zeri, Italian Paintings: Sienese and Central Italian Scenes, The Metropolitan Museum of Art, The Metropolitan Museum of Art 1980 (English) A. Ross Goodman, Art for Rollins: The Alfond Collection of Contemporary Art (2 volumes), Rollins College 2013 (English) A.L. Clark, Mastery and Elegance: Two Centuries of French Drawings from the Collection of Jeffrey E. Horvitz, Harvard University Art Museums 1998 (English) A.L. Clark, Italian Old Master Drawings from the Collection of Jeffrey E. Horvitz, Samuel P. Harn Museum of Art 1991 (English) J. Pope-Hennessy, Italian Paintings in the Robert Lehman Collection, The Metropolitan Museum of Art 1987 (English) (two copies) T.B. Thurber, European Art at Dartmouth: Highlights from the Hood Museum of Art, University Press of New England 2008 (English) C. Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago, Princeton University Press 1993 (English) E.P. Bowron, European Paintings before 1900 in the Fogg Art Museum, Harvard University Art Museums 1990 (English) J.P. O’Neill, The Renaissance in the North, The Metropolitan Museum of Art, The Metropolitan Museum of Art 1987 (English)

a selection of books on american museums

The Benevento Collection: Important Maps & Atlases

A collection of 45 volumes relating to cartography, in original bindings and good condition, comprising:

A collection of 45 volumes relating to cartography, in original bindings and good condition, comprising: Koeman, C. Atlantes Neerlandici volumes I-V. Amsterdam: N. V. Theatrum Orbis Terrarum, 1967-1971 Bagrow, L. A History of Russian Cartography up to 1800. Edited by Henry W. Castner. Wolfe Island, Ontario: The Walker Press, 1975 Bagrow, L. History of Cartography. Revised and enlarged by R. A. Skelton. Chicago: Precedent Publishing Inc., 1985 Burden, P. D. The Mapping of North America II [...] 1671-1700. Rickmansworth: Raleigh Publications, 2007 Crane, N. Mercator: The Man who mapped the Planet. New York: Henry Holt and Company, 2003 De Vries, D., and G. Schilder, W. M. Bruyns, P. van Iterson and I. Jacobs. The Van Keulen Cartography: Amsterdam 1680-1885. Canaletto / Repro Holland, 2005 Ehrenberg, R. E. Mapping the World: An Illustrated History of Cartography. Washington DC: National Geographic, 2005 (2 copies) Fiorani, F. The Marvel of Maps: Art, Cartography and Politics in Renaissance Italy. New Haven and London: Yale University Press, 2005 Gosselink, M. New York New Amsterdam. Nieuw Amsterdam Uitgevers / Nationaal Archief, 2009 Harvey, M. Painter in a Savage Land: the strange saga of the first European artist in North America. New York: Random House, 2008 Hordern House. Captain William Bligh and the Mutiny on the Bounty. Sydney: Hordern House Rare Books Pty. Ltd, 2009 Hordern House. The Parsons Collection: Rare Pacific Voyage Books, volumes I and II. Sydney: Hordern House Rare Books Pty. Ltd, 2005 Hulsius, L. Beschreibung der wunderbarsten vier Schiffahrten. Facsimile edition, 2008 Karrow Jr, R. W. Mapmakers of the Sixteenth Century and Their Maps. Chicago: Speculum Orbis Press, 1993 Pritchard, M. Beck and H. G. Taliaferro. Degrees of Latitude: Mapping Colonial America. New York: The Colonial Williamsburg Foundation in association with Harry N. Abrams, 2002 Schilder, G. Monumenta Cartographica Neerlandica, volumes I-VII, with accompanying portfolios I-VII. Canaletto, Alphen aan den Rijn, 1986-2003 Schwartz, S. I., and R. E. Ehrenberg. The Mapping of America. New Jersey: Wellfleet Press, 2001 (2 copies) Schwartz, S. I. Putting "America" on the Map. New York: Prometheus Books, 2007 (2 copies) Shirley, R. Courtiers and Cannibals, Angels and Amazons: The Art of the Decorative Cartographic Titlepage. Hes & De Graaf publishers BV, 2009 Short, J. R. The World through Maps: A History of Cartography. Toronto: Firefly Books Ltd, 2003 Van der Heijden, H. A. M. Leo Belgicus: An illustrated and annotated carto-bibliography. Canaletto, Alphen aan den Rijn, 2006 Whitfield, P. The Mapping of the Heavens. London: The British Library, 1995 Woodward, D., ed. Art and Cartography: Six Historical Essays. Chicago and London: University of Chicago Press, 1987 Exhibition catalogue. The Wall Maps of King Henri IV for the Grande Galerie of his Louvre Palace. With a description by Prof. Dr. Günter Schilder. Leen Helmink Antique Maps & Atlases, no date

a collection of 45 volumes relating to cartography, in original bindings and good condition, including:

Carl Rottmann German, 1797-1850 syrakus-grab des archimedes (the tomb of archimedes) oil on canvas 43 by 58.5 cm., 17 by 23 in. Painted circa 1830-32. Provenance: Acquired by the family of the present owner, circa 1900 Carl Rottmann is best known for his cycles of evocative, idealised landscapes of Greece and Italy, produced for his patron, King Ludwig I of Bavaria. It is likely that Rottmann based the present composition on his own study of the landscape around Sicily's 'Ear of Dionysos' - an artificial cavern with exceptional acoustic properties - executed around 1826-27 during his travels in Italy, and on drawings of the tomb of Archimedes published as lithographs by the architect Friedrich von Gartner in 1819. The wealth of studies with which Rottmann returned to Munich in 1827 so impressed Ludwig I that he was chosen to execute the fresco cycle of Italian landscapes for the western arcades of the Munich Hofgarten, its subject the theatre of Syracuse. For the commission, Rottmann returned to Sicily during the winter of 1829-30, completing the cycle in 1833. In the present painting, the tomb of Archimedes is dramatically illuminated from the left, creating a stage like setting. A thunderstorm has just passed, leaving its trace in a puddle of rain in the foreground, and in the dramatic cloud formations of the sky. The windswept landscape reflects the impact that the passage of time and the elements have had on the architectural details of the monument, which have virtually been erased. 'With such references to the inexorable passage of time and the fall of classical cultures, landscape painting was intended to achieve the rank of history painting, while accomodating the King's interest in historically significant subjects.'(Peter Wegmann, Caspar David Friedrich to Ferdinand Hodler: A Romantic Tradition, Leipzig, 1993, p. 106) As a student in Munich, Rottmann was an admirer of Joseph Anton Koch, whose heroic landscapes had a formative influence on the young artist. Looking to these as his model, Rottmann developed his own freely fashioned landscape style, manipulating or disregarding exact topographical reality in order to heighten the impact and evocative quality of his works. In his paintings, nature is seen as transcendental and all powerful, informed with the divine spirit itself. Through his works, Rottmann expressed the romantic conviction that all human effort is but fleeting in the greater scheme of things, that the awesome elementary forces of nature dominate everything, and that in the eternal cycle of nature, human life and culture is but transitory. Two other versions of this painting, painted in the same years, are recorded in Dr. Erika Rodiger-Dirufs monograph on the artist, Carl Rottmann 1797-1850. Monographie und kritischer Werkkatalog, Munich, 1978, nos. 289 & 290, p. 81. The latter of these versions is in Berlin's Schlosser und Garten collection. We are grateful to Dr. Erika Rodiger-Diruf for her assistance in the cataloguing of this work.

carl rottmann

William Hamo Thornycroft English, 1850-1925 a warrior bearing a wounded youth from the field of battle signed and inscribed: H. THORNYCROFT SC: / ART-UNION OF LONDON. 1877. / C. DELPECH. BR . bronze, dark brown patina 68.5cm., 27in. Thornycroft's Warrior is a key work from the formative years of the New Sculpture movement. In 1875 it won the Royal Academy's biennial Gold Medal for the 'Best Work of Sculpture'' in competition with Alfred Gilbert. The latter admitted that 'he had been beaten by the best man'. The Warrior shows the influence of Thornycroft's visit to France and Italy in 1871 and the group was guaranteed a prominent place in the history of the New Sculpture when the Art Union of London purchased rights to the group after it was exhibited at the Royal Academy in 1876. The Art Union Journal considered that 'there is nothing from the hand of an academician to be at all compared with Hamo Thornycroft's Warrior'. The following year the Art Union began to issue reduced casts and it has been suggested that this encouraged the young Thornycroft in his interest in bronze reductions and small scale sculpture generally which so characterised the developing movement. The original bronze group is in Leighton House, London. Related literature: Manning, pp.55, 212; Beattie, p.183

william hamo thornycroft

Sold Without Reserve A Selection of Books on Italian Renaissance and Baroque Architecture R. Wittkower, Art and Architecture in Italy, 1600-1750, Penguin Books 1958 (English) A. Fara, Bernardo Buontalenti, Electa 1995 (Italian) J. Connors, Borromini and the Roman Oratory, Style and Society, Architectural History Foundation and the Massachusetts Institute 1980 (English) R. King, Brunelleschi's Dome, How the Renaissance Genius Reinvented Architecture, Penguin Books 2000 (English) H. Hibbard, Carlo Maderno and Roman Architecture 1580-1630, The Pennsylvania State University Press 1971 (English) S. Serlio, Five Books of Architecture, an unabridged reprint of the English Edition of 1611, Dover Publications 1982 (English) F.P. Fiore, M. Tafuri, Francesco di Giorgio architetto, Electra 1993 (Italian) E.H. Gombrich, M. Tafuri, S.F. Pagden, C. L. Frommel, K. Oberhuber, A. Belluzzi, K.W. Forster, H. Burns, Giulio Romano, Electa 1989 (Italian) H.A. Meek, Guarino Guarini and his Architecture, Yale University Press 1989 (English) C. Huelsen, Il Libro di Giuliano da Sangallo, Codice Vaticano Barberiniano Latino 4424, Biblioteca Apostolica Vaticana 1984 (Italian) Il Progetto della via Coperta, Castello Estense (Italian) A. Grafton, Leon Battista Alberti, Master Builder of the Italian Renaissance, Harvard University Press 2000 (English) G. Roli, P. Robino, Palazzo Te a Mantova, Franco Cosimo Panini (Italian) D. Guinness, J.T. Sadler Jr., Palladio, A Western Progress, The Viking Press 1976 (English) J.M. Merz, Pietro da Cortona and Roman Baroque Architecture, Yale University Press 2008 (English) C.L. Frommel, S. Ray, M. Tafuri, Raffaello Architetto, Electa 1984 (Italian) A.K. Paczek, J.S. Ackerman, M. Van Rosenfeld, Sebastiano Serlio on Domestic Architecture, MIT Press (English) C.L. Frommel, N. Adams, The Architectural Drawings of Antonio da Sangallo the Younger and Circle, Volume I, Fortifications, Machines, and Festival Architecture, The Architectural History Foundation 1994 (English)

a selection of books on italian renaissance and baroque architecture

Italian, first half 19th century after the Antique a colossal bust of antonia augusta inscribed: FREDERICO/BARONI DE SAYE & SELE/IN SUMMA PARITER FELICITATE/ET IN ACERBISSIMO DOLORE/SEMPER VERE FRATRI/ E. T./ A.D. 1864 white marble, on a grey, red and cream marble base (in three parts) (4) Bust: 153cm., 60Din. Base: 215cm., 84Iin. Provenance: Frederik Twistleton, later Fiennes 16th Lord Saye (1799-1887). The bust is known to have been at Broughton Castle since 1864. The original 4th century A.D. colossal bust, now in the Museo Nazionale Rome, is now thought to be an idealised portrait of Antonia Augusta, the mother of the Emperor Claudius rather than Juno as it was originally named. It is interesting to note that a plaster version of this bust is represented in Goethe's house in Weimar where it is documented that Goethe first saw the original Antique bust in Rome on his Italian journeys in the late 1780's. A number of sculptors, followers of Canova and Bartolini, were working on after the Antique marbles in Italy. These include Giovanni Battista Comolli who sculpted for much of his life works on a monumental scale. The happiness (felicitate) and sorrow (dolore) inscribed on the plinth can be explained by the family history of the original owner. Frederik Twistleton, Lord Saye and Sele and his brother Edward (E.T.), both lost their wives when young. Frederik married in 1827, Emily, daughter of Lord Powerscourt who died in 1837 in childbirth, leaving him with seven children under ten. Edward Twistleton married in 1852 at the age of forty-four Ellen Dwight, daughter of Edward Dwight of Boston, who died childless in 1862, aged of thirty-one. Related literature: F. Haskell & N. Penny, Taste and the Antique, Yale U. P., 1981

