VERVE VOL III,Livre Rare Book
127 résultats
1945138048Couverture rigide. Cartonnage de l'éditeur. 26 x 35cm. 14 pages. + 14 reproductions en couleurs. Jaquette de couverture en mauvais état.
05459Venice: Ex Typographia Balleoniana 1754. A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding <br /> With Hand-Painted Gauffered Edges<br /> <br /> VENETIAN BINDING. BOOK OF HOURS. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis Venice: Ex Typographia Balleoniana 1754. <br /> <br /> Octavo 7 3/4 x 4 5/8 inches; 197 x 117 mm. i-xxxxiv 1-453 3 indices pp. Vignette engraved title-page and seven full page copperplate engravings in the text.<br /> <br /> Full contemporary red morocco covers elaborately decorated in gilt spine with five raised bands decoratively gilt in compartments decorative gilt board edges marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the extremities. A remarkable survival from nearly two hundred and seventy years ago.<br /> <br /> Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books containing a daily routine of prayers for the reader to follow reached a huge audience more than any previously written text. Children were taught to read with Books of Hours. Repeated daily the passages found in these books usually in Latin were committed to heart. Prayers on death plague warfare travel and bad weather were all found in Books of Hours.<br /> <br /> The plates:<br /> <br /> 1. Office of the Blessed Virgin Mary p. xxiv<br /> 2. Office of the Blessed Virgin Mary p. 80<br /> 3. Office of the Blessed Virgin Mary p. 150<br /> 4. Office of the dead p. 226<br /> 5. Seven penitential psalms p. 294<br /> 6. Office of the holy cross p. 334<br /> 7. Office of the holy spirit p. 342. Venice: Ex Typographia Balleoniana, 1754 unknown
198313281Zürich, Belser Verlag, 1983. 12° (15-18,5 cm). 240 numm. Bll. (Faksimile), 42 S. (Begleitband) Ganzleder über drei falschen Bünden mit vergoldeter Rückenverzierung und Wappensupralibros (Faksimile), OLeinwand mit goldgeprägtem Rücken- und Deckeltitel in OKassette [3 Warenabbildungen]
198926165BBLondon, 1989. 4°. 207 Seiten, mit vielen tls. farb. Illustr. Or.-Kart. Einband mit wenig Gebrauchssp.,ansonsten sauber und gut erhalten.
1680136956à Paris, chez l’Auteur, rue de Bussy, Croix blanche au Fauxbourg St Germain 1680 In-12 19,5 x 12 cm. Reliure de l’époque à la fanfare veau vert-amande, dos à nerfs encadrés de fers dorés, plats ornés, tranches dorées, fermoirs en métal doré, 1 ff., 260 pp. erreurs de pagination : page 48 au lieu de 47 qui manque ainsi et page 223 qui apparaît deux fois, texte agrémenté, à la manière des manuscrits calligraphiés pour Versailles, d'une profusion de lettrines, bandeaux, fleurs et animaux, petits paysages et traits de calligraphie pure. La perfection de la gravure le dispute à l'élégance du dessin virtuose. Premier mors légèrement fendillé, intérieur frais. L’ouvrage est protégé par une housse moderne en chamoisine.
1898806321898 Paris, Henri Laurens Editeur - 1898 - Rroisième édition - In-8 - Demi basane brune, 5 nerfs, fleurons et titres dorés ( belle reliure probablement postérieure avec gardes en textile contre-collé sur papier à motifs de fleurs de lys - 1ère de couverture conservée - 159 pages - Illustrations en noir & blanc
3700Tours Alfred Mame et fils s.d. Rousselle Un volume in-12 reliure signée Emile Rousselle, plein maroquin aubergine, dos à cinq nerfs orné de fleurons, plats à encadrement de filets et larges dentelles, filets sur les coupes et en coiffe, tranches dorées, dentelles intérieures, gardes satin aubergine au chiffre RV, [2ff.] blancs, faux titre, frontispice, page de titre, [10ff.] fêtes mobiles, notes et calendrier, 516 pages, texte en deux couleurs en encadrement, [2ff.] blanc.Très bel exemplaire.
