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ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A GENTLEMAN, HALF-LENGTH IN A RED AND GOLD TRIMMED COATOil on canvas74 x 62cm (29 x 24¼ in.) Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1325Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyCondition Report: The canvas has been relined and is on a later stretcher, providing good support. Some surface dirt and discolouration of the varnish. Light stretcher marks. Hook shaped repair visible to the naked eye of approx.. 18 cm in length in the background to the right of the figure. Another two repairs visible to the naked eye of approx.. 8 cm to the right of the sitter's hand. UV reveals more scattered retouching, including of old craquelure in the sitter's face and hand. Condition Report Disclaimer

NORTH ITALIAN SCHOOL (18TH CENTURY)A FOOTMAN WITH A PIKEOil on canvas33.7 x 21.6cm (13¼ x 8½ in.)Provenance: Formerly the Messel family collection in the Tudor Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyCondition Report: Canvas is unlined. Some surface dirt. UV light reveals retouching in the figure's hands and head.Condition Report Disclaimer

FOLLOWER OF DAVID TENIERSA BEARDED MAN LIGHTING HIS PIPEOil on canvas72.4 x 61cm (28½ x 24 in.)Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1314Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyCondition Report: The canvas has been relined. Some surface dirt. UV light reveals no restorations due to a thick layer of varnish. Condition Report Disclaimer

ENGLISH SCHOOL (18TH CENTURY)AN EXTENSIVE RIVER LANDSCAPEOil on canvas48.3 x 132.1cm (19 x 52 in.)Provenance:The Crawley-Boevey Family Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1361Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Condition Report: The canvas has been relined and is on a later stretcher, which is providing good support. Some surface dirt and a discolouration of the varnish. Some abrasions around the edges and in the lower left corner. UV light reveals areas of scattered retouching, including in the sky where the paint is slightly thinning and where there are areas of craquelure. Condition Report Disclaimer

CIRCLE OF PIETER BORSELAER (DUTCH 1632-1692)PORTRAIT OF CATHERINE BOEVEY, 'THE PERVERSE WIDOW', THREE-QUARTER LENGTH, IN A BLACK DRESS AND MANTOil on canvas115 x 94cm (45¼ x 37 in.)Provenance:Probably commissioned by William Boevey (1657-92) and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1294.Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Literature: Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 6; p. 13. J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - II: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 5 April 1973, p. 910, fig. 5. J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 981, fig. 4, The Morning Room. Crawley-Boevey, A.W.C., The Perverse Widow, Being Passages from the Life of Catharina, Wife of William Boevey, 1898Illustrated: C. Castle, Oliver Messel: A Biography, London, 1986, p. 215. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 125, 'the morning room' Comparative literature:J. Munns, P. Richards, 'A Woman of Extraordinary Merit: Catherine Bovey of Flaxley Abbey, Gloucestershire', ed. C.D. Williams, A. Escott, L. Duckling, Woman to Woman: Female Negotiations During the Long Eighteenth Century, Newark, 2010, pp. 101-116. This portrait of Catherine Boevey (d. 1726), 'The Perverse Widow', represents the most celebrated of the Crawley-Boevey ancestors. After her death, her 'genius and good judgement' and 'the wit and elegance of her conversation' was lauded by George Ballard (c. 1706-55) in his Memoirs of Several Ladies of Great Britain who have been Celebrated for their Writing or Skill in the Learned Languages, Arts, and Sciences (1752). Catherine was the sole heir of her wealthy father, John Riches, an Amsterdam merchant resident in London. In 1684, she married William Boevey (1657-92) of Flaxley Abbey, also of Dutch mercantile descent, who was probably responsible for improvements made to the west wing as several firebacks in the mansion are marked 'W.B. 1685'. The marriage was unhappy and childless but by 1692 William was dead. By his Will, she was granted life residency of the great estate of Flaxley that included furnaces and forges for iron casting, and Catherine became one of the only female landholders in Gloucestershire in this period. Although it was customary for wealthy widows to remarry, Catherine chose to remain single. The moniker 'The Perverse Widow' possibly relates to Catherine's rejection of the attentions of her neighbour Sir John Pakington, 4th Baronet of Westwood Park (fictionalised in the Tatler as Sir Roger de Coverley). In addition to her education and good sense, she frequented intellectual and literary circles in London and was known for her charitable works - she was one of the earliest promoters of Sunday School teaching, the founder of the annual Three Choirs Festival and a supporter of the Society for the Propagation of the Gospels. She was considered a great beauty, and was adept in the female accomplishment of singing and music. Another admirer, Sir Richard Steele, dedicated the second volume of his The Ladies Library (1714) to Catherine. After her death a monument was erected in Westminster Abbey.   Condition Report: The canvas has been relined. Some surface dirt and discolouration of the varnish. Significant discolouration of old retouches, mainly visible in the sitter's arms, neck and face. Condition Report Disclaimer