italian, first half 19th century

Auction Napa Valley

B Cellars and BVLGARI | From B Cellars Beckstoffer Vineyards to BVLGARI

B Cellars and BVLGARI | From B Cellars Beckstoffer Vineyards to BVLGARI WINE OFFERINGS 1 x 3L 2023 B Cellars Beckstoffer To Kalon Cabernet Sauvignon1 x 1.5L 2023 B Cellars Beckstoffer Bourn Vineyard Cabernet Sauvignon1 x 1.5L 2023 B Cellars Beckstoffer George III Vineyard Cabernet Sauvignon1 x 1.5L 2023 B Cellars Missouri Hopper Vineyard Cabernet Sauvignon NAPA VALLEY 2-nights’ accommodations for 2 couples at Auberge du Soleil in RutherfordPrivate guided barrel tasting experience for 2 couplesDinner for 2 couples at The Charter OakHot air balloon flight for 2 couplesPrivate hosted tasting for 2 couples at Palmaz Vineyards4 seats at a wine dinner party hosted at B Cellars4 Spa Massage Treatments at Auberge du Soleil Round-trip Bay Area airport transport and Napa Valley driver service for the duration of your stay. Mutually agreeable date to be selected between November 2025 and April 2026. FLORENCE, ITALY 2-nights’ accommodations for 1 couple at the 5- Star Belmond Villa San MicheleVisit to BVLGARI Leather Goods & Accessories Manifattura for a customized handbag design experienceBespoke experience tailored to the winner’s personal taste TUSCANY, ITALY 1-night accommodation for 1 couple at Fonteverde Lifestyle and Thermal Retreat, inclusive of a leisurely spa dayAn exclusive wine experience at the Bulgari family’s Podernuovo vineyard ROME, ITALY 2-nights’ accommodations for 1 couple at the 5-Star BVLGARI Hotel RomePrivate DOMVS BVLGARI Heritage Tour for 1 coupleExclusive High Jewelry experience at the very first BVLGARI boutiquePersonalized experience tailored to the winner’s personal tasteDinner for 1 couple at a Michelin-starred restaurant Private ground transportation to all destinations and activities included in the Italy itinerary. All meals and beverages are included throughout your stay, ensuring a taste of Italy’s finest offerings. Dates to be mutually agreeable in 2026. Begin your Napa Valley adventure as you, a guest and another couple embark on a two-night stay at Rutherford’s famed Auberge du Soleil, complete with provided breakfast each morning and four spa massage treatments. After you settle in, you will be taken to B Cellars for a barrel tasting of Beckstoffer Heritage Cabernet Sauvignons led by Master Winemaker Kirk Venge, accompanied by Co-Founders Duffy Keys and Jim Borsack. In the evening, you will be joined by Duffy and Judy Keys and Jim and Renee Borsack for an elegant dinner at The Charter Oak. Your Napa Valley experience will continue with a hot air balloon ride over the valley, followed by brunch at local favorite, Sunshine Café, before heading off to a private tasting and culinary experience at Palmaz Vineyards, including a tour of their 21-story underground winery. Cap off your exciting day by attending a wine dinner party at B Cellars featuring a delicious multi-course meal prepared by Winery Chef Derick Kuntz. You will be sent home with a selection of large format bottlings of B Cellars Cabernet Sauvignon from Beckstoffer Heritage vineyards. For the Italian portion of your exciting vacation, one couple will embark on an exclusive five-night bespoke journey of unrivaled luxury and cultural richness, tailor-made by BVLGARI. Start your adventure with an exclusive tour of BVLGARI’s Leather Goods & Accessories Manifattura. This behind-the-scenes experience offers an intimate glimpse into the meticulous craftsmanship that goes into the new Mary Katrantzou Collection as well as the opportunity to design your own custom-made handbag. Next, travel to Tuscany and explore the Bulgari family’s own Podernuovo vineyard where you will taste some of the most exquisite wines produced in the region, learn about the vineyard’s sustainable practices and enjoy a sumptuous lunch amid the picturesque Tuscan landscape. Continue your Italian immersion in the heart of Rome, where BVLGARI’s journey began over 140 years ago and immerse yourself in the DOMVS. This exclusive experience offers a deep dive into BVLGARI’s illustrious history and its ascent from a modest shop to an emblem of Italian luxury. During this private tour, you will have the unique opportunity to view rare archival pieces and explore firsthand the brand’s pioneering innovations that have defined its legacy. Delve into the epitome of Italian luxury with an exclusive private viewing of BVLGARI’s high jewelry collection on the iconic Via Condotti, the original BVLGARI boutique. With BVLGARI’s Private Client Director, you’ll learn about the intricacies of each piece, the history of BVLGARI’s legendary designs and the brand’s use of vibrant gemstones that have set their creations of wearable art apart. From the serene beauty of Belmond Villa San Michele in Florence, through the therapeutic tranquility of Fonteverde Retreat, to the architectural grandeur of the BVLGARI Hotel in Rome, every aspect of your trip will immerse you in ‘La Dolce Vita’ with BVLGARI. Donor Estimate of Fair Market Value: Available upon request.

View 1 of Lot 3: B Cellars and BVLGARI | From B Cellars Beckstoffer Vineyards to BVLGARI

b cellars and bvlgari | from b cellars beckstoffer vineyards to bvlgari

Bibliotheca Brookeriana III: Art, architecture and illustrated books

Vasari, Giorgio. Le vite de' piu eccellenti pittori, scultori, e architettori. Scritte da M. Giorgio Vasari pittore et architetto aretino, di nuovo dal medesimo riviste et ampliate con i ritratti loro et con l'aggiunta delle vite de' vivi, & de' morti dall'anno MDL insino al MDLXVII. Prima, e seconda parte… [part 2:] Delle vite de' più eccellenti Pittori Scultori et Architettori scritte da M. Giorgio Vasari Pittore et Architetto Aretino. Primo volume della terza parte [part 3:] Delle vite de' più eccellenti Pittori Scultori et Architettori Scritte da M. Giorgio Vasari Pittore et Architetto Aretino. Secondo, et ultimo volume della terza parte. Nel quale si comprendano le nuove Vite, dall'anno 1550 al 1567… Florence: Giunta, 1568

Vasari, Giorgio. Le vite de' piu eccellenti pittori, scultori, e architettori. Scritte da M. Giorgio Vasari pittore et architetto aretino, di nuovo dal medesimo riviste et ampliate con i ritratti loro et con l'aggiunta delle vite de' vivi, & de' morti dall'anno MDL insino al MDLXVII. Prima, e seconda parte… [part 2:] Delle vite de' più eccellenti Pittori Scultori et Architettori scritte da M. Giorgio Vasari Pittore et Architetto Aretino. Primo volume della terza parte [part 3:] Delle vite de' più eccellenti Pittori Scultori et Architettori Scritte da M. Giorgio Vasari Pittore et Architetto Aretino. Secondo, et ultimo volume della terza parte. Nel quale si comprendano le nuove Vite, dall'anno 1550 al 1567… Florence: Giunta, 1568 Second edition—but first complete and first illustrated edition—of the "first modern history of art" (PMM), a work which served as an influential model for biography as a genre in art writings. Although the second edition only bears Vasari's name, it was in fact revised and expanded through the efforts of Vincenzo Borghini, appointed by Grand Duke Cosimo de' Medici, whose vision for the work was broader than Vasari's, resulting in a more historically accurate and detailed text. This edition adds many new artists both living (including Titian and Vasari) and deceased, especially those from Venice and Northern Italy. Also added is a technical treatise on painting and artistic technique. 3 volumes in one, 4to (243 x 170 mm). Roman type, 46 lines plus headline. collation: A-B4 †-†††††4 a-z4 AA-ZZ4 AAA-TTT4 V2; *-*****4 a-z4 Aa-Zz4 Aaa2; A2 *-*****4 a-e4 Aaa-Zzz4 Aaaa-Qqqq4 Rrrr2 Ssss-Zzzz4 AAaaa-ZZzzz4 AAAaaa-HHHhhh4 (HHHhhh4 blank): 841 leaves (of 842, without blank leaf Aaa1). Title-page with woodcut architectural border to each of the 3 parts, incorporating Medici arms and a view of Florence, allegorical woodcut on verso of first title representing the awakening of the souls of dead artists (block repeated at end of book 3), full-page portrait of Vasari and 2 further full-page portraits, 144 medallion portraits of artists, each set within borders of female figures representing the arts. (Light spotting and marginal dampstaining, first title-page slightly soiled, Aaa2-3 repaired at head.) binding: Contemporary blind-stamped pigskin over wooden boards (256 x 194 mm), arabesque centre- and corner pieces within a frame of blind fillets, fleur-de-lys stamp at corners of frame, manuscript lettering on spine, plain edges, two clasps. (Lower cover with tear to pigskin covering, upper joint cracked, one strap detached and preserved in envelope loosely inserted at end of volume). provenance: E. Schorn, inscription on title-page — Pierre Deschamps (1821-1906), bookplate, sale, Delbergue-Cormont & Ant.-Laur. Potier, Paris, 2-7 May 1864, lot 132. acquisition: Purchased in 1990 from E.K. Schreiber, New York. references: Edit16 48229; Mortimer, Harvard Italian 515; Pettas, Giunti 456; PMM 88

View 1 of Lot 631: Vasari, Le vite de' piu eccellenti pittori, Florence, 1568, contemporary Flemish pigskin

vasari, le vite de' piu eccellenti pittori, florence, 1568, contemporary flemish pigskin