5581P II V.Pont.Max.iussu éditum Nuncpluribus quàm hactenus vmquam figures oeneis illustratum Officina plantiniana, 162.Petit in 4 EDITION PLANTINIENNE plein maroquin de couleur rouge foncé de l’époque,à nerfs,caissons dorés,6 filets et écoinçons dorés sur les plats,trace de roulette dorée sur les coupes; titre avec vignette gravée,XXXVI pages,696 pages,2 pages index eorum quae officio B Mariae continentur Impression en rouge et noir,91 superbes gravures sur cuivre ,57 pleine page et 34 dans le texte,67 lettrines gravées sur bois, tranches dorées. Antverpiae ex officina Platiniana Apud Balthazarem Morerum & Viduam Joanus Moreti,& Io Meufium 1622.Reliure de l’époque.Raccommodages principalement charnières et coiffes et coins.
1973LFA-126720341Un ouvrage de 248 pages, format 215 x 300 mm, illustré, relié toile sous jaquette couleurs, publié en 1973, Draeger Frères Editeur, bon état
19724469FBVilo-Paris, Draeger Verlag, 1972. Groß-8°. 26 x 19 cm. 262 Seiten. Original-Leinenband mit Original-Schutzumschlag.
19722782Paris, Draeger Frères, 1972 ; in-4, cartonnage bleu de l'éditeur à la bradel, titre argent, écusson doré et illustré sur le premier plat, sous jaquette illustrée d'une enluminure en relief couleurs et or, sous étui carton gris ; (1) f. (bl.), 262 pp., (2) ff. (bl.) ; 128 illustrations en couleurs hors-texte (reproduction d'enluminures).
Roy. 8vo., First Edition thus, with very numerous splendid coloured heightened in gold; blue cloth, upper board blocked in gilt, gilt back, gilt top, a fine copy in publisher's board slip-case with mounted coloured plate. With extended introduction and bibliography.
1644AAI-4-15Paris, chez la Veuve Camusar, chez la Veuve Clovis Cottart, 1644.
184314700Guilbert Paris 1843 1 vol. In-8 de 9 ff.n.ch. 92 pp. 1 f.n.ch., plein maroquin havane, doublure de maroquin bleu pétrole ornée d'une dentelle dorée, plats ornés d'un décor à froid, dos à nerfs orné de caissons à froid avec petites fleurs-de-lys dans les angles, coupes filetées, gardes de moire blanche, tranches dorées, étui bordé (reliure de Carayon).
ORD-6477Avec les Exercices du matin & du soir, l'Entretien durant la Sainte Messe, & les Prieres pour les sept jours de la semaine. Et la méthode de se bien confesser & communier. Le tout en François. Paris. Jacques Le Gras. 1694. In-16 (84 x 130mm) plein maroquin rouge, dos à 5 nerfs, écoinçons or dans les caissons, pointillés encadrant les plats avec écoinçons également, roulettes sur les coupes, plats peignés, tranches dorées (reliure de l'époque). Gravure intitulée Regina Caeli, de la rue St. Jacques au Pelican, en frontispice, 6ff.n.ch., 454, (2) pages. Un bandeau et une lettrine gravés sur bois et 2 gravures hors texte. Des rousseurs sinon bon exemplaire, reliure ancienne bien conservée.
ORD-19266Paris. Leroy. Secail & Cie. s. d. (1882). In-8 (120 x 164 mm) plein chagrin noir à 60 nerfs, muet, gardes jaspées, tranches dorées, 3 pages n.ch. (titre et 2 frontispices), CXCIV pages et 6 pages n.ch. Ouvrage entièrement imprimé en chromolithographie. Bords des gardes un peu insolés, tranches assez irrégulières, sinon très bon état. Ex-libis et blason de Ms William E. Kelley. Reliure muette mais en très bon état.
17650012141765 Paris, Hérissant, 1765. Fort volume petit in-8 (105 X 175 mm) maroquin vert lierre, triple encadrement de filet et fleurons d'angles dorés sur les plats, armes frappées or au centre, dos lisse cloisonné et entièrement orné aux fers dorés, pièce de titre maroquin rouge, coupes et coiffes filetées, roulette dorée intérieure, gardes illustrées de motifs dorés, tranches dorées sur marbrure (Reliure de l'époque) ; (12) ff., 540-345 pages, (2) pages de table. Manque de papier dans l'angle inférieur droit de deux feuillets (pages 37 à 41) avec perte de quelques lettres aux manchettes en latin, taches claires en marge des pages 3 à 6.