A GEORGE II LEAD FIGURAL GARDEN SUN DIAL ATTRIBUTED TO JOHN CHEERE AFTER JOHN NOST MID 18TH CENTURY The solid gnomon and dial above the crouching figure of Father Time or Kronos, the dial signed "B MARTIN, LONDON" and indistinctly engraved with the Boevey escutcheon of arms 152cm high overall, the base 92cm wide 74cm deepProvenance:Possibly acquired by Thomas Crawley-Boevey, 1st Bt. of Flaxley (1709-69), at the time of his marriage to Susanna (née Lloyd) in May 1743, and by descent at Flaxley Abbey, Gloucestershire, until sold and removed from the premises- Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1009.Returned to Flaxley Abbey by Frederick Baden WatkinsLiterature: Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 36, no. 3.Mrs. A. Gatty, The Book of Sun-dials, London, 1900, 4th edition, p. 472.R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126.This 18th century lead sundial was described as 'The Flaxley Sundial' when it was sold from the Flaxley Abbey estate in 1960. The lead figure of Father Time is depicted as a bearded old man kneeling under the weight of a bronze dial that bears the Boevey coat of arms. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. He is shown with wings to represent how 'time flies'. 'B. Martin', possibly the maker, is incised on the dial. It's possible that the maker of the sundial was Benjamin Martin who worked between 1738 and 1777 from one address in Chichester and five in Fleet Street and latterly as Benjamin Martin & Son until 1782 when the firm went bankrupt.At the time of cataloguing only two similar sundials of this particular kneeling form of Time were noted. One, with receipt dated for 1743 by John Cheere, was noted at Blair Castle, Perthshire (RCAHMS SC 763911). As the lead was piece-moulded, Cheere could assemble parts in new configurations; this was supposedly the case with the Blair Castle example, which is adapted from John Nost I's (fl. 1677-1710) Indian sun dial at Melbourne Hall, Derbyshire (I. Roscoe, A biographical dictionary of sculptors in Britain, 1660-1851, New Haven and London, 2009, p. 262).Another version of Father Time was formerly at St. Osyth Priory, Essex- however it has been noted that this one was of a slightly different form- with just one hand holding the plate above. It was listed in the house sale of 1920 as: 'A fine XVII cent. cast lead figure of Time supporting a sundial, 3' 6" high on a square stone base' (In fact, it was 18th century and life-size). The sundial failed to sell, and remained at St. Osyth Priory until 1986; its present whereabouts are unknown, and no image is extant (R. Bowling, 'Sundial Supporters Revisited', BSS Bulletin [The British Sundial Society], vol. 19, September 2007, p. 126).Subsequent research has shown an almost identical sundial to this lot- offered by Seago Antique Garden Furniture, 22 Pimlico Road London, and illustrated at the back of John Davis "Antique Garden Ornament" (Antique Collector's Club 1991). The Seago lead statue of Father Time is recorded with provenance for Fonthill House, Wiltshire, home of Alderman William Beckford. Unfortunately its current whereabouts is unknown and the maker of the sundial plate unrecorded.A related sundial known as the 'Blackamoor' is recorded in the gardens of the Inner Temple, London (W. Lethaby, Leadwork, old and ornamental, and for the most part English, London, 1893, pp. 101-111). This sundial is signed on the dial 'Ben Scott in the Strand Londini Fecit' and '1731'. It is almost certainly after an earlier model by John Nost I, who at the turn of the century, was awarded a contract for an extensive programme of sculptural works at Hampton Court Palace, Middlesex, including a 'Blackamore' sundial. The records state that Nost I was employed 'for modelling a figure of a Blackamore kneeling being 5 ft high holding up a sundial', and for 'casting the said Blackamore in hard metal and repainting'. Another 'blackamoor' sundial attributed to Nost I based on the Melbourne Hall example sold Sotheby's, London, 10 July 2014, lot 140 (£56,250 inc. premium).The tradition of casting statues in lead dates back to the Roman period, but in Britain it was particularly prevalent in the late-17th and 18th centuries when lead figures featured predominantly as garden statuary. Nost I founded the original lead figure manufactory in London, at the Hyde Park Corner end of Piccadilly. This neighbourhood became the centre for the production of lead figures with a number of lead yards in operation, including that of Nost's cousin, John Nost II (d. 1729), who took over the family business, and John Cheere, known for his life-size lead figures that were often painted 'to resemble nature'. It is additionally noted that the Blair Castle version of this may have been painted to resemble marble.Condition Report: Weathering, wear, marks, knocks and scratches as per age, handling, use, and cleaning. Comparison with the two photographed similar examples at Blair Castle () and with Seago in 1991 (see additional images) shows that each is mounted on a stone plinth base, right foot down and the left overlapping at the back. In this example however the left ankle has a bracing rest, the right foot is slightly elevated and an iron rod runs up from the plinth into the body. Evidently the rod and possibly the plinth are therefore later- part of a conservation process to ensure greater stability to the figure. In each photographed comparable example there is damage or repair evident to the legs/feet. This lot shows old remedial and conservation work- notably around the left ankle, foot and knee. However weathering has resulted in colour variance to the surface throughout- making it difficult to determine whether further work was carried out on the right leg, limb extremities and around mould-junction points. There does seem to have been restoration work at the shoulders, and elbows- and slight feather crack to left elbow. Certainly with this lot there is a notable colour difference to the fingers of both hands- a natural weak spot- which suggests old repairs. Additionally, there has been discussion as to the colour and form of the sundial circular surround. Comparison with the other two shows a similar colour variance and smoothness- a paler slightly greener colour- suggesting it may have been cast slightly differently from the main body for stability and accuracy to accommodate the sundial plate. The plate itself is not fixed in place- with vacant screw holes. The plate has strong scattered verdigris patina and the markings are faint and rubbed. Please see additional images for visual references to condition which form part of this condition report.All lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers.Condition Report Disclaimer