Bibliotheca Brookeriana: A Renaissance Library. The Reference Library

Lot Comprises: Marshall Brooks, Brief Illustrated History of the Bookshelf, Delhi, NY, Birch Brooks Press, 1998, 8vo., publisher's green simulated cloth, backed by tan cloth John Willis Clark, The Care of Books: An Essay on the Development of Libraries and their Fittings, from the earliest times to the end of the Eighteenth Century, Cambridge, University Press, 1901 John Willis Clark, The Care of Books: An Essay on the Development of Libraries and their Fittings, from the earliest times to the end of the Eighteenth Century, Cambridge, University Press, 1902 William E. Gladstone, On Books and the Housing of Them, New York, M.F. Mansfield, 1898, 8vo., publisher's printed grey boards backed with red cloth, one of 500 copies Henry Petroski, The Book on the bookshelf, New York, Alfred A. Knopf, 1999, 4to., publisher's simulated leather backed boards, dust jacket Lydia Pyne, Bookshelf, New York & London, Bloomsbury, 2016, small 8vo., publisher's black printed paper covers Siena, Libreria Piccolomini nel Duomo Gyde Vanier Gilbert Shepherd, Pintorichio and Raphael in the Piccolomini Library in Siena, 1494-1508 (Ph.D. thesis, Harvard University, 1993), Ann Arbor, University Microfilms International, 1995, 4to., wrappers San Lorenzo de El Escorial George Kubler, Building the Escorial, Princeton, 1982, fol., publisher's red cloth, dust jacket Stephen J. Campbell, The Cabinet of Eros: Renaissance Mythological Paintings and the Studiolo of Isabella d'Este, New Haven & London, Yale University Press, 2004, large 4to., publisher's black cloth, dust jacket Candida Höfer, Great Libraries, introductory essay by Umberto Eco, Munich, 2005, 4to., publisher's grey paper over boards with pictorial dust jacket André Masson,The pictorial catalogue : mural decoration in libraries : the Lyell Lectures, Oxford 1972-1973 (translated by David Gerard), Oxford, Clarendon, 1981, 8vo., publisher's blue cloth, dust jacket Thomas Schlientz, The Library : a portfolio of views of early libraries from the collection of Frederick G. Ruffner, Jr., presented on the occasion of the 100th anniversary of the Detroit Public Library and the Conference of the American Library Association, Detroit, Gale Research, 1965, agenda format 8vo. and folio (plates) Biblioteca Apostolica Vaticana Early Modern Rome, 1341‐1667: Proceedings of a Conference held in Rome, May 13‐15, 2010 (The Association of American College and University Programs in Italy), ed. Portia Prebys [includes Dalma Frascarelli, "Luogo del Sapere: La construzione e la decorazione della Biblioteca Vaticana nella politica culturale di Sisto V"], Ferrara, Edisai, 2012, 4to., publisher's printed wrappers Beinecke Rare Book and Manuscript Library Geoffrey Little, Library Architecture at Yale (Yale Library Studies), New Haven, 2009, 4to., publisher's paper wrappers Beinecke Rare Book and Manuscript Library Stephen Parks, ed., The Beinecke Library of Yale University, New Haven, Beinecke Rare Book & Manuscript Library, 2003, fol., publisher's black cloth, dust jacket Monique Chatenet, La Cour de France au XVIe siècle: Vie sociale et architecture, Paris, 2002, fol., publisher's printed colored wrappers Léon Emmanuel Simon Joseph Marquis de Laborde, De l'organisation des bibliothèques dans Paris : Huitième lettre, Étude sur la construction des Bibliothèques, Paris, 1845, 4to., publisher's printed wrappers Sylvie Béguin, et al., Cheminées et frises peintes du Château d'Ecouen, Paris, Réunion des musées nationaux / Musée national de la Renaissance, 1995, 4to., publisher's printed wrappers Myriam Bacha & Christian Hottin, ed., Les Bibliothèques parisiennes: Architecture et décor, Paris, Action artistique de la ville de Paris, 2002, fol., publisher's brown cloth gilt, dust jacket André Masson, Le décor des bibliothèques du moyen âge à la Révolution, Geneva, Droz, 1972, 4to., publisher's printed white cloth Bibliothèque du Chapitre de Noyon André Masson, La "Librairie" du chapitre de Noyon et l'architecture des bibliothèques franc̜aises à la fin du Moyen-Age (reprinted from Bulletin des bibliothèques de France, 2ème année, no. 2, Février 1957), Paris, 1957, 8vo., pamphlet Wolfgang Liebenwein, Studiolo: storia e tipologia di uno spazio culturale, translation by Alessandro Califano, Modena, Panini, 1988, 4to., publisher's printed wrappers Florence, Biblioteca Medicea Laurenziana Maria Ida Catalano, Il pavimento della Biblioteca Mediceo Laurenziana, Florence, Cantini, 1992, fol., publisher's printed wrappers Biblioteca Apostolica Vaticana Alessandro Zuccari, I pittori di Sisto V, Rome, Palombi, 1992, fol., publisher's blue cloth gilt James F. O'Gorman, The architecture of the monastic library in Italy, 1300-1600 : catalogue with introductory essay, New York, New York University Press for the College Art Association of America, 1972, fol., publisher's green cloth gilt, inscription from author to Rudolf Hirsch, Christmas 1972, Hirsch's signature on endleaf Sold as a group, not subject to return.

View 1 of Lot 256: Books and readers - Libraries - Architecture, decoration, and shelving of books

books and readers - libraries - architecture, decoration, and shelving of books

Sandrart, Joachim von. A fine seven-volume set of Sandrart's works on architecture, art and antiquities, 1675-1692, comprising:

Sandrart, Joachim von. A fine seven-volume set of Sandrart's works on architecture, art and antiquities, 1675-1692, comprising: L' Academia Todesca della Architectura, Scultura & Pittura: Oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste: Darinn enthalten Ein gründlicher Unterricht, von dieser dreyer Künste Eigenschaft, Lehr-Sätzen und Geheimnißen, von den Bau-Steinen und fünferley Bau-Arten, von den Statuen und ihrer Zugehör, von der Erfind- und Zeichnung. Nuremberg and Frankfurt: Jacob von Sandrart, Mathaeus Merian, 1675. 2 volumes. Half-title, engraved frontispiece, title-page and engraved portrait in both volumes, woodcut initials, tailpieces and illustrations in the text, engraved headpieces, tailpieces and illustrations in the text, 267 engraved plates, including a double-page map and a large folding map in volume 2 (Volume 1: E4v engraving pasted down, D5r correction pasted down at foot) [VD17 3:608226Z] Bartoli, Pietro Santi. Ubrig geliebene Merckzeichen von den Römischen Antiquitäten in der Bild-Hauer-Kunst der Alten in Basso-Relievo... Nuremberg: Sandrart, 1692. Half-title, engraved title-page, engraved headpieces and initials, woodcut initials, 70 engraved plates, 40 of which are double-page. [VD17 23:301171B] [bound with:] Mander, Carel van. Auslegung des Ovidii Metamorphosis. 1679. Additional engraved title-page, letterpress title-page with engraved device, woodcut initials and tailpieces, several engraved illustrations, 29 leaves of engravings, most with two engravings printed on the same sheet. [USTC 2652467, VD17 1:072040Q] Sculpturae veteris admiranda, sive delineatio vera perfectissimarum eminentissimarumque statuarum, una cum artis huius nobilissimae theoria. Nuremberg, 1680. Half-title, title with engraving, engraved frontispiece, engraved headpieces and initials, engraved portrait, 70 engraved plates, 6 of which double page. [VD17 3:610296P] Iconologia deorum, oder Abbildung der Götter, welche von den Alten verehret worden. Nuremberg, 1680. Half-title, engraved frontispiece, title page with woodcut device, woodcut initials, engraved portrait, 34 engraved plates. [VD17 3:312576U] Academia Nobilissimae Artis Pictoriae. Nuremberg, 1683. Half-title, engraved frontispiece, title-page with engraved vignette, engraved portrait, woodcut initials and tailpieces, 49 engraved plates, 2 of which are double page and 1 folding (folding plate with small tear at fold.) [VD17 23:000561N] Romae antiquae et novae theatrum. Nuremberg: Christian Sigismund Froberg for the author, 1684. Title with woodcut device, double-page engraved frontispiece, engraved headpieces, initials and tailpieces, woodcut initials, double-page map of ancient Rome, large folding map of modern Rome, 69 engraved plates, 34 of which are double page. [VD17 23:300768B] [bound with:] Falda, Giovanni Battista. Romanorum fontinalia. Nuremberg: Froberg for Sandrart, 1685. Title-page with woodcut device, 42 engraved plates, 40 of which are double page (Repair to verso of plate XXXVIII.) [BAL RIBA 2894 & 1016; Rossetti 9144 & 9146; VD17 12:643106X] First edition of Joachim von Sandrart's Teutsche Academie, a significant collection of works on art history and theory, antiquities, and artists' biography, including a biography of Sandrart himself. Sandrart (1606-1688) was and artist and printmaker from Frankfurt but travelled widely in Italy and settled in Nuremberg in 1674. This collection of works includes texts by him as well as translations, and like Vasari, his fame rests more on this lavish publication than on his art works. 7 volumes, folio (245 x 380-389 mm). binding: Eighteenth-century French red morocco gilt (ca 400 x 255 mm), gilt turn-ins, edges gilt, marbled end-papers. (A few small scrapes to covers, bindings slightly rubbed particularly at edges of spine bands, some spine ends frayed.) provenance: Alexander Hamilton, 10th Duke of Hamilton (1767-1852), bookplates (except in first volume), sale of the Hamilton Palace library, Sotheby’s, 1 May 1884, lots 1773-1778 — Librairie Henri Lefèvre, Paris, bookseller's labels — sale, Binoche & Giquello, Paris, 2018. acquisition: Purchased in 2019 from Librairie Paul Jammes, Paris.

View 1 of Lot 596: Sandrart, L'Academia Todesca della architectura, Nuremberg, 1675-1692, 7 volumes, red morocco gilt

sandrart, l'academia todesca della architectura, nuremberg, 1675-1692, 7 volumes, red morocco gilt

A group of 15 works in 19 vols., including the first edition of Fournier's attempt to prove that Gutenberg did not invent printing, a fine copy of Peignot's milestone in book-collecting literature, plus the first edition of his bibliography of bibliographies, the reissue of Schwindel's journal of literary and biliographic notes, the great Du Fay auction catalogue, Stanley Morison's copy of Luckombe's history of printing, Maulbertsch's account of his painting for the Strahov Library in Prague, Du Roure's bibliographic reminiscences, the first edition of Le Mire's compilation of early ecclesiastical bio-bibliographies, and both parts of Zaccaria's account of his literary research in Italy.

bibliography - antiquarian

Western Illuminated Manuscripts 

240 x 170 mm, illuminated manuscript on paper, containing Saint Augustine, Soliloquia, Pseudo-Bernard Tractatus de interiori domo seu de conscientia aedificanda, and St Anselmus’ Orationes, Italy, dated 1375; 78 leaves, modern foliation, complete, in gatherings of mostly 8 leaves, 2 leaves (paper) + i8 (first leaf inserted), ii-ix8, x6 (likely a single leaf and a quire of 6, with last leaf lacking) + 3 leaves (paper), catchwords in finely drawn penwork cartouches, written in brown ink in a crisp Italian gothic bookhand, on 29 long lines (written space 136 x 89 mm.), ruled lightly in plummet, prickings visible throughout, rubrics in red, numerous 3-line initials in red and blue with exquisitely executed pen flourishes in purple and red, usually abstract but sometimes incorporating foliage and birds, one 8-line decorated initial in blue, green, orange and rose on a burnished gold background, two full and one partial border in the same colours, two large historiated initials and one half-page miniature with author portraits; some abrasion to gold on f.1, scant wormholes through final 18 folios, a bit of soiling at outer margins, otherwise in excellent condition; bound in crimson velvet, half morocco clamshell case.