1880161661880 plein maroquin tête de nègre, tr. dorées, monogramme en argent "F B " sur le Ier plat, in-12, (5ff.), 188pp. montées sur onglets, 4 gravures h.t., P. Laplace Sanchez (ca. 1880)
200612954Luzern, Faksimile Verlag, 2006. "4° (30-35 cm). 289 num. Bll., 2 Bll. (Faksimile); 244 S., 1 Bl. (Kommentarband)." "Samteinband mit zwei vergoldeten Schließen und Ganzkopfgoldschnitt (Faksimile); Samteinband mit montiertem Rückenschild und Lesebändchen" [3 Warenabbildungen]
Commentario al facsimile: Libro de horas del Obispo Morgades (Libro d’ore del Vescovo Morgades). Numerose illustrazioni a colori. Tela editoriale e sovraccoperta a colori. Formato : 23x30 cm. Pagine : 258. Peso : 1720 gr. Lingua : catalano, spagnolo. Condizione : nuovo.
16697Paris, Gruel et Engelmann, 1885. In-12, 687 pp., maroquin brun de Gruel, plats estampés de frises à froid et dorées en encadrement cantonnés de fleurons dorés, dos lisse orné d'un caisson doré et à froid, frise de petites fleurs dorées, doublure de maroquin rouge orné de filets dorés en encadrement, des arabesques et fleurs de l ys dorés, au centre le chiffre doré G. R., garde de soie côtelée grenat, tranches dorées et ciselées, deux fermoirs en métal (petits épidermures et insolation, petits manques aux fermoirs).
1763gu4359A Paris, chez Jean-Thomas Herissant, rue S. Jacques, à Saint Paul et à Saint Hilaire, A Paris, chez Cl. J. B. Herissant, rue Notre-Dame, à la Croix d'or Relié 1763 In-12 (10 x 17 cm), reliure plein veau, dos à 5 nerfs orné de dorures, tranches dorées, gardes couleur, 456 pages, avec quelques ruban signets (effilochés aux extrémités) ; manques de cuir aux coiffes et coins, frottements aux mors, nerfs et coupes, mors supérieur fendu en tête, assez bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
66569Evidence Of A Special Early Moment In Parisian Book Production Expressive Of Northern Realism Book of Hours Use of Paris†In French and Latin illuminated manuscript on parchment France Paris c. 1400-1410 15 large miniatures by the Master of the Bible Historiale MS fr. 159 as described by Les Enluminures This beautifully executed and unusual Parisian Book of Hours was painted at the time of the Duke of Berry. The ìrealismî seen in the illuminations represents a special moment in Parisian art one exemplifying its northern origins.†The miniatures are attributed to one of the artists responsible for the†Bible Historiale†also referred to as the Master of the Bible Historiale fr. 159 Paris BnF MS fr. 159.†The female patron who ordered the book appears twice in the miniatures. 224 folios mostly in gatherings of 8 i12 complete pastedowns and two flyleaves at front and back some catchwords written in a dark brown ink†in a gothic liturgical script on 14 long lines by different hands ff. 82-82v and ff. 219v-223v written by a slightly posterior†hand ruled in light red ink justification 62 x 85 mm†rubrics in red both in French and Latin versals in burnished gold on alternating†pink†and blue grounds with pink or blue infill and white tracery line endings pink and blue with burnished goldleaf discs and white tracery infill 2-line initials in pink or blue with white tracery on burnished gold grounds with ivyleaves extending in the margins and infill one 3-line initial at the beginning of†the Hours of the Virgin pink†with white tracery†burnished gold and ivyleaf†infill on a blue ground 3-line initials marking the start of the main texts pink or blue with white tracery on highly burnished gold grounds with ivyleaf infill one 4-line letter I traced in pink and white with ivyleaf infill on a burnished gold ground richly decorated borders with extending baguettes foliate pattern on burnished gold grounds and dense ivyleaves in borders 15 LARGE MINIATURES at†the beginning of the main†texts in excellent condition. Nineteenth-century dark brown morocco binding over pasteboards frame of two gilt fillets on covers smooth spine cropped edges affecting very slightly the border decoration at the top edge never affecting text or illuminations in clamshell box. Dimensions 161 x 116 mm. PROVENANCE: 1. Liturgical use and calendar secure a place of origin in Paris. Probably made for the woman patron who appears kneeling on fol.110 and 185. 