A PAIR OF CARVED GILTWOOD MIRRORS IN GEORGE III STYLE,19TH CENTURY,the oval plates in pierced frames carved with rockwork, scrolling foliage and flowerheads, with confronting C-scroll cresting and and shell carved clasps to the aprons, 97.5cm high x 64cm wideProvenance:Almost certainly at Nymans House, West Sussex, until sold by Oliver Messel after 1960 to Mr. and Mrs. Frederick Baden Watkins for Flaxley Abbey, Gloucestershire.  Literature:J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 981, fig. 4, The Morning Room. C. Castle, Oliver Messel: A Biography, London, 1986, p. 215, 'the morning-room' T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 125, 'the morning room' These mirrors are possibly the pair referred to by Oliver Messel as from Nymans, the Messel family country seat, which he intended to sell to Frederick Baden Watkins for Flaxley Abbey: 'I've got a pair of mirrors at Nymans that would look right there' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 217). They bear a white chalk inscription 'Mess' suggesting they were from the Messel collection. Baden Watkins wrote of Oliver's obsessive commission at Flaxley: 'We first of all asked Oliver to design just the drawing room and the morning room, and it went on and on after that until he left for Barbados. I daresay that if he hadn't gone, he would still be working on the house today. He had his own room and studio here and always said that he would like to retire here; but the English weather was no good for his arthritis and so he stayed in the West Indies even though he left many of his belongings here (ibid., p. 216). The mirrors were photographed by Country Life in the Morning Room at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 981, fig. 4).  Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the gilding rubbed and worn with some areas of silvering; some visible sectional construction cracks; the backboards of one mirror are plywood.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A CARVED GILTWOOD MIRROR LATE 18TH/ EARLY 19TH CENTURY, IN THE MANNER OF THOMAS CHIPPENDALE with divided bevelled arched rectangular plate,carved overall with scrolling foliage, acanthus scrolls and flowering branches, the arched c-scroll carved cresting with eagles resting on rockwork, foliage and acanthus leaves, the apron with confronting acanthus and c-scroll carved clasp244cm high x 101 cm (at the widest point)Provenance:The Crawley Boevey Family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1232, 'A FINE CHIPPENDALE WALL MIRROR IN CARVED GILT WOOD FRAME, fitted two plates with narrow outer borders finely carved with C scrolls, acanthus and flowering trees, a fine carved and shaped pediment set with birds, overall measurements, 8 ft. high, 3ft. 6 in. wide.'  Literature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 982, fig. 5, The Morning Room. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 124, 'the morning room' This mirror is an interpretation of a design for a pier glass by Thomas Chippendale (1718-79) (see plate CLXIX for a related design published in Chippendale's The Gentleman and Cabinet-Maker's Director, 3rd edition, 1763). As Oliver Messel was initially commissioned for the interiors of the Morning Room and Drawing Room, it seems likely that he incorporated this historic mirror from the original Crawley-Boevey family collection into his scheme for Flaxley after it had been bought by Frederick Baden Watkins in the 1960s.   Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, signs of repair to some elements which have previously broken off and have been stuck back in placeChipping and flaking to the gilt surface and some losses to some elementsThe large bevelled plate is almost certainly a replacement, it has some bloom and depletion and has some age but not period to the frame, other plates with severe bloom are more likely to be original Dirt and discolouration to the gilt surfacePlease refer to additional images for visual reference to conditionCondition Report Disclaimer

FOLLOWER OF JAN BRUEGEL IIRIVER LANDSCAPE WITH A FERRY AND TRAVELLERS ON A TRACK BY A HOUSEOil on copperInscribed 'The Dowager Lady Crawley-Boevey' (on the reverse)15.5 x 22cm (6 x 8½ in.) (2)Provenance:The Crawley-Boevey Family in the Drawing Room at Flaxley AbbeySold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1292Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Condition Report: Ferry scene: Surface dirt and discolouration of the varnish. A diagonal scratch central left running from the tree through the water to the small boat. Abrasions around the edges from contact with the frame. A restoration in the sky.Travellers by a house: Surface dirt and discolouration of the varnish. A speck of paint loss to the right of the central tree, revealing the copper. Abrasions around the edges from contact with the frame. Condition Report Disclaimer

ATTRIBUTED TO MARC BAETS (FLEMISH FL. 1700-1749)RIVER LANDSCAPES WITH TOWNS AND RUINSOil on panel12 x 15.5cm (4½ x 6 in.) (4) Provenance:The Crawley-Boevey Family in the Drawing Room at Flaxley AbbeySold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1290 and 1291Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Condition Report: All with a layer of surface dirt and discolouration of the varnish. Areas of fine craquelure, mainly concentrated in the sky. Some abrasions around the edges, from contact with the frame. UV reveals very minimal retouching. Condition Report Disclaimer