240 x 170 mm, illuminated manuscript on paper, containing Saint Augustine, Soliloquia, Pseudo-Bernard Tractatus de interiori domo seu de conscientia aedificanda, and St Anselmus’ Orationes, Italy, dated 1375; 78 leaves, modern foliation, complete, in gatherings of mostly 8 leaves, 2 leaves (paper) + i8 (first leaf inserted), ii-ix8, x6 (likely a single leaf and a quire of 6, with last leaf lacking) + 3 leaves (paper), catchwords in finely drawn penwork cartouches, written in brown ink in a crisp Italian gothic bookhand, on 29 long lines (written space 136 x 89 mm.), ruled lightly in plummet, prickings visible throughout, rubrics in red, numerous 3-line initials in red and blue with exquisitely executed pen flourishes in purple and red, usually abstract but sometimes incorporating foliage and birds, one 8-line decorated initial in blue, green, orange and rose on a burnished gold background, two full and one partial border in the same colours, two large historiated initials and one half-page miniature with author portraits; some abrasion to gold on f.1, scant wormholes through final 18 folios, a bit of soiling at outer margins, otherwise in excellent condition; bound in crimson velvet, half morocco clamshell case. WRITTEN, DECORATED, AND ILLUMINATED BY MATTEO DI SER CAMBIO, ONE OF PERUGIA'S LEADING ARTISTS PROVENANCE 1. An inscription on the last folio (f.78v), written in a larger script but in the same hand as the rest of the text, dates the manuscript to 1375: Sub anno D(omi)ni millo. ccc°. Ixxv. The miniatures, and probably the calligraphy, are by Matteo di ser Cambio of Perugia, but for whom they were executed remains unknown. A shield in the lower border of f. 1 might shed some light on the manuscript's early history; although it has been abraded, the ground is still legible as vert, party per bend or. 2. Charles Weatherby Reynell, a London printer and publisher (1798-1892). His engraved bookplate inside front cover. 3. Charles Fairfax Murray (1849-1919), English Pre-Raphaelite painter and book collector. 4. C.W. Dyson Perrins, an English businessman, bibliophile and philanthropist; (25 May 1864-1958) with usual bookplates; his sale, part 2, London, Sotheby's, 1 December 1959, lot 65; 5. H. P. Kraus, New York, Catalogue 95, no.17. 6. Raphael Esmerian (died 1972), bibliophile, his bookplate inside front cover. 7. H. P. Kraus, New York, Monumenta Codicum Manu Scriptorum, 1974, no.16. 8. Les Enluminures. 9. Private Collection, USA. COMMENTARY This impressive manuscript brings together three theological-philosophical works: St Augustine’s Soliloquia, Pseudo-Bernard’s Tractatus de interiori domo seu de conscientia aedificanda, and St Anselm’s Orationes. Augustine of Hippo (354-430 AD) was one of the central philosopher-theologians of the Christian West. Among his most widely read works are The City of God, On Christian Doctrine, and Confessions. His understanding and engagement with fundamental questions on the matter of free will, time and eternity, the problem of Evil, and his theory of just war have influenced generations of philosophers, ranging from Descartes to Leibniz, Wittgenstein, and Russel. Like Augustine, St Anselm of Canterbury (1033/4–1109) engaged with a diverse range of topics, including the nature of truth, the reality and significance of human freedom, and the evaluation of human behaviour. It is in these topics that having both Augustine and St Anselm side by side proves significant and productive. In adding Pseudo-Bernard’s treatise on Conscience, which was ascribed to Bernard of Clairvaux (1090–1153), the manuscript at hand unites works written by or attributed to some of the leading figures of the European Middle Ages, offering a range of perspectives into the fundamental questions of human life. In Augustine’s Soliloquia, presented in the form of an internal dialogue, the narrator encounters Reason personified, while Pseudo-Bernard engages with the allegorical Conscience, enquiring into different types of conscience which he understands as the soul's inclination to either good or evil. Despite their intrinsic ‘medievalness’, the works feel surprisingly modern as they grapple with fundamental questions of human life: the nature of evil, conscience, and freedom, a fact that might also be a result of the authors’ lives. Both Augustine as well as Anselm were deeply involved in worldly affairs and did not write from the reclusion of a monastery but were active parts of their respective communities. DECORATION Dated 1375, the present manuscript is remarkable not only for its illustrious provenance but for its visual coherence, having been written, illustrated and decorated by Matteo di ser Cambio. Especially noteworthy are the beautifully executed author portraits and the vivid Umbrian palette. Based on the text selection and the high quality of the script and decoration, the manuscript was most likely executed for a high-profile and likely private patron. Matteo di Ser Cambio (ca.1370–1424) was one of the most renowned Perugian illuminators of the late 14th century. While his contributions to goldsmithing are mostly lost to us, his work as an illuminator is relatively well documented. Matteo di Ser Cambio can be traced in the guild registry of the goldsmiths of Perugia in 1351, with his activity extending into the 1420s. He occupied multiple offices for the Arte degli Orafi (Guild of Goldsmiths), he served as Camerlengo in 1401 and 1412, and as Priore in 1403, 1410, and 1414. In 1414, he also acted as legal representative for the Jewish community of Perugia. The extant records paint a picture of an artist well and truly integrated in Perugia’s economic and social networks and demonstrate the high esteem in which his works were held. Matteo’s style was influenced through contact with Sienese artists and their works, especially Lippo Vanni (lot 4 in this sale) and Niccolò di ser Sozzo, while also showing an awareness of Luca di Tommè. His later works exhibit more naturalistic tendencies, which mirror developments in late Gothic art that emerged in the vicinity of Perugia. The same hand can be detected in both the Matricola della merce (Perugia, Collegio della merce, II) from 1377, which has been attributed to ser Cambio by De Benedictis and Santanicchia (De Benedictis, p. 282; Santanicchia, 2008, pp. 402 ff.). In the same year, Matteo signed the statutes of the Collegio del Cambio of Perugia “Io Mateo di Ser Cambio orfo / che qui col sesto in mano me fegurai / quisto libro scrissi dipensi e miniai” which is also accompanied by a self-portrait. Based on this De Benedictis and Santanicchia concluded that Matteo was responsible for the production of the complete manuscript. (De Benedictis, pp. 282 ff.; Santanicchia, 2001, pp. 85 ff.). LITERATURE Burlington Fine Arts Club, Exhibition of Illuminated Manuscripts, London, 1908, no. 179, pl. 12.1 De Polo, Claudio. “Un codice umbro della seconda meta del Trecento,” in La miniatura in eta romanica e gotica, atti del I congresso di storia della miniatura italiana, Florence, 1979, pp. 543-51. De Benedictis, Cristina, Matteo di Cambio, in Francesco d’Assisi. Documenti e archivi. Codici e biblioteche. Miniature (catal., Perugia), Milano 1982, pp.274-291. De Polo, C., Un codice umbro della seconda metà del Trecento, in La miniatura in età romanica e gotica. Atti del Congresso di storia della miniatura italiana, Cortona… 1978, a cura di G. Vailati, Firenze 1979, pp.543-551. Lollini, Fabrizio. “Matteo di ser Cambio,” in Dizionario biographico dei miniatori italiani secoli I X - XVI , ed. Milvia Bollati, Milan, Edizioni Sylvestre Bonnard, 2004, pp. 752-53 (citing the present manuscript on p. 753). Lollini, F. in Dipinti e disegni della Pinacoteca Civica di Pesaro, ed. C. Giardini, E. Negro and M. Pirondini, Modena 1993, pp. 382–383, cat.382. Santanicchia, M. in «Per buono stato de la citade»: le matricole delle arti di Perugia (catal.), Perugia 2001, pp.72ff. and 85ff. Todini, F. La pittura umbra dal Duecento al primo Cinquecento , Milan, 1989. Warner, George. Descriptive Catalogue of Illuminated Manuscripts in the Collection of C. W. Dyson Perrins, Oxford, 1920, no. 56, pl. LXI. FURTHER READING Alidori, L., in Fioritura tardogotica nelle Marche, exhibition catalogue, ed. P. Dal Poggetto, Milan 1998, pp. 104–106, cats. 21–22. Avezza, L., in Miniature a Brera 1100–1422, exhibition catalogue, ed. M. Boskovits with Valagussa, G. and Bollati, M., Milan 1997, pp. 186–189, cat. 27. De Benedictis, C., Matteo di Cambio, in Francesco d’Assisi. Documenti e archivi. Codici e biblioteche. Miniature, exhibition catalogue, Milan 1982, pp. 274–291, with previous bibliography. Narkiss, B., An Illuminated Maimonides Manuscript, in Ariel, 21 (1968), pp. 51–59. De Polo, C., Un codice umbro della seconda metà del Trecento, in La miniatura in età romanica e gotica, Proceedings of the I Congress of Italian Miniature Studies, Florence 1979, pp. 543–551. Santanicchia, M., in “Per buono stato de la citade”: le matricole delle Arti di Perugia, exhibition catalogue, ed. M. Roncetti, Perugia 2001, pp. 72–73, 85–86.

View 1 of Lot 18: Saint Augustine. Soliloquia – Pseudo-Bernard. Tractatus de interiori domo seu de conscientia aedificanda – St Anselmus. Orationes | Italy | 1375

saint augustine. soliloquia – pseudo-bernard. tractatus de interiori domo seu de conscientia aedificanda – st anselmus. orationes | italy | 1375

The Distillers One of One | 2025 

KANDOBLANC Dragon In Clouds 60 Year Old Dragon in Clouds is a one-of-a-kind creation - a 1.5L hand-blown Murano glass vessel encasing an exceptionally rare 60-year-old Speyside single malt, shaped by Japanese aesthetics and heritage art forms. At the heart of this creation rests a 60 Year Old Speyside Single Malt Scotch bottled at 40.0% abv. This exceptionally rare whisky was chosen for its elegance, restraint, and quiet complexity. Layers of dried and tropical fruits unfold with lapsang-like smoke, marmalade, cocoa nibs, and a subtle waxy texture. The Sherry influence reveals notes of dates, chocolate, and a lingering peppery finish, enriched by floral touches and a graceful patina. The vessel itself is a remarkable work of art, realised by the legendary VENINI fornace in Murano, Italy. Two intricately fused glass forms, uniting the Battuto and Inciso techniques in an unprecedented combination, embody a milestone in VENINI’s storied history. Urushi lacquer, entrusted to Japanese masters, embraces the vessel’s contours with a living surface of depth and reflection. Its artistry is further elevated with Togidashi Maki-e, one of Japan’s most intricate and demanding lacquer techniques using powdered gold, depicting a dragon motif inspired by Chen Rong, whose 13th-century works shaped the evolution of Japanese iconography. The creation is presented in a bespoke Japanese paulownia wood box, itself coated in Urushi lacquer and adorned with Hira Maki-e in powdered gold. This protective case extends the object’s artistry, uniting vessel, and enclosure in a seamless expression of cultural reverence. A bespoke ceremonial disc in hallmarked precious metal, forged by Hamilton & Inches, jewellers to the British Crown, completes the composition. The result is an heirloom of cultural and artistic significance. 1 bottle 1.5 litre (presentation case) Conditions: Lying with the donor. Duty Paid. Please note the purchase price does not include applicable shipping, taxes or import charges which may be charged in addition to the purchase price. For VAT queries, please contact: Chloe.Kong@sothebys.com Should you wish to ship, store or bottle your purchases, arrangements will be made directly with the Donor of this lot. Sotheby's will provide an introduction between the relevant buyer and donor in order for this to be arranged. 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/GST and/or sales or use tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 29: KANDOBLANC Dragon In Clouds 60 Year Old (1 Bottle 1.5L)

kandoblanc dragon in clouds 60 year old (1 bottle 1.5l)

Important Judaica

THE ROTHSCHILD MISCELLANY WITH ACCOMPANYING COMMENTARY VOLUME, JERUSALEM: THE ISRAEL MUSEUM; LONDON: FACSIMILE EDITIONS, 1989