2. Isydort Bernardon and Marthe Galberict first front fly-leaf. Second front flyleaf reads as follows: ìIsydort Bernardon Bon Compaion qui esme†Monsieur.îLast word is difficult to read; XVIIth century.††3. Du Buisson and Marchand families eighteenth-century notes on family history and marks of ownership 1716 and 1717 back pastedown and fly-leaves: ìCes presentes heures sont tenues de defunst Charles du Buisont . Seigneur de Lublataris demerant a St Michel.î ; ìCes presentes heures appartiennent a moy Gabriel Marchand. Je prie ceux et celle quy les trouveront de me les rendre. Je les reconpanserÈ sic de leurs payne fait a St Michel le traize jour de fevrier 1716"†signed††Marchand; ìJeanne du Buisson fille de Charles du Buisson a espouzÈ Gabriel Marchand 1717.î The name ìDespanageî with the date 1716 also appears on the first flyleaf. 4. Engraved ex-libris pasted on front pastedown eighteenth-century. ìM. Titon de Villotran conseiller au Parlementî. Jean-Baptiste Titon de Villotran is recorded as a ìconseillerî in the Parlement de Paris see Chesnaye-Desbois and Badier†Dictionnaire de la noblesse vol. 19 Paris 1876. 5. Les Enluminures/ Bruce Ferrini Catalogue 9 Books of Hours 2000 no. 1 hence Private Collection. TEXT: ff. 1-12 Calendar red blue and burnished gold in French with numerous Paris saints such as Genevieve in gold Germain Landri Marcel Cloud; ff. 13-18 Gospel Sequences; ff. 18-18v Various Prayers : ìProtector in teî;†ìEcclesiam tuam quesimusî;†ìOmnipotens sempiterne.î; ff.19-22 Obsecro te; ff. 22v-26 O intemerata; ff. 26v-27 Prayer ìDeus qui noluisti pro redempcione.î; ff. 27-27v Prayer ìCommendo tibi Sancta Maria.î; ff. 27v-28 Prayer ìSignum crucis dominum.î; f. 28v blank; ff. 29-80v Hours of the Virgin use of Paris†Matins f. 29 Lauds f. 39v Prime f. 50 with ant. ìBenedicta tuî and cap. ìFelix namqueî Terce rubric erroneous f. 55bis; Sext f. 59v; None f. 63v with ant. ìSicut liliumî and cap. ìPer te Deiî; Vespers f. 68; Compline f. 75; ff. 80v-81v Suffrage to Sebastian written in a different but contemporary hand ìAnthienne de saint Sebastienî et ìOroison de saint Sebastienî; ff. 82-82v Salve regina different hand slightly posterior; ff. 83-83v blank except for a XVIIth†century inscription on fol. 83 in brown ink that reads :†ìBernardon 1648î; ff. 84-102 Penitential Psalms and†litanies; ff. 102v-105v Short Hours of the Cross; ff. 106-109v Short Hours of the Holy Spirit; ff. 110-115v Fifteen Joys of the Virgin in French; ff. 116-119v Seven Requests to Our Lord in French; ff. 120-184v Office of the Dead use of Paris; ff. 185-204 Suffrages; ff. 204-218 Prayers: ìLa priere Theophilusî: ìGlorieuse vierge royne.î†ff. 204-213v ; ìTres devote oroison†de la sainte trinitÈîff. 213v-217;†ìOmnipotens sempiterne deus qui dedisti†nobis.î ff. 217-218; ff. 218-218v Seven verses of St. Bernard; f. 219 Prayer: ìOmnipotens sempiterne Deus qui Ezechie.î; ff. 219v-221v Prayer for Communion ìTres devote oroyson quant on veult recevoir le corps de nostre seigneur.î Different hand; ff. 221v-224v Prayer upon receiving Communion ìTres devote oroison quant on a receu le corps de nostre seigneurî. ILLUSTRATION: f. 29 Annunciation; f. 39v Visitation; f. 50 Nativity; f. 55bis Annunciation to the Shepherds; f. 59v Adoration of the Magi; f. 63v Presentation in the Temple; f. 68 Flight into Egypt; f. 75 Dormition of the Virgin; f. 84 God in Judgment; f. 102v Crucifixion; f. 106 Pentecost; f. 110 Female donor presented by patron saint John the Baptist kneeling before the Virgin and Child; f. 116 Last Judgment; f. 120 Funeral Mass; f. 185 Donor kneeling before her patron saint John the Baptist. An unrecorded Parisian Book of Hours this manuscript has a sequence of beautifully executed miniatures attributed by