FOLLOWER OF GILBERT JACKSONPORTRAIT OF JAMES BOEVEY, AGED 11, FULL LENGTH IN A GREEN DOUBLET AND HOSE, HOLDING A GLOVE, BY A TABLE WITH AN OPEN BOOK IN A CURTAINED INTERIOROil on canvas (in an 18th century frame)Dated 'AN.O DOM: 1634/AETATIS SUAE II' with identifying inscription146 x 99cm (57¼ x 38¾ in.) Provenance: Possibly commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1295Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Compiled by: Arthur W. Crawley-Boevey, 'The Perverse Widow': Being Passages from the Life of Catharina, wife of William Boevey, Esq., London, 1898, p. 37. Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11-12, no. 2. J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 982, fig. 5, The Morning Room. This full-length painting is a companion piece to lot 51, Joanna Boevey (1605-64), aged 11, daughter of Andreas Boevey (1566-1625) and his first wife, Esther Fenne. This portrait probably depicts James Boevey (1622-96), Joanna's half-brother, son of Andreas and his second wife, Joanna (née de Wilde). The two portraits were probably painted to mark the children's coming of age when they were eleven. James, merchant and philosopher, was, in later life, only five feet tall, 'slenderly built with extremely black hair curled at the ends, an equally black beard, and the darkest of eyebrows hovering above dark but sprightly hazel eyes' (com accessed 14 June 2022). His early career was as a 'cashier' for the banker Dierik Hoste, and for the Spanish ambassador in London, while in the employ of the Dutch financier Sir William Courten. A known figure in Restoration London, Samuel Pepys described him as: 'a solicitor and a lawyer and a merchant altogether who hath travelled very much; did talk some things well, only he is a Sir Positive; but talk of travel over the Alps very fine' (Pepys, 9.206). Although his writings on 'Active Philosophy' were never published, they circulated widely amongst his friends and acquaintances. In 1642, James Boevey and his half-brother, William, made a joint-purchase of Flaxley Abbey. In 1912, it was argued that the painting was in fact a portrait of Abraham Clarke the Younger rather than James Boevey (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11-12, no. 2). This was based on a discrepancy between the date of the painting and the age of the sitter - in 1634, Joanna Clarke's son (née Boevey), Abraham the Younger, born in 1623, was aged 11 while his uncle and Joanna's half-brother, James, born in 1622, would have been 12 years old when the portrait was painted. In the 'old Flaxley List', the painting was recorded as 'Mr. Clarke' and attributed to Van Dyck. However, in retrospect, it seems more likely that Andreas Boevey would have commissioned a portrait of his children, Joanna and James. The Van Dyck attribution seems unlikely if he is to be credited with the companion portrait of Joanna, painted in 1616, as Van Dyck did not arrive in England until 1620 (ibid.). A 19th-century copy of this portrait was painted and published in Crawley-Boevey, A.W.C., The Perverse Widow, Being Passages from the Life of Catharina, Wife of William Boevey, 1898, p. 34.  Condition Report: Overall in good condition. Canvas has been relined and mounted on a later stretcher, providing good support. A layer of surface dirt and discolouration of the varnish. A few areas of very fine craquelure. Some abrasions around the edges from contact with the frame. Condition Report Disclaimer

ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF JOANNA BOEVEY, FULL LENGTH IN A BLACK AND BROWN DRESS WITH EMBROIDERED SLEEVES HOLDING A PAIR OF GLOVESOil on panelInscribed 'ANNO 1616/ ANNO BOEVE/AETATIS SVAE 11-'143.5 x 95.3cm (56¼ x 37½ in.)In an 18th Century carved giltwood frame. Provenance:Probably commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1296.Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 1; p. 12. In the 1960 sale of the house contents of Flaxley Abbey, Gloucestershire, this painting was ascribed to 'Sandvort'. The portrait represents Joanna Boevey (1605-64) as a young girl, aged 11, daughter of Andreas Boevey (1566-1625), a Dutch Huguenot emigré, merchant, financier and elder of the Dutch church at Austin Friars. Joanna married Abraham de Clerke (also Dutch, anglicised to Clarke). After 1654, James I transferred the Flaxley estate to Joanna's brother, William Boevey, who gifted a share to his sister, and directed that the remainder be sold after his death for the benefit of his wife. In 1661, Joanna bought out her sister-in-law, and lived at Flaxley with her son, Abraham Clarke the younger. On Abraham's death in 1683, he bequeathed the estate to his cousin, also named William Boevey (1657-92), son of his half-uncle, James (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins',Country Life, 29 March 1973, pp. 844-845). A second painting of Joanna as an adult is recorded at Flaxley in 1912, and at this date was tentatively attributed to Cornelius Jansen (1585-1638) (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 2; p. 13). Condition Report: Panel supported on the reverse by five horizontal wooden slats, one of later date. Four horizontal wooden panels, with visible openings between them. Several vertical cracks: two of about 36 and 27 cm running up from the edge lower left, one of about 36 cm running up from the edge in the centre, one of approx. 40 cm running down from the top edge upper right, several smaller ones running down from the top edge. Surface dirt and discolouration of the varnish. UV reveals retouching particularly along the cracks as well as in the sitter's face where the paint is slightly thinning. Condition Report Disclaimer