THE ROTHSCHILD MISCELLANY WITH ACCOMPANYING COMMENTARY VOLUME, JERUSALEM: THE ISRAEL MUSEUM; LONDON: FACSIMILE EDITIONS, 1989 Facsimile Volume: 473 folios (approx. 8 1/8 x 6 1/4 in.; 207 x 158 mm) printed by offset lithography (in up to twelve colors) on specially milled, Italian, 160-gsm, uncoated, neutral pH, “vegetable parchment” paper, each leaf shaped and aged to match the original; 816 (of the total 946) pages hand-illuminated with raised burnished gold, flat gold, powdered gold, silver, and vibrant, delicate colors. Fine-grain morocco goatskin blind-tooled in Mudéjar style and secured by four oxidized sterling silver clasps on morocco thongs, attached to the binding by silver nails; the facsimile number (104) stamped into the bottom board next to the spine using small steel dies; spine in five compartments with raised bands; spine and edges of binding slightly scuffed; title and publisher name on spine. Housed in a cloth-bound, hinged slipcase edged in morocco, lightly scuffed and a bit threadbare in places. Commentary Volume: 256 pages (46 in full color) printed on mould-made, cold-pressed Magnani 160-gsm paper, including an unbound limitation slip stamped and signed by representatives of the publishers; minor soiling on the unbound limitation slip. Dimensions, binding, and slipcase designed to match those of the facsimile volume; spine in five compartments with raised bands; title and publisher name on spine; slipcase lightly scuffed and a bit threadbare in places. Limited facsimile edition – number 104 of 550 copies stamped and signed by representatives of the publishers – of “the most lavish of all illuminated Hebrew manuscripts,” and likely the most exquisite facsimile of any Hebrew manuscript ever created. Commissioned by the wealthy Cremona-based banker Moses ben Jekuthiel ha-Kohen (Mosé di Consiglio Sacerdoti of Friuli) and executed in Northern Italy between 1465 and 1478, the Rothschild Miscellany (MS Jerusalem, Israel Museum 180/051) is a monument to Renaissance Jewish civilization. Consisting of thirty-seven distinct texts – a veritable all-in-one library of biblical, liturgical, custumal, historical, philosophical, calendrical, halakhic, midrashic, poetic, parodic, moralistic, and scientific treatises – the volume became the framework for an unprecedented program of illumination illustrating, in about three hundred miniatures, almost every aspect of daily life in a Jewish household of the period. Indeed, by Leila Avrin’s assessment, “No other Hebrew manuscript equals the richness and scope of the illumination of this Miscellany,” in recognition of which, in 2013, it was inscribed in the UNESCO Memory of the World Register. The present facsimile edition represents the culmination of four years of unstinting efforts by Michael and Linda Falter to achieve the most accurate and faithful reproduction of the original Miscellany possible. This bibliographic and technical masterpiece is accompanied by a companion volume including learned essays about the Miscellany written by leading scholars of Italian Jewish history, medieval Hebrew literature, art history, paleography, and codicology. Provenance “For the Family of Richard D. Levy” (loose dedication slip) Literature Leila Avrin, “Illuminated Hebrew Manuscript Facsimiles,” Ars Orientalis 20 (1990): 189-195. Christopher de Hamel, The Rothschilds and their Collections of Illuminated Manuscripts (London: The British Library, 2005). Luisa Mortara Ottolenghi, “The Rothschild Miscellany MS 180/51 of the Israel Museum in Jerusalem: Jewish patrons and Christian artists,” in Diana Rowland Smith and Peter Shmuel Salinger (eds.), Hebrew Studies: Papers Presented at a Colloquium on Resources for Hebraica in Europe Held at the School of Oriental and African Studies University of London 11-13 September 1989/11-13 Elul 5749 (London: British Library, 1991), 149-161. Facsimile Editions Website (https://www.facsimile-editions.com/en/rm/) MS Jerusalem, Israel Museum 180/051 (http://beta.nli.org.il/he/manuscripts/NNL_ALEPH000180139/NLI) (accessible from within the National Library of Israel only)

the rothschild miscellany with accompanying commentary volume, jerusalem: the israel museum; london: facsimile editions, 1989

The Halpern Judaica Collection: Tradition and Treasure | Part III

Limited facsimile edition—number 188 of 550 copies stamped and signed by representatives of the publishers—of “the most lavish of all illuminated Hebrew manuscripts,” and likely the most exquisite facsimile of any Hebrew manuscript ever created.

Limited facsimile edition—number 188 of 550 copies stamped and signed by representatives of the publishers—of “the most lavish of all illuminated Hebrew manuscripts,” and likely the most exquisite facsimile of any Hebrew manuscript ever created. Commissioned by the wealthy Cremona-based banker Moses ben Jekuthiel ha-Kohen (Mosé di Consiglio Sacerdoti of Friuli) and executed in Northern Italy between 1465 and 1478, the Rothschild Miscellany (MS Jerusalem, Israel Museum 180/051) is a monument to Renaissance Jewish civilization. Consisting of thirty-seven distinct texts – a veritable all-in-one library of biblical, liturgical, custumal, historical, philosophical, calendrical, halakhic, midrashic, poetic, parodic, moralistic, and scientific treatises – the volume became the framework for an unprecedented program of illumination illustrating, in about three hundred miniatures, almost every aspect of daily life in a Jewish household of the period. Indeed, by Leila Avrin’s assessment, “No other Hebrew manuscript equals the richness and scope of the illumination of this Miscellany,” in recognition of which, in 2013, it was inscribed in the UNESCO Memory of the World Register. The present facsimile edition represents the culmination of four years of unstinting efforts by Michael and Linda Falter to achieve the most accurate and faithful reproduction of the original Miscellany possible. This bibliographic and technical masterpiece is accompanied by a companion volume including learned essays about the Miscellany written by leading scholars of Italian Jewish history, medieval Hebrew literature, art history, paleography, and codicology. Physical Description Facsimile Volume: 473 folios (approx. 8 1/8 x 6 1/4 in.; 207 x 158 mm) printed by offset lithography (in up to twelve colors) on specially milled, Italian, 160-gsm, uncoated, neutral pH, “vegetable parchment” paper, each leaf shaped and aged to match the original; 816 (of the total 946) pages hand-illuminated with raised burnished gold, flat gold, powdered gold, silver, and vibrant, delicate colors. Fine-grain morocco goatskin blind-tooled in Mudéjar style and secured by four oxidized sterling silver clasps on morocco thongs, attached to the binding by silver nails; the facsimile number (188) stamped into the bottom board next to the spine using small steel dies; spine in five compartments with raised bands; wear to and flaking of leather around edges and on spine. Housed in a cloth-bound, hinged slipcase edged in morocco and bound with a leather strap, with signs of wear on slipcase and strap; title and publisher name on spine of slipcase. Commentary Volume: 256 pages (46 in full color) printed on mould-made, cold-pressed Magnani 160-gsm paper, including an unbound limitation slip stamped and signed by representatives of the publishers. Dimensions, binding, and slipcase designed to match those of the facsimile volume; spine in five compartments with raised bands; wear to and flaking of leather around edges and on spine; slipcase lightly scuffed and a bit threadbare in places; title and publisher name on spine of slipcase. Literature Leila Avrin, “Illuminated Hebrew Manuscript Facsimiles,” Ars Orientalis 20 (1990): 189-195. Christopher de Hamel, The Rothschilds and their Collections of Illuminated Manuscripts (London: The British Library, 2005). Luisa Mortara Ottolenghi, “The Rothschild Miscellany MS 180/51 of the Israel Museum in Jerusalem: Jewish patrons and Christian artists,” in Diana Rowland Smith and Peter Shmuel Salinger (eds.), Hebrew Studies: Papers Presented at a Colloquium on Resources for Hebraica in Europe Held at the School of Oriental and African Studies University of London 11-13 September 1989/11-13 Elul 5749 (London: British Library, 1991), 149-161. Facsimile Editions website (https://facsimile-editions.com/rm/) MS Jerusalem, Israel Museum 180/051 (https://www.nli.org.il/he/manuscripts/NNL_ALEPH990001801390205171/NLI?volumeItem=2#$FL138279005)

View 1 of Lot 172: The Rothschild Miscellany with Accompanying Commentary Volume, Jerusalem: The Israel Museum; London: Facsimile Editions, 1989

Smetius, Martinus. Inscriptionum antiquarum quae passim per Europam, liber. Accessit auctarium a Iusto Lipsio. Leiden: Frans van Ravelingen, 1588

Smetius, Martinus. Inscriptionum antiquarum quae passim per Europam, liber. Accessit auctarium a Iusto Lipsio. Leiden: Frans van Ravelingen, 1588 A comprehensive collection of reproductions of Roman and Greek inscriptions, including the Capitoline Tables, funerary monuments and altars. Many of the monuments were in the private collections of cardinals and other Roman collectors, and some were taken from printed sources such as Apian, Simeoni and Panvinio. Smetius (1525-ca 1578) studied in Louvain (alongside Marc Laurin) before spending time in Italy in the service of Cardinal Rodolfo Pio da Carpi. His book on inscriptions had a troubled history; the manuscript he wrote for Marc Laurin was mostly burned in a fire along with all his notes, then the reworked manuscript was taken from Laurin during the wars in the Netherlands and came to England, where it was sold in 1585 and bought by the University of Leiden, following which Lipsius had it published with some additions of his own (Jan Verboden, "Martinus Smetius et Angelo Colocci: une collection romaine d'inscriptions antiques au XVIe siècle", Humanistica Lovaniensia 34 (1985), 255-272, p.257). An additional two-leaf dedication to Leiden University is recorded in some copies, but is not present here. Folio (370 x 245 mm). Roman and italic type. collation: †4 *4 A-H8 I10 K-Y8; Aa-Cc8 Dd6; a-b4 c6 d-f4 g6: 244 leaves (Y8 blank). Engraved title-page, woodcut initials, numerous woodcut illustrations of inscriptions, a printed correction slip pasted to E5v. (Engraved title slightly stained, quire * and a few other leaves lightly browned, purple oval ink stamp mostly erased from flyleaf.) binding: Old vellum (381 x 260 mm), manuscript lettering on spine, slits from two pairs of ties, green edges, later paper index tabs. (Small hole in spine, binding slightly warped and lightly stained.) provenance: Johann Georg von Werdenstein (1542-1608, canon of Augsburg and Eichstätt), inscription at foot of title-page dated 1588 (his extensive library purchased in 1592 by Wilhelm V of Bavaria) — Electoral library of Bavaria, large armorial bookplate (eventually becoming the Bavarian State Library; duplicates were sold in the nineteenth century) — Hartung & Hartung, Munich, sale, 13-15 May 2003, lot 288. acquisition: Purchased in 2003 from Maggs Bros, London. references: STCN 840328036; USTC 422669; not in Voet

View 1 of Lot 618: Smetius, Inscriptionum antiquarum quae passim per Europam liber, Leiden, 1588, vellum, Werdenstein-Munich copy

smetius, inscriptionum antiquarum quae passim per europam liber, leiden, 1588, vellum, werdenstein-munich copy

Travel, Photographs, Maps and Natural History

Italy Collection of 67 topographical and art photographs, circa. 1880s-1890s 67 albumen prints (average 190 x 260mm., or the reverse), individually mounted on card (mounts of various sizes from 280 x 380mm. to 327 x 460mm.), scattered spotting and browning, some stains and minor edge wear to mounts This collection comprises 38 topographical photographs of Italy, mostly of Rome and the Amalfi coast (including Capri and Pompeii), together with one each of Trieste, Brixen, and the Three Peaks in the Dolomites; 26 photographs of Italian paintings and sculptures; one view of Prague, and 2 portraits.