FranÃois Avril to one of the artists responsible for the†Bible Historiale†Paris BnF MS fr. 159 a grand manuscript given to Jean Duke of Berry by Raoulet dÃAuquetonville before 1402. Our Book of Hours was painted for an unidentified female donor depicted twice in the manuscript. Once she kneels in prayer before St. John the Baptist who must be her patron saint f. 185. A second time St. John the Baptist presents her to the Virgin and Child whom she adores in prayer f. 110. Her costume befits a lady of the court and suggests a date around 1400. The paintings corroborate this date. The†Bible Historiale†is regarded as one of the earliest works of an artist surely trained in the Netherlands who appeared in Paris at the beginning of the fifteenth century and cannot be traced after 1405. Bella Martens called him the ìMaster of 1402î and Millard Meiss in 1967 renamed him the Master of the Coronation of the Virgin after a stunning frontispiece of this subject in a manuscript of Jacobus de VoragineÃs†Golden Legend†of 1402-03 Paris BnF MS fr. 242. In Paris working with collaborators on large projects the Coronation Master was responsible for a sequence of richly illuminated volumes that include the†Fleur des histories de la terre dÃOrient Paris BnF MS fr. 12201 and BoccaccioÃs†Des cleres et nobles femmes†Paris BnF MS fr. 12420. Among the related hands in the lavish†Bible Historiale†emerges as a distinctive personality who must have had his own workshop. Working side by side with the Coronation Master the Master of the†Bible Historiale†assimilated his style and our manuscript recalls some of these early works. We suspect that our artist like the Coronation Master originated in the North because of the ìrealismî of the exceptionally fine miniature of the Nativity f. 50 with its hemp floor and wattled fence the tenderness of Joseph seated close to the Virgin Mary and the bare breasts of the reclining Virgin. The finely tessellated diaper backgrounds and the triangular tiled floor that tilts upward both repeatedly used in our Book of Hours also occur in the miniature of the Coronation of the Virgin. In the†Funeral Mass†f. 120 the dark outlines for the expressive faces are comparable to those in†Clerics Singing†in the†Bible Historiale. Likewise the soft features of the VirginÃs rounded face the crisp modeling in her garment and her slender delicate hands are found in the†Coronation of the Virgin†and elsewhere. Sprinkled with tiny plants the blossom with red blue or white flowers the simple landscapes reappear in the†Bible Historiale.†The rendering of the donors anticipates the treatment of the female heroines in the Boccaccio manuscript. The engaging style of the Master of the†Bible Historiale†like that of Jacquemart de Hesdin and the Master of the Breviary of Jean sans Peur exemplifying a ìrealismî that derives from their northern origins represents a special moment in Parisian illumination one that was short-lived. Art in Paris was to evolve in another direction which the more refined cosmopolitan style of the Boucicaut and Bedford Masters best represent. THIS FULL DESCRIPTION TAKEN FROM THE CATALOG OF THE FIRM LES ENLUMINURES Meiss Millard 300 312 355 II fig. 822;†French Painting in the Timede Berry974 I 383-4 II figs. 458-64 HBS 66569 $350000 1400 hardcover books
1795157735Rome: Salvioni 1795. hardcover. fine. Each book is printed throughout in red & black with a fine engraved vignette on the title page and other full-page engravings. 92; 88; 120pp. Thin 12mos. Gloriously bound in contemporary full red straight-grained morocco with heavy floral gilt tooling on the covers and spines; outer dentelles marbled endpapers silk ribbons. The 3 volumes are housed together in a brown calf solander slipcase with blind-stamped decorations. Roma: Per Luigi Perego Salvioni 1795. Fine.<br/><br/> Salvioni unknown books