A SET OF EIGHT GEORGE II WALNUT AND PARCEL GILT DINING CHAIRSCIRCA 1730With repeating eagle motifs, each vertical splat with the Altieri crest, the six stars surmounted by a galero, mantle and tassels, each with drop in seats and cabriole legs terminating in claw and ball feeteach 104cm high, 53cm wide, 49cm deep; together with a pair of later chairs to match, 19th century(10) Provenance:Possibly commissioned by Vincenzo Maria Altieri for Palazzo Altieri, Rome Formerly the Messel family collection in the Dining Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2, The Entrance Hall. Sale Room notice: One of the drop in seats are missing from the chair   J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134 and fig. 5. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, pp. 122-123, 'the entrance hall'. This set of ten walnut and parcel-gilt dining chairs together with two mahogany examples en suite bear the arms of the Altieri family from Rome. They were originally at 104 Lancaster Gate, the London family of Britain's greatest stage director and artist, Oliver Messel (1904-78). When Nymans burnt down in 1947, Oliver and his two siblings received some of the remaining contents, and after the death of their mother, Maud (née Sambourne), in 1960, Oliver inherited more of the furniture from Lancaster Gate and Holmstead Manor. The chairs were subsequently sold by Oliver to his clients, Frederick and Phyllis Watkins, for Flaxley Abbey, Gloucestershire, almost certainly around 1960 when he was assisting them with the renovation and refurbishment of the abbey; a project that he worked on sporadically until 1973. Frederick Baden Watkins wrote how very gifted Oliver was: 'Once he had an inspiration, he'd get a piece of paper and sketch it out. What could have taken me five years, would take him five minutes' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 216). When a room was completed, Oliver would look to his own collection for furniture: 'I've got a pair of mirrors at Nymans that would look right there', and Watkins would buy them (ibid., p. 217). Furniture probably also came from Oliver's London house, Pelham Place, as he wrote: 'Poor Pelham Place, I gather, is now striped to the bone. George has gone down to Flaxley with another load' (ibid., p. 226). Two of these chairs were photographed in the Entrance Hall at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2). The chairs with their Italian Altieri coat-of-arms complimented Oliver's large mural painting of an Italianate urn. A central arcaded recess with a Robert Adam-style doorway led from the entrance hall to the dining room where presumably the remainder of the suite was situated. Oliver's nephew Thomas Messel made a contemporary set of chairs modelled on the Altieri set for his own home at Bradley Court, Gloucestershire (J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134, fig. 5). In 1986, Thomas included this model of chair, both side and armchairs, in his firm's furniture range, which he named the 'Venetian' Cardinal Chair' (National Art Library, TL.Thom 1.1). The papal family of Altieri became extinct in 1955, with the death of the last prince, Prince Ludovico Altieri (1878-1955). It is not known how this set became part of the Messel collection but it is possible that they were collected by either Ludowig Messel or Leonard Messel- both enthusiastic collectors- in the early 20th century. The broad proportions of these chairs with their waisted upright back posts, solid shaped baluster splat, compass seat and cabriole legs are typical of high quality 'banister back' chairs of the 1730s. The arched crest rail has evolved from the milkmaid's yoke found in Chinese prototypes. The chair-back is slightly bent to ergonomically fit the back of the sitter. The introduction of the 'India back' - India or Indian being used to denote all of South and South East Asia - also sometimes called a 'bended', 'crook'd' or 'sweep' back chair is considered 'the most radical and far-reaching design innovation of the eighteenth century' (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 156). Related crest rails and splats can be found on a set of walnut chairs, 1734, supplied by Daniel How and Thomas Moore in the Lady Lever Art Gallery, Port Sunlight (ibid., p. 180, plate 4:73). Another example made in giltwood, 1730-40, was probably made for Richard Temple, 1st Viscount Cobham, for Stowe House, Buckinghamshire (ibid., p. 181, plate 4:75). The back of the splats of the present chairs have been chamfered to 'lighten' their appearance. These chairs are highly unusual for the carved decoration on the 'shoe' (where the splat joins the back of the drop-in seat) and the stylised claw and ball feet. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: missing one of the drop in seats; one of the drop in seats with a hand written label in ink 'Col. Messel'; there is evidence of worm; the parcel gilt rubbed and knocked revealing in some places the underlying washes, gesso or wood; some damage and restorations including split vase shaped splats, leg and seat rail joints, dowelling repairs, metal braces, inset wood repairs, repairs with screws. The red silk damask worn, marked and some torn, the hessian webbing visible to the undersides.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A PAINTED AND GILTWOOD AND COMPOSITION EIGHT LIGHT CHANDELIERDESIGNED BY OLIVER MESSELLThe acanthus cast basket supporting nine gilt metal branches suspending faceted lustre dropsApproximately 107cm high, 104cm diameterProvenance: Supplied by Oliver Messel Illustrated: T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p.119A chandelier of an almost identical design was supplied to main showroom of Rayne's shoe shop by Oliver Messel. It would be this earlier project which encouraged Phillis Baden Watkins to commission Messel to complete the restorations at Flaxley. The lustre drops were an embellishment made by Messel on the original design.Condition Report: Some flaking to the gilding of the central acanthus leaf bowl and with visible cracked section. The majority of the candle branches have wired repairs holding on the leaf sections suspending the swag drops. All drops appear present. See images available upon request.Condition Report Disclaimer