View 1 of Lot 125: Italy | Collection of 67 topographical and art photographs, circa 1880s-1890s

italy | collection of 67 topographical and art photographs, circa 1880s-1890s

Travel, Atlases, Maps, Photographs & Natural History

Property of a Gentleman Jean Claude Richard, Abbe de Saint-Non Voyage pittoresque ou description des rouyaumes de Naples et de Sicile. Paris: imprimerie Clousier, 1781-1786 FIRST EDITION, 5 volumes, folio (518 x 330mm.), 305 engraved plates, maps and plans, many plates with 2 views, some maps folding, numerous engraved illustrations, vignettes, head- and tail-pieces, contemporary calf gilt, spines with raised bands in seven compartments, morocco labels in second, third, and fourth compartments, gilt edges, marbled endpapers, extremities slightly rubbed, one morocco label detached "One of the monuments of French eighteenth-century book production" (Blackmer). Jean Claude Richard de Saint-Non went to Italy in 1759 and studied art and architecture in Rome where he met the artists Fragonard and Hubert-Robert, who were among those who contributed drawings for this work. He travelled to Naples with them in the spring of 1760, spending several weeks in Naples itself, as well as visiting Paestum, Pompeii and Herculaneum, where he drew copies of murals and antiquities. On his return to Paris in 1761 preparation of the plates was put in hand under the direction of Jean Benjamin de Laborde, co-author with Zurlauben of the equally monumental Tableaux...de la Suisse. However the cost of such a lavish production ruined Saint-Non and hastened his death in 1791. The magnificent engraved plates include maps, views of Naples and its environs, neighbouring towns, Vesuvius, churches, palaces and other buildings, catacombs, temples, tombs, grottos, ancient and Renaissance works of art, and many other architectural and scenic subjects, after Cochin, Fragonard, Hubert-Robert, Saint-Non and others. The descriptive text is by Dominique Vivant-Denon. PROVENANCE: P. Hussey Esq., bookplate LITERATURE: Blackmer 1473; Cohen-de Ricci 928-930; Brunet V, 55-56; Berlin Kat. 1904

View 1 of Lot 24: Saint-Non | Voyage pittoresque... de Naples et de Sicile, Paris, 1781-6, first edition, 5 vols, contemporary calf gilt

saint-non | voyage pittoresque... de naples et de sicile, paris, 1781-6, first edition, 5 vols, contemporary calf gilt

English Literature, History, Children&#39;s Books & Illustrations

i) His autograph diaries in 33 volumes, containing long daily entries and covering, for example, his travels in Germany, Italy, Switzerland, Finland, Russia (e.g. Vladivostock, where he was accused of espionage and imprisoned for 6 weeks), Austria, France, Poland, China, America (New York), Chile, Peru and Argentina; also his work as Private Secretary to Sir Laming Worthington-Evans (War Secretary, 1921-22 and delegate to the International Economic Conference in Genoa in 1922) and his numerous friendships and meetings with public figures, actors (including Ernest Thesiger and John Gielgud) and artists (including Francis Bacon, of whom he was an early supporter), chiefly July 1905 to December 1947 (with only a few gaps)

i) His autograph diaries in 33 volumes, containing long daily entries and covering, for example, his travels in Germany, Italy, Switzerland, Finland, Russia (e.g. Vladivostock, where he was accused of espionage and imprisoned for 6 weeks), Austria, France, Poland, China, America (New York), Chile, Peru and Argentina; also his work as Private Secretary to Sir Laming Worthington-Evans (War Secretary, 1921-22 and delegate to the International Economic Conference in Genoa in 1922) and his numerous friendships and meetings with public figures, actors (including Ernest Thesiger and John Gielgud) and artists (including Francis Bacon, of whom he was an early supporter), chiefly July 1905 to December 1947 (with only a few gaps) ii) 16 albums containing photographs chiefly taken during his travels, sketches, theatre and concert programmes, presscuttings, menus, visiting cards, postcards, letters and signatures; together with several folders of correspondence, chiefly 1917 to 1941, some photographs removed from two albums An almost daily record of the life of an insider in the world of art, theatre and politics during the 1920s and 30s. Allden's "autograph collection", comprising 3 albums of letters, is offered as lot 66.

the papers of the traveller, civil servant, art and theatre lover eric allden, comprising:

R.H. Cromek (1770-1812) is best remembered for what was regarded as his double-dealing with William Blake. For an illustrated edition of Robert Blair's Grave in 1805 Cromek engaged Blake to produce designs, and acquired most of his 589 subscribers by exhibiting these designs in provincial towns, but then engaged Luigi Schiavonetti to produce the engravings instead, so that Blake only received 20 guineas for his work. The two men subsequently competed with each other after 1806 when Cromek engaged Thomas Stothard to paint The Pilgrimage to Canterbury and planned to produce by subscription an engraving by Schiavonetti, which, however, was delayed by the latter's death in 1810 and not completed (by others) until 1817. Blake, in the meantime, had exhibited his own Chaucer's Canterbury Pilgrims in 1809 and completed an engraving of it by 1810.

R.H. Cromek (1770-1812) is best remembered for what was regarded as his double-dealing with William Blake. For an illustrated edition of Robert Blair's Grave in 1805 Cromek engaged Blake to produce designs, and acquired most of his 589 subscribers by exhibiting these designs in provincial towns, but then engaged Luigi Schiavonetti to produce the engravings instead, so that Blake only received 20 guineas for his work. The two men subsequently competed with each other after 1806 when Cromek engaged Thomas Stothard to paint The Pilgrimage to Canterbury and planned to produce by subscription an engraving by Schiavonetti, which, however, was delayed by the latter's death in 1810 and not completed (by others) until 1817. Blake, in the meantime, had exhibited his own Chaucer's Canterbury Pilgrims in 1809 and completed an engraving of it by 1810. These episodes apart, Cromek was, in his short life, a highly active engraver, editor and publisher, whose notable publications included Reliques of Robert Burns (1808), Select Scottish Songs...by Robert Burns (1810), and Allan Cunningham's Remains of Nithsdale and Galloway Song (1810). As secretary of the Chalcographic Society, Cromek also had ambitious plans for producing engravings of British art by a Society for the Encouragement of the Art of Engraving – a scheme which Blake excoriated in his private notebook – but it came to nothing and both societies were dissolved in 1811. His son Thomas Hartley Cromek (1809-1873) enjoyed a moderately successful career as a painter and draughtsman, especially during his period in Italy in the 1840s, specialising in views of Rome, Florence and Greece. He ceased painting by 1861 because of ill health and turned to writing in defence of his father. The present collection comprises the following:

important collection of papers relating to the engraver and literary entrepreneur robert hartley cromek and his son, the painter thomas hartley cromek

Ferdinand de Braekeleer Belgian, 1792-1883 strijdtoneel met kenau simons hasselaar (battle scene) signed and dated 1836 l.r. oil on canvas 147.5 by 169.5 cm., 58 by 66 3/4 in. Provenance: D. P. Bosman Ferdinand de Braekeleer the Elder was a history and genre painter, whose influence in Belgium was particularly important during the years following the Belgian revolution of 1830. Witness to many historical events and military campaigns, de Braekeleer painted many documentary studies of the bombardment of Antwerp in 1832. In his early years he distinguished himself at the Salon of 1813, and in 1819 won the Prix de Rome, which enabled him to further his studies in Italy from 1818-1822. The dramatic Strijdtoneel depicts the female warrior Kenau Simons Hasselaar in the midst of battle during the Belgian Revolution of 1830, spurring on her female army in the face of adversity.

ferdinand de braekeleer

Joshua Reynolds, P.R.A 1727-1792 portrait of jane moore half length, wearing a black cloak and headdress inscribed on a label attached to the stretcher: Jane Moore, born Hamilton/painted by Sir Joshua Reynolds, and on another label: by Sir Joshua Reynolds/the property of/Charles Hamilton Esqre/of Harrow on the Hill oil on canvas, in a carved wood frame 60 by 48.5 cm., 23 3/4 by 19 in. !66000-99000 The sitter was the eldest daughter of Charles and Rachel Hamilton. Her father was described by J.M. Rigg as 'table-decker to the princesses'. On 10th August 1749 she married the dramatist Edward Moore (1712-1757), author of several plays including The Gamester, produced with some success at Drury Lane in 1753 with Garrick in the principal part. Moore also wrote poems and fables and in 1753, through Lord Lyttleton's influence, was made editor of The World. Their only son Edward was educated and supported by Lord Chesterfield and joined the navy, dying at sea in 1773. Leslie and Taylor (see below) relate how the portrait came to be painted: ''Stop', he said, as, turning from his easel on her entrance into his painting-room, he saw a striking effect of half-shadow on the face, from the flat Woffington hat intercepting the high light of the studio window. And as she stood just beyond the doorway, her face half light, half shadow, he had put a clean canvas on the easel, and was rapidly laying in the masses of the portrait. To this happy activity of mind and eye is due that lifelike quality, that 'momentariness', individuality, and striking variety, which not only make the study of Reynolds's pictures a succession of fresh, sharp, and delightful impressions, but render them, I think, the pleasantest of all pictures to live with.' Graves and Cronin (see below) repeated this account and added that Reynolds 'then told her to come the next day precisely at the same hour, which she did for two days consecutively, and when the picture was finished he presented it to her'. The striking effect of the soft shadow over the sitter's eyes is reminiscent of the artist's early self portrait of c.1747 (National Portrait Gallery) and particularly of the famous portrait of Catherine Moore, wife of William Chambers of 1752 (Iveagh Bequest, Kenwood). The late Sir Ellis Waterhouse suggested that the portrait could date from the late 1740s, before Reynolds's trip to Italy, but David Mannings (see below) suggests a date of c.1754. Provenance: Presented to the sitter by the artist and bequeathed by her to her great nephew, Charles Hamilton (1778-1834) of Sudbury Grove, Harrow; By descent to his son Dr Edward Hamilton (1815-1903), 16 Cromwell Place; Marion Augusta Fellowes (1859-1945), his daughter; Sir Edward Fellowes (1895-1970), her son; Sotheby's sale, 27th November 1974, lot 54, bt. Cooke Exhibited: Grosvenor Gallery, 1884, no.184 (lent by Dr Edward Hamilton) Literature: Charles Leslie and Tom Taylor, Life and Times of Sir Joshua Reynolds, 1865, Vol.I, pp.161, 176, Vol.II, p.315; A. Graves and W.V. Cronin, A History of the Works of Sir Joshua Reynolds, 1899, Vol.II, p.663; Sir Walter Armstrong, Sir Joshua Reynolds, 1900, p.220; A. Amberg, Introduction and Notes to Edward Moore, The Foundling, 1996, pp.24, 42-43; David Mannings, Sir Joshua Reynolds, A Complete Catalogue of his Paintings, 2000, Vol.I, p.342, no.1288; Vol.II, illus. fig.107

joshua reynolds, p.r.a

The first title issued by the celebrated Hebrew printer of Venice.

The first title issued by the celebrated Hebrew printer of Venice. Daniel Bomberg of Antwerp was the first printer of Hebrew books in Venice and the first Gentile printer of Hebrew titles anywhere. His numerous later accomplishments included the first edition of the Babylonian Talmud (1519/1520-1523), the first edition of the Jerusalem Talmud (1522-1524), and the first three editions of the Rabbinic Bible (1517, 1524-1525, 1546-1548). By the time his press ceased operations in 1548-1549, it had published more than two hundred titles. The present work was printed at the press of Petrus Liechtenstein of Cologne, as Bomberg did not yet have a privilege to publish, and translated into Latin by Felix Pratensis, future editor of Bomberg’s First Rabbinic Bible (1517). It is bound together with a series of Latin elegiac poems after the biblical prophets Joel, Amos, and Jonah, as well as the Capita pietatis et religionis Christianae, composed by Johannes Fux and published in Augsburg ca. 1553 by Philip Ulhart the Elder (59ff.). Provenance T. Connolly, Bookseller, 10, Up. Ormond Quay, Dublin (paper ticket on pastedown of upper board) Arthuri/Arthvri Smith (ex libris on pastedown of upper board) Physical Description 66 folios (7 7/8 x 5 3/4 in.; 201 x 145 mm) (foliation: [ii], 64) on paper; Latin text with some Hebrew words in margins; Hebrew alphabet in margins of Ps. 119 (ff. 53r-56r); intermittent underlining, Latin marginalia, and strikethroughs in pen and pencil (see, e.g., ff. 1v, 12v-13r, 17v, 29v, 34r, 49r, 63v). Title page printed in black and red ink; four woodcut initials on the first three leaves, one historiated; initial letter of each verse in red ink. Slight scattered staining and dampstaining; episodic dog-earing. Nineteenth-century(?) three-quarters leather over marbled boards, scratched and worn along edges and on spine; headband partially exposed; spine in five compartments with raised bands, titles and date lettered in gilt in two of them; remnants of gilding to paper edges; nineteenth-century(?) marbled paper flyleaves and pastedowns. Literature A.M. Habermann, Ha-madpis daniyyel bombirgi u-reshimat sifrei beit defuso (Safed: The Museum of Printing Art, 1978), 27 (no. 1). Marvin J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus, vol. 1 (Leiden; Boston: Brill, 2004), 80-81. Alexander Marx, “Notes on the Use of Hebrew Type in Non-Hebrew Books, 1475-1520,” in Studies in Jewish History and Booklore (New York: Jewish Theological Seminary of America, 1944), 296-345, at p. 310. Israel Mehlman, “Beit defuso shel daniyyel bomberg be-venetsi’ah,” Areshet 3 (1961): 93-98, at pp. 93-96. Bruce E. Nielsen, “Daniel van Bombergen, a Bookman of Two Worlds,” in Joseph R. Hacker and Adam Shear (eds.), The Hebrew Book in Early Modern Italy (Philadelphia: University of Pennsylvania Press, 2011), 56-75. Angelo M. Piattelli, “New Documents Concerning Bomberg’s Printing of the Talmud,” in Shmuel Glick, Evelyn M. Cohen, and Angelo M. Piattelli (eds.), Meḥevah le-Menaḥem: Studies in Honor of Menahem Hayyim Schmelzer (Jerusalem: JTS; Schocken Institute for Jewish Research, 2019), 171-199. Vinograd, Venice 3h https://www.google.com/books/edition/Amos_propheta/v9zxjU8q5mcC?hl=en&gbpv=1