147068622Ghent 1470. BOOK OF HOURS. ANONYMOUS GHENT ARTIST. Book of Hours.In Latin. Ghent c.1470s-1480s.<br> <br> Illuminated manuscript on vellum. Illuminated in Ghent in the 1470s-1480s bearing the stylistic features of works painted by the great illuminators active in the city such as the Vienna Master Mary of Burgundy. According to Christie's apparently textually complete but likely lacking one or two full-page miniatures. 6 3/4 x 4 1/2 inches; 170 x 115 mm. 1 110 1 leaves. With modern pencil foliation. Text in 15 lines.<br> <br> With numerous rubrics in red and one-line initials heightened in gold blue and red. Many two-line initials in gold on pink and blue grounds throughout. One four-line illuminated initial with partial border of acanthus and hairline tendrils with gold leaves 7 six-line initials in gold leading to partial borders 6 full-page seven-line initials on gold grounds. Initials and text bordered in gild within full borders also featuring fruits flowers birds animals and grotesques. Four of these facing four full-page miniatures within full borders. 10 additional small miniatures with partial borders.<br> <br> Seventeenth-century full calf rebacked preserving original spine. With paper pastedowns. Boards and spine ruled in gilt. Boards with some wear. Some occasional marginal staining or small holes. Marginal corners of leaves 63 66 78 and 106 with some repair not affecting manuscript. A minor amount of light rubbing to borders and miniatures. Overall a beautiful example of illumination and miniatures. With colors extremely bright and gold exceptionally brilliant. Housed in a custom morocco clamshell.<br> <br> From Christie's: "Provenance: 1 The liturgical use is generic for Rome while the style of decoration and the calendar suggest an origin in Ghent: the latter features Sts Amalberga 10 July; in red and Macarius 9 May; the elevation of his relics in Ghent. 2 An early owner was presumably responsible for the pilgrim stamps added to f.1 traces of which still remain. 3 Sotheby's 10 July 1968 lot 300. 3 Christie's 16 July 1969 lot 144. 4 Christie's Paris 29 November 2011 lot 121.<br> <br> Content: Calendar ff.1-6; Hours of the Cross ff.7-9 presumably lacking opening miniature; Hours of the Holy Spirit ff.11-13v presumably lacking opening miniature; Mass of the Virgin ff.14-19v; Gospel extracts ff.20-25; Memorials opening with St John the Baptist ff.25v-27v; Obsecro te ff.28-31v; O intemerata ff.31v-34; Office of the Virgin use of Rome ff.35; Penitential Psalms and Litany ff.80-94v; Short Office of the Dead ff.96-110.<br> <br> Illumination: The rather sparse borders of blue and gold acanthus sprays and flowers on plain vellum with birds or grotesques at mid-height were popularised in Ghent in the 1470s: they are very close to the borders painted in the Ordonnance du premier écuyer copied in by Nicholas Spierinc for Charles the Bold in 1469 Vienna ÖNB Cod. s. n. 2616 which reappear in the Hours of Engelbert of Nassau Oxford Bodleian Library Ms Douce 219-220 illuminated in Ghent on the 1470s by the Master of Mary of Burgundy. The miniatures with their realistic scaling of the figures to their settings must originate in the rich pattern pool fed by compositions from the great illuminators active in Ghent from the 1470s onwards such as the Master of Mary of Burgundy and Lieven van Lathem. The Funeral Mass miniature f.95v for example is a simplified version of a composition that appears in two Books of Hours painted in Ghent in the 1470s or 1480s: one held in Oxford Bodleian Library Gough Liturg. 15 f.94 and another in the Bibliothèque de l'Arsenal ms 638 f.75.<br> <br> The subjects of the four full-page miniature are as follows: Pentecost f.10v; Virgin and Child f.34v; David in Prayer f.79v; Funeral Mass f.95v. The subjects of the small miniatures are as follows: St John f.20 St Luke f.21; St Matthew f.22v; St Mark f.24; St John the Baptist f.25v; St Andrew f.26; St Laurence f.26v; St Barbara f.27; St Katharine f.27v; Deposition f.28.<br> <br> Portions of description taken from Christie's London.<br> <br> HBS 68622.<br> <br> $67500. Ghent unknown