ANGLO-DUTCH SCHOOL (CIRCA 1740)VIEW OF A HOUSE WITH PROJECTING ANGLE PAVILIONS, IN A PARK WITH AN OVAL POOL, FIGURES IN THE FOREGROUNDOil on canvas139.7 x 180.3cm (55 x 70 in.)Provenance:Probably the Messel family collection at Nymans until the fire in 1947In the Drawing Room at Holmstead Manor and thence by descent to Oliver MesselPurchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Harris, The Artist and the Country House, London, 1979, p.212, pl.223, The present picture was in the collection of Colonel Leonard and Maud Messel in the Drawing Room at Holmstead Manor. It is likely that, like so much of the Messel collection, it was originally at Nymans and removed to Holmstead after the disastrous fire in 1947. After the death of his mother in 1960, Oliver Messel inherited the picture but later sold it between 1962 and 1966 to Frederick Baden-Watkins for the dining room at Flaxley Abbey.The artist and house remain unidentified, but John Harris dates the picture to the 1740's. He also suggests that the house, with it's four towers set at the angles of the square centre block, is a layout seen in some engraved plans by Sebastiano Serlio, although it was probably built in the 1670's and 80's. There is a passing similarity to Thirlestane Castle in the Scottish Borders, the seat of the Dukes of Lauderdale. There is no record of formal gardens and the castle was remodelled and enlarged in the 1840's by William Burn. Pentimenti in the centre of the pictures show that the artist originally included a carriage on the central avanue which was later removed.It is interesting to note that this picture was painted during, and appears to depict, the transition period when country houses were sweeping aside their formal Anglo-Dutch baroque canals, cascades and avenues and favouring visions of arcadia by implementing bucolic schemes of rolling parkland enacted and influenced by the work of William Kent and later Lancelot Capability Brown. Condition Report: The canvas has been relined. Surface dirt and a yellowing of the varnish. Vertical stretcher marks visible in the centre of the canvas. Some areas of craquelure. Several repairs visible to the naked eye, as well as several repairs which are revealed under UV light. More scattered retouching visible under UV light. Condition Report Disclaimer

A PAIR OF EDWARDIAN PAINTED AND STAINED PINE CONSOLE TABLES IN GEORGE II STYLEEARLY 20TH CENTURYOf semi-eliptical outline, each with inset marble tops decorated with half batwing motifs and ribbon tied swags in green scagliola, the trompe l'oiel fluted freezes centred by tablets inlaid with urns, on canted square tapering legs and splayed feet86cm high, 76cm wide, 34.5cm deepProvenance: Supplied by Oliver Messel from the London property of George Emlyn Williams Literature: C. Castle, Oliver Messel: A Biography, London, 1986, p 217T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 126-127 George Emlyn Williams was a Welsh, writer, dramatist and actor. According to Fred Baden Watkins Oliver persuaded Williams to sell them, who reluctantly accepted.   Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: some cracks and staining with small chips to the marble tops; some 'aged' wash or discolouration to the marble tops and friezes; the undersides of the two tables have differences including the method of blocks.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

AN EDWARDIAN PAINTED AND STAINED PINE CONSOLE TABLE IN GEORGE II STYLEEARLY 20TH CENTURYWith inset marble top painted with drapery swags, the green painted frieze centred by a rectangular tablet on with central urn on square tapering supports and turned feet80cm high, 91cm wide, 40cm deep Provenance:Probably supplied by Oliver Messel from George Emlyn Williams' London home. Literature: C. Castle, Oliver Messel: A Biography, London, 1986, p 217T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 126-127 George Emlyn Williams was a Welsh, writer, dramatist and actor. According to Fred Baden Watkins Oliver persuaded Williams to sell them, who reluctantly accepted.Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and useSplits and cracks, chips and losses, joints opening, there is a section of moulding missing to the friezeThere are losses, observations and restorations including: some cracks and staining with small chips to the marble tops; some 'aged' wash or discolouration to the marble top. Also some domestic paint depositsOverall will require some repairs before use in a domestic settingPlease see the additional photographs as a visual reference of condition.Condition Report Disclaimer

ENGLISH SCHOOL (CIRCA 1680)PORTRAIT OF FRANCIS VANACKER, HALF-LENGTH, IN AN EMBROIDERED CLOAK; AND PORTRAIT OF HIS WIFE, CORNELIA BOEVEY, IN A MAUVE DRESSOil on canvas, a pair73 x 61cm (28½ x 24 in.) oval (2)Provenance:Possibly at the sitter's home, Erith Manor, Kent Probably inherited by Catherina Boevey in 1702 and thence by descent Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1323Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Literature:A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11, no. 7.Francis Vanacker (d.1686, aged 38) was High Sheriff of Kent and a descendant from a London merchant family. He married Cornelia Boevey (d.1702) in 1671, who was the only daughter of the merchant, lawyer and philosopher James Boevey (1622-1696) by his second wife Isabella de Visscher. Upon Francis' death in 1686 Cornelia remarried to William Bateman of Clifton. She died at Erith Manor in 1702 without issue making it likely that this pair of portraits were inherited by her sister-in-law Catherina, owing to the early death of her brother William in 1692. Condition Report: Both with surface dirt and discolouration of the varnish, both canvases have been relined and show abrasions around the edges from contact with the frame. The male portrait with some bulging of the paint below his hair on the right, as well as a repaired tear in the same area. UV also reveals retouched craquelure in the sitter's face. The female portrait with several small repairs, visible under UV light, mainly to the left of the figure in the background, as well as some retouched craquelure in her face and neck. Condition Report Disclaimer

A FINELY CARVED PINE PIER MIRROR EARLY 19TH CENTURY, IN THE MANNER OF MATTHIAS LOCK With shaped rectangular plate, the frame pierced and carved with rockwork, scrolling foliage, pomegrate, flower heads and satyre masks, the cresting with Cupid's bow and arrow, the apron with cornucopia of flowers, 178cm high, 102cm wide Provenance: Formerly the Messel family collection at Nymans Removed to The Padouk Room at Holmstead Manor in 1947 after the disastrous fire and thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Baden Watkins for Flaxley Abbey Mirrors with opposing satyr head masks are usually attributed to Matthias Lock based on the design published in his Six Sconces (1744, 1768), plate 4 (ed. E. White, Pictorial Dictionary of British 18th Century Furniture Design, Woodbridge, reprinted 2000, p. 325). An etching from the original pattern book consisting of six plates of designs for wall-mirrors and sconces (with brackets for holding candles) is in the Victoria & Albert Museum (27811:6). A pier glass after this design was made for John, 2nd Earl Poulett (1708-1764), for the Tapestry Room at Hinton House, Hinton St George, Somerset (V&A, W.8-1960). Another mirror is at Ramsbury Manor, Wiltshire (R. Edwards, The Dictionary of English Furniture, Woodbridge, rev. edn. 1954, vol. II, p. 339, fig. 72). A pair of English giltwood pier glasses, c. 1760, attributed to Lock is at Uppark House, West Sussex (NT 137655.1-2). A related mirror of similar date is illustrated in G. Wills, English Looking-glasses, London, 1965, p. 87, no. 61. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, Joints opening to the frame, some signs of filler to the jointsThe mirror plate with bloom and depletion, it has age but Dreweatts wouldn't guarantee the originality of the plateThe surface is stripped Please refer to additional images for visual reference to condition Condition Report Disclaimer

ENGLISH SCHOOL (CIRCA 1740) PORTRAIT OF REV. THOMAS SAVAGE, THREE QUARTER LENGTH, IN A BROWN COAT AND AN ORIENTAL GOWN, SEATED AT A TABLEOil on canvasWith inscription 'Mr. Savage' (lower left)124 x 100cm (48¾ x 39¼ in.) In an original 17th century carved giltwood frame. Provenance:The Crawley-Boevey Family Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1337Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Previously identified as Capt. George Savage (label on the reverse), but most probably Rev. Thomas Savage, Rector of Standish, who married Eleanor Barrow in 1737. Their daughter Anne married Thomas Crawley-Boevey, 2nd Baronet of Highgrove in 1769. Condition Report: The canvas has been relined. Some surface dirt and a slight discolouration of the varnish. Areas of craquelure, mainly in the left half of the painting. UV reveals scattered retouches and repairs, including around the sitter's face and in his hair. Approx.. five scratches with related paint loss along the left edge at the height of his right hand. Condition Report Disclaimer

FOLLOWER OF DAVID VON KRAFFT (SWEDISH 1655-1724)PORTRAIT OF KING CHARLES XII OF SWEDEN, THREE-QUARTER LENGTH, IN UNIFORMOil on canvas125 x 100cm (49 x 39¼ in.)Provenance:The Crawley-Boevey Family Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1326Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey.Charles XII (1682 - 1718) was King of Sweden (including current Finland) from 1697 to 1718. He belonged to the House of Palatinate-Zweibrücken, a branch line of the House of Wittelsbach. Charles was the only surviving son of Charles XI and Ulrika Eleonora the Elder. He assumed power, after a seven-month caretaker government, at the age of fifteen. Charles is depicted in the same blue and yellow uniform of the Swedish Imperial Guard throughout many official portraits, this is now in the Royal Armoury in Stockholm.It is not known why the present picture was in the Crawley-Boevey collection at Flaxley. Other versions of this portrait are in the Government Art Collection, London and the National Trust Collection, Plas Newydd, Anglesey. Literature:A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 15, no. 5.  . Condition Report: The canvas has been relined. Specks of surface dirt and a discolouration of the varnish. Several superficial abrasions between the sitter's waist and the lower edge. A few scattered retouches visible to the eye but hardly visible under UV. Condition Report Disclaimer

Collection of Vintage Safety Posters, Vintage Autograph Album with signatures inc. George VI, Baden Powell, Duke of Argyle and a collection of Albert Bowers Tranquil Scenery etc

KORNBECK, JULIUS (1839-1920) "Blick auf Nürtingen" Öl auf Leinwand, sig., Verso handschriftlich "N.82 J.", HxB: 33/78 cm. Part. Farbabplatzer, Rahmen, HxB: 41/86 cm. Provenienz: aus einer Privatsammlung aus Baden-Württemberg. | KORNBECK, JULIUS (1839-1920) "View of Nürtingen".Oil on canvas, signed, handwritten on verso "N.82 J.", HxW: 33/78 cm. Part. Paint chipping, frame, HxW: 41/86 cm. Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Blick in eine schwäbische Landschaft" Öl auf Karton, sig., HxB: 25/41 cm., leichte Altersspuren. Rahmen, HxB: 34/51 cm. Provenienz: aus einer Privatsammlung aus Baden-Württemberg.| KORNBECK, JULIUS (1839-1920) "View of a Swabian Landscape".Oil on cardboard, signed, hxw: 25/41 cm., slight signs of age. Frame, HxW: 34/51 cm. Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Getreideernte" Öl auf Karton, sig., HxB: 25/41 cm., leichte Altersspuren. Rahmen, HxB: 33/49 cm. Provenienz: aus einer Privatsammlung aus Baden-Württemberg.| KORNBECK, JULIUS (1839-1920) "Grain Harvest".Oil on cardboard, signed, hxw: 25/41 cm., slight signs of age. Frame, HxW: 33/49 cm. Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Bachlauf" Öl auf Platte, sig., HxB: 25,5/41,5 cm. Leichte Altersspuren. Rahmen, HxB: 33/50 cm.Provenienz: aus einer Privatsammlung aus Baden-Württemberg. | KORNBECK, JULIUS (1839-1920) "Brook".Oil on panel, signed, HxW: 25,5/41,5 cm. Slight signs of age. Frame, HxW: 33/50 cm.Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Heuernte bei Nürtingen" Öl auf Karton, Verso bez: "Umstehendes Bild stammt aus dem Nachlass meines Mannes Professor Julius Kornbeck.....", HxB: 25/41 cm., leichte Altersspuren. Rahmen, HxB: 34/51 cm.Provenienz: aus einer Privatsammlung aus Baden-Württemberg. | KORNBECK, JULIUS (1839-1920) "Hay harvest near Nürtingen".Oil on cardboard, inscribed on verso: "Umstehendes Bild stammt aus dem Nachlass meines Mannes Professor Julius Kornbeck.....", HxW: 25/41 cm., slight signs of age. Frame, HxW: 34/51 cm.Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Kahnfahrt" Öl auf Karton, Verso bez: "Umstehendes Bild stammt aus dem Nachlass meines Mannes Professor Julius Kornbeck.....", HxB: 25/41 cm., leichte Altersspuren. Rahmen, HxB: 33/49 cm. Provenienz: aus einer Privatsammlung aus Baden-Württemberg.| KORNBECK, JULIUS (1839-1920) "Boat Trip".Oil on cardboard, inscribed on verso: "Umstehendes Bild stammt aus dem Nachlass meines Mannes Professor Julius Kornbeck.....", HxW: 25/41 cm., slight signs of age. Frame, HxW: 33/49 cm. Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Schafherde" Öl auf Karton, sig., HxB: 25,5/43 cm. Rest., leichte Altersspuren. Rahmen, HxB: 33/51 cm.Provenienz: aus einer Privatsammlung aus Baden-Württemberg. | KORNBECK, JULIUS (1839-1920) "Flock of Sheep".Oil on cardboard, signed, HxW: 25,5/43 cm. Rest, slight signs of age. Frame, HxW: 33/51 cm.Provenance: from a private collection in Baden-Württemberg.

KORNBECK, JULIUS (1839-1920) "Burg Neuffen" Öl auf Karton, sig., HxB: 32/56 cm., leichte Altersspuren. Rahmen, HxB: 44/69 cm. Provenienz: aus einer Privatsammlung aus Baden-Württemberg.| KORNBECK, JULIUS (1839-1920) "Neuffen Castle".Oil on cardboard, signed, HxW: 32/56 cm., slight signs of age. Frame, HxW: 44/69 cm. Provenance: from a private collection in Baden-Württemberg.

JOSEPH FASSBENDER 1903 - 1974 HAHNENSCHREI 1951 Monotypie und Mischtechnik mit Öl auf Papier. Signiert. Passepartoutausschnitt: Ca. 58 x 58 cm. Rahmenrückwand mit Ausstellungsetiketten: Biennale de Venezia, XXXII Esposizione Internazional d'Arte 1964; Staatliche Kunsthalle Baden-Baden, 1986-1987; Kestner-Gesellschaft, Hannover; Kölnischer Kunstverein; Galerie der Spiegel, Köln. Literatur: Kat. 16 deutsche Maler um 1950, Bonn 1951, Nr 31; Kat. Neue Rheinische Sezession, o. O. 1952; Kat. Städtisches Kunstmuseum Duisburg 1956, Nr. 11; Kat. Kestner-Gesellschaft Hannover 1961, Nr. 23; Stedelijk Museum Amsterdam 1961, Nr. 23. Kat. 32. Biennale Venedig 1964, S. 216, Nr. 3; Kat. Aus den Trümmern - Landesmuseum Bonn 1985, S. 311; Kat. ZEN49, Kunsthalle Baden-Baden 1987, Abb. 155; Malerei zwischen Figuration und Abstraktion. Köln 1988, Nr. 93.(Alters- und Montagespuren; lichtrandig bzw. gebräunt).

GB: Unusual, scarce mint set of 1957 QEII World Scout Jubilee Jamboree "Baden Powell" commemorative perfin, issued by Mr W O Hawkins, Company Sec of Slopers, West Worthing, Sussex; one of only a few scout perfin of that time.

Tasse mit