View 1 of Lot 18: Psalterium, Venice: Daniel Bomberg and Petrus Liechtenstein, 1515

psalterium, venice: daniel bomberg and petrus liechtenstein, 1515

Important Medieval Manuscripts From the Collection of the Late Ernst Boehlen

FIFTEEN LARGE MEDICAL-ANATOMICAL DRAWINGS, on a bifolium from the Codex Roncioni, in Latin, illustrated manuscript on vellum

FIFTEEN LARGE MEDICAL-ANATOMICAL DRAWINGS, on a bifolium from the Codex Roncioni, in Latin, illustrated manuscript on vellum [Italy (southern, perhaps Salerno?), 13th century (2nd quarter)] a bifolium, c. 270 × 400mm, each page c. 270 × 200mm, ILLUSTRATED WITH 15 DRAWINGS OF NAKED MEN, the first three pages with four drawing each, the fourth with two drawings, above a full-width diagram, each with a two- or three-line caption, the final diagram also with its parts identified by further captions e.g. ‘Hic est locus masculorum’; somewhat worn overall, with a vertical crease not affecting the anatomical drawings, very slight cropping of some text at the top edge, a few insignificant small holes and one larger one that barely touches any drawing, some neatly repaired, some staining affecting the inside face of the bifolium causing some smudging; bound into a cloth-covered folder with gilt title-piece. PROVENANCE This is the missing bifolium from the centre of a very famous and unique manuscript on practical cautery, of which a two-leaf fragment is now in Pisa (Biblioteca Universitaria, cod. 725), usually known by its former shelfmark as Codex Roncioni 99.Sold in our rooms, 2 December 1997, lot 36, to:The Boehlen Collection, Bern, MS 1205. Cautery was the practice of applying the tip of a red-hot implement to specific locations on a patient’s body, a practice which was believed to draw out toxins; in its identification of specific locations on the body to produce the desired effects, it is somewhat comparable to acupuncture. An aphorism of Hippocrates, the father of medicine, declared that ‘Those diseases which medicines do not cure, iron cures; those which iron cannot cure, fire cures; and those which fire cannot cure, are to be reckoned wholly incurable’. Medieval cautery diagrams, and their probable derivation from 2nd-century Alexandrian exemplars, are discussed by Peter Murray Jones; he observes that ‘After the 12th-century series of cautery and surgery pictures, there is a sudden hiatus in the production of such illustrations; very few pictures of surgical procedures can be dated to the first three-quarters of the 13th century’ (Jones, 1998, pp. 76–84, at 82). ILLUSTRATIONS Although 13th-century, to judge by the script, the drawing are essentially Romanesque in style, and the facial types can be compared to those in the 12th-century Entry into Jerusalem, lot 14 above. But whereas the figures in the latter item are arranged in two similar-looking groups, the figures of the present manuscript are notable for the great variety of their poses. The drawings are: fol. 1r (1) Epaticus: a naked man facing left with his arms raised pointing outwards; the cautery points are: one under the right collarbone, two below the right breast and one below the naval (2) Spleneticus: a naked man facing right with his right hand holding his right ankle and his left hand extended for balance; the cautery points are: three below the collarbone and one below each breast (3) Ydropicus: a naked man facing left, pointing to his head; the cautery points are: three along the edge of the rib-cage to each side, and one below the navel (4) Ad stomachicos et dysentericos: a naked man with legs and arms spread; the cautery points are: four in a lozenge shape on the stomach, one above the navel, and one on his left side near the liver folio 1v (5) Vulnus ruptum in stomacho: a naked man looking left with his legs bent and crossed, one hand open and the other pointing; the cautery points are: three across the chest, one below each breast, and four on each side of the stomach in the form of a lozenge (6) Epilenticus: a naked man stepping towards the left, holding a short baton in his right hand and pointing upward with his left; the cautery points are: at his forehead and to each side of his head (7) Spleneticus: a naked man walking to the left, in profile, holding a staff; the cautery points are: three on his left rib cage, forming a triangle (8) Ad renum et coxarum dolorem: a naked man seen from behind with his legs apart and a staff in each hand; the cautery points are: two at the base of the spine, and on each leg two above and one below the knee folio 2r (9) Ad renum dolores: a naked man seen from behind with his legs stretched out and his arms grasping vertical bars; the cautery points are: one between his shoulder-blades and two above his buttocks (10) Ad sciaticos: a naked man facing left and leaning on a crutch under his left armpit; the cautery points are: three, on his thigh, forming a triangle (11) Herniosis: a naked man with his legs spread and his hands folded across his stomach; the cautery points are: two to each side at the bottom of his belly (12) Ad dolored et tumores geniculorum: a naked man sitting on a mound facing left with one hand raised; the cautery points are: at his ankles, calves, and upper legs folio 2v (13) Ad renum et coxarum dolorem: a naked man in a sitting position, facing left and holding a crutch or walking-stick in his right hand; the cautery points are: at his ankles, knees, and buttocks (14) Elefanticus: a naked man lying diagonally with his feet towards the right and his hands behind his back; the cautery points are: at his ankles, knees, three to each thigh, and several more on his belly and arms (15) A half-page schematic diagram showing parts of the stomach and the female reproductive organs and where it is possible to make incisions: ‘Membra semota a corpore ut videri et cognisci valeant …’ Fully nude figures are extremely rare in western art between the fall of Rome and the Renaissance. In medieval art figures without clothes are usually religious – not secular, as in the present case – and their anatomy is usually at least partly obscured. Illustrated medical texts provide an exception, but such drawings are extremely rare. Sudhoff knew of only 20 cautery manuscripts, none in private hands, and none outside Europe. REFERENCES To the best of our knowledge, the present manuscript remains unpublished and unedited, except for the 1997 Sotheby’s catalogue description. The other leaves from the same parent manuscript have been published many times, including – but not limited to – the following: K. Sudhoff, Beiträge zur Geschichte der Chirurgie im Mittelalter, Studien der Geschichte der Medizin, 10 (Leipzig, 1914), pp. 81–90, 98–99, and Taf. XXIII (‘Eine sehr interessantes Fragment’, ‘diesem äußerst wichtigen Fragmente’). K. Sudhoff, ‘Graphische Darstellungen innerer Körperorgan', Weitere Beitrage zur Geschichte der Anatomie im Mittelalter', Archiv fur Geschichte der Medizin, 7 (1914), pp. 367–78 at 368–70 (dated first half of the 13th century). C. Ferckel, ‘Diagramme der Sexualorgane in mittelalterlichen Handschriften’, Archiv für Geschichte der Medizin, 10 (1916/17), pp. 255–62, at 256–8. G. Mazzatinti, Inventari dei manoscritti delle biblioteche d’Italia, XXIV (Florence, 1916), p. 61 no. 725 (dated 14th century; 'Interessantissimo per l’argomento e d’importanza eccezionale per 12 vignette a penna di cui è ornato (una vera rarità per il tempo) rappresentati nudi umani, l’intero apparato dei visceri, il fegato, l’apparato olfattivo-visivo, l’apparato genitale maschile’). K. Weitzmann, Ancient Book Illumination (Cambridge, MA, 1959), p. 20 and fig. 24 (dated 12th century; ‘comes closest to the archetype because of its clear preservation of the papyrus style of illustration’). L.C. MacKinney, Medical Illustrations in Medieval Manuscripts (Berkeley, 1965), p. 171 no. 137.1 (dated 14th century). C. Maccagni, ‘Frammento di un codice di medicina del secolo XIV (Manoscritto No. 735, già Codice Roncioni No. 99) della Biblioteca Universitaria di Pisa’, Physis: Rivista internazionale di storia della scienza, 11 (1969) pp. 311–78. R. Herrlinger, History of Medical Illustration, from Antiquity to A.D. 1600 (London, 1970), fig. 35. G. Orofino, ‘Vedere la natura: Dal ritratto strumentale al ritratto d’ambiente’, in Vedere i Classici: L’illustrazione libraria dei testi antichi dall’età romana al tardo medioevo, ed. by M. Buonocore (Vatican exh. cat., 1996), pp. 69–76 at 75 (dated 12th century; ‘piu vicina all’ achetipo’).

View 1 of Lot 24: FIFTEEN LARGE MEDICAL-ANATOMICAL DRAWINGS, on a bifolium from the Codex Roncioni, in Latin, illustrated manuscript on vellum. [Italy (southern, perhaps Salerno?), 13th century (2nd quarter)]

fifteen large medical-anatomical drawings, on a bifolium from the codex roncioni, in latin, illustrated manuscript on vellum. [italy (southern, perhaps salerno?), 13th century (2nd quarter)]

Bibliotheca Brookeriana VIII

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

la biblia, venice, 1547, parisian armorial morocco by wotton binder c for paolo giordano orsini

Bibliotheca Brookeriana: A Renaissance Library. Magnificent Books and Bindings

Bible—Italian. La Biblia la quale in se contiene i sacrosanti libri del Vecchio & Nuouo

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 aligned 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 13: La Bibbia, Venice, 1547, Parisian armorial morocco by Wotton Binder C for Paolo Giordano Orsini

la bibbia, venice, 1547, parisian armorial morocco by wotton binder c for paolo giordano orsini

Lot Comprises: Edoardo Barbieri & Federico Gallo, ed., Claustrum et armarium : studi su alcune biblioteche ecclesiatiche italiane tra Medieovo ed età moderna, Milan, Biblioteca Ambrosiana / Bulzoni Editore, 2010, 4to., publisher's printed paper wrappers Mercogliano, Abbazia di Montevergine Placido Mario Tropeano, Civiltà del Partenio: La Biblioteca di Montevergine nella cultura del Mezzogiorno, Naples, A. Berisio, 1970, 4to., 3/4 red morocco over russet boards, slipcase Bologna, Biblioteca del Monastero del SS. Salvatore Massimo Fornasari, Marco Poli & Adelfo Zaccanti, La chiesa e la biblioteca del SS. Salvatore in Bologna: centro spirituale e luogo di cultura (Emilia Romagna, Arte e Storia, 1), Florence, Vallecchi, 1995, 4to., publisher's printed wrappers (2 copies) Praglia, Badia di S. Maria Diana Gisolf & Staale Sinding-Larsen, The Rule, the Bible and the Council: The Library of the Benedictine Abbey at Praglia, Seattle, College Art Association in association with University of Washington Press, 1998, fol., publisher's green cloth, dust jacket Montecassino Francis Newton, The scriptorium and library at Monte Cassino, 1058-1105 (Cambridge studies in palaeography and codicology, 7), Cambridge, University Press, 1999, fol., publisher's black cloth, dust jacket Venice, San Giorgio Maggiore Giorgio Ravegnani, Le biblioteche del Monastero di San Giorgio Maggiore (Civiltà veneziana, Saggi, 19), Florence, Leo S. Olschki, 1976, 4to., publisher's printed wrappers Sold as a group, not subject to return

View 1 of Lot 292: Books and readers - Libraries - Histories, Catalogues - Italy - Monasteries

books and readers - libraries - histories, catalogues - italy - monasteries

Books, Manuscripts and Music from Medieval to Modern

THE DORMITION and THE ASSUMPTION OF THE VIRGIN MARY: two miniatures on a leaf from a Book of Hours, in Latin, illuminated manuscript on vellum. [Italy (Veneto, Verona?), 14th century (2nd quarter)]

THE DORMITION and THE ASSUMPTION OF THE VIRGIN MARY: two miniatures on a leaf from a Book of Hours, in Latin, illuminated manuscript on vellum. [Italy (Veneto, Verona?), 14th century (2nd quarter)] a leaf, c. 135 × 95mm, the recto with 10 lines of text comprising the end of Vespers and rubric for Compline, the remaining space on the pages filled with a miniature of the Dormition of the Virgin, the verso with a large miniature of the Assumption above an illuminated initial and the first three lines of text of Compline, and a horizontal panel containing portraits of two apostles(?) each in a cusped quatrefoil, and brightly coloured foliate ornament; significantly worn, with losses of pigment and gold (as is the case of the other leaves and cuttings from the same manuscript) especially the recto which appears to have formerly been glued-down; despite the damage the colours are still bright and the painting impressive; inset with conservators’ tissue supports into a double-sided frame and glazed. AN UNUSUAL LEAF FROM A LAVISH BOOK OF HOURS This leaf is from an early and exceptionally lavishly illuminated Book of Hours. It predates the period when Books of Hours became fairly standardised, and therefore exhibits several features that are very unusual. This is true not only of the style, but also of the overall conception of the series of miniatures, of the design of the individual pages, and of the choice of scenes or their iconography. To give one example of the latter, there is a scene in which a group of richly clad monks and a bishop process behind a group of women, one holding a banner. Because this miniature, like most others, has had its text removed, there are few clues to the meaning of this unexplained image. While there is agreement that the manuscript was produced in the Veneto, stylistic attributions have varied from Venice to Verona to Padua, and proposed dates vary from the last quarter of the 14th century, to c.1350, to the second quarter. Francesca Manzari seems to have been the first person to realise that two different artists contributed to the volume, using the same page design but a different palette and with different figure styles and facial types (Manzari, 2013, n. 130), and we have followed her most recent attribution. The known leaves of the manuscript are described, and many of them reproduced, by Laura Alidori Battaglia (2020), and Helena Szépe (2023). In summary, in addition to the present lot, they are:East Lansing, Michigan, Broad Museum (Pentecost)La Spezia, Museo Civico Amedeo Lia (Entombment)London, British Library (5 cuttings of border ornament)Montreal, Museum of Fine Arts (2 leaves: Deposition and Harrowing of Hell; and Woman reading at a desk)Switzerland, private collection (Visitation)Vienna, Museum of Applied Arts (16 leaves with miniatures)Whereabouts unknown; formerly New York & Fiesole, Martello Collection (Ascension) PROVENANCE From a manuscript that was certainly broken-up by 1866, as many of the known leaves were owned by Johann Anton Ramboux, who died in that year.Sold by Christie’s, 28 November 2001, part of lot 2 (col. ill.).Maggs Bros Ltd., Catalogue 1340; Illuminations [2003], no. 1 (front cover and frontispiece ills.).The Boehlen Collection, Bern, not numbered. LITERATURE F. Manzari, ‘Italian Books of Hours and Prayer Books in the Fourteenth Century’, in Books of Hours Reconsidered, ed. by S. Hindman and J. H. Marrow (London, 2013), pp. 153–209, citing the present leaf at pp. 168 and 201 n. 130. Catalogue raisonné des livres d’heures conservés au Québec, ed. by B. Dunn-Lardeau (Québec, 2018), no. 1, citing the present leaf at p. 16 (‘localisation actuelle inconnue’). L. Alidori Battaglia, Il libro d’ore in Italia tra confraternite e corti, 1275-1349: lettori, artisti, immagini (Florence, 2020), at pp. 101–18, 302–06, and 332–35, tavv. XLI–XLV, describing the present leaf at p. 303, reproducing it as fig. 45 and in colour as tavv. XLIII–XLIV (‘Ubicazione sconosciuta’), and attributing it to ‘Verona (?)’. H.K. Szépe, ‘Fragmented and Forgotten. Italian Manuscripts in Arts, Design, and Natural History Museums: The Collectors L. Celotti and J.A. Ramboux, and Newly Discovered Miniatures by The Master of the Antiphonal Q of San Giorgio, the Master of Cardinal Antoniotto Pallavicini, and the Disassembled Italian Hours Masters’, Rivista di storia della miniatura, 26 (2022), pp. 154–76, at 154–65 citing the present leaf at p. 158.

View 1 of Lot 19: Illuminated Miniatures, C14th | The Dormition and The Assumption of the Virign: two miniatures from a Book of Hours, in Latin, illuminated manuscript on vellum. [Italy (Veneto, Verona?), 14th century (2nd quarter)]

illuminated miniatures, c14th | the dormition and the assumption of the virign: two miniatures from a book of hours, in latin, illuminated manuscript on vellum. [italy (veneto, verona?), 14th century (2nd quarter)]

Fratelli Alinari, Florence Two albums of photographs of Italy. Florence, 1867 Large folio (635 x 508mm.), 134 albumen prints, mounted on heavy paper, each with manuscript caption, various sizes, from 419 x 546mm. mammoth prints to several 76 x 101mm. prints, contemporary half russia, some foxing, almost exclusively limited to margins of mounting paper, one or two photographs chipped, binding with some corner-pieces missing A SUPERB SET OF MONUMENTAL EARLY PHOTOGRAPHS OF ITALY BY FRATELLI ALINARI OF FLORENCE, FOUNDED IN 1852, THE WORLD’S OLDEST PHOTOGRAPHY FIRM. The three Alinari brothers pioneered the use of the camera for reproducing artwork and architecture from the great Italian galleries for public consumption. They are also known for their advocacy of the photographic portrait and for their photographs of Italian buildings and monuments. “The Alinaris were called to all the most important exhibits of the age… The Alinari images played a fundamental role in the perception and knowledge of the Italian work of art” (Encyclopedia of Nineteenth-Century Photography). In these two volumes, the Alinaris have focused on the architecture of the great cities of Italy. They capture the neoclassical elements of building façades and interiors as well as other city structures with exquisite detail and precision. They approach each subject from a unique perspective chosen to capture and draw attention to its most intriguing features - from the monumental Duomo and Campanile (dome and belltower) in Florence, to the balustrades of the Rialto Bridge in Venice, to the arches and columns of a cathedral doorway in Verona. Volume 1 is devoted to Venice, including the Doge's Palace, St. Mark’s Square, and the Grand Canal. Volume 2 contains images of Florence, Pisa, Bologna, Padua, and Verona, including landscapes, architectural views, and occasional reproductions of famous works of art. These two volumes present an opportunity to acquire superb, early large-format images of Italy’s most famous buildings and settings in extraordinary high-quality prints by the most famous photographer in the field.

View 1 of Lot 215: Fratelli Alinari, Florence | Two albums of photographs of Italy. Florence, 1867, fine, early photographs of Italy

fratelli alinari, florence | two albums of photographs of italy. florence, 1867, fine, early photographs of italy

THE DORMITION and THE ASSUMPTION OF THE VIRGIN MARY: two miniatures on a leaf from a Book of Hours, in Latin, illuminated manuscript on vellum

THE DORMITION and THE ASSUMPTION OF THE VIRGIN MARY: two miniatures on a leaf from a Book of Hours, in Latin, illuminated manuscript on vellum [Italy (Veneto, Verona?), 14th century (2nd quarter)] a leaf, c. 135 × 95mm, the recto with 10 lines of text comprising the end of Vespers and rubric for Compline, the remaining space on the pages filled with a miniature of the Dormition of the Virgin, the verso with a large miniature of the Assumption above an illuminated initial and the first three lines of text of Compline, and a horizontal panel containing portraits of two apostles(?) each in a cusped quatrefoil, and brightly coloured foliate ornament; significantly worn, with losses of pigment and gold (as is the case of the other leaves and cuttings from the same manuscript) especially the recto which appears to have formerly been glued-down; despite the damage the colours are still bright and the painting impressive; inset with conservators’ tissue supports into a double-sided frame and glazed. PROVENANCE From a manuscript that was certainly broken-up by 1866, as many of the known leaves were owned by Johann Anton Ramboux, who died in that year.Sold by Christie’s, 28 November 2001, part of lot 2 (col. ill.).Maggs Bros Ltd., Catalogue 1340; Illuminations [2003], no. 1 (front cover and frontispiece ills.).The Boehlen Collection, Bern, not numbered. ILLUMINATION This leaf is from an early and exceptionally lavishly illuminated Book of Hours. It predates the period when Books of Hours became fairly standardised, and therefore exhibits several features that are very unusual. This is true not only of the style, but also of the overall conception of the series of miniatures, of the design of the individual pages, and of the choice of scenes or their iconography. To give one example of the latter, there is a scene in which a group of richly clad monks and a bishop process behind a group of women, one holding a banner. Because this miniature, like most others, has had its text removed, there are few clues to the meaning of this unexplained image. While there is agreement that the manuscript was produced in the Veneto, stylistic attributions have varied from Venice to Verona to Padua, and proposed dates vary from the last quarter of the 14th century, to c.1350, to the second quarter. Francesca Manzari seems to have been the first person to realise that two different artists contributed to the volume, using the same page design but a different palette and with different figure styles and facial types (Manzari, 2013, n. 130), and we have followed her most recent attribution. The known leaves of the manuscript are described, and many of them reproduced, by Laura Alidori Battaglia (2020), and Helena Szépe (2023). In summary, in addition to the present lot, they are:East Lansing, Michigan, Broad Museum (Pentecost)La Spezia, Museo Civico Amedeo Lia (Entombment)London, British Library (5 cuttings of border ornament)Montreal, Museum of Fine Arts (2 leaves: Deposition and Harrowing of Hell; and Woman reading at a desk)Switzerland, private collection (Visitation)Vienna, Museum of Applied Arts (16 leaves with miniatures)Whereabouts unknown; formerly New York & Fiesole, Martello Collection (Ascension) REFERENCES F. Manzari, ‘Italian Books of Hours and Prayer Books in the Fourteenth Century’, in Books of Hours Reconsidered, ed. by S. Hindman and J. H. Marrow (London, 2013), pp. 153–209, citing the present leaf at pp. 168 and 201 n. 130. Catalogue raisonné des livres d’heures conservés au Québec, ed. by B. Dunn-Lardeau (Québec, 2018), no. 1, citing the present leaf at p. 16 (‘localisation actuelle inconnue’). L. Alidori Battaglia, Il libro d’ore in Italia tra confraternite e corti, 1275-1349: lettori, artisti, immagini (Florence, 2020), at pp. 101–18, 302–06, and 332–35, tavv. XLI–XLV, describing the present leaf at p. 303, reproducing it as fig. 45 and in colour as tavv. XLIII–XLIV (‘Ubicazione sconosciuta’), and attributing it to ‘Verona (?)’. H.K. Szépe, ‘Fragmented and Forgotten. Italian Manuscripts in Arts, Design, and Natural History Museums: The Collectors L. Celotti and J.A. Ramboux, and Newly Discovered Miniatures by The Master of the Antiphonal Q of San Giorgio, the Master of Cardinal Antoniotto Pallavicini, and the Disassembled Italian Hours Masters’, Rivista di storia della miniatura, 26 (2022), pp. 154–76, at 154–65 citing the present leaf at p. 158 (as ‘Formerly Christie’s’).

View 1 of Lot 37: THE DORMITION and THE ASSUMPTION OF THE VIRGIN MARY: two miniatures on a leaf from a Book of Hours, in Latin, illuminated manuscript on vellum. [Italy (Veneto, Verona?), 14th century (2nd quarter)]

the dormition and the assumption of the virgin mary: two miniatures on a leaf from a book of hours, in latin, illuminated manuscript on vellum. [italy (veneto, verona?), 14th century (2nd quarter)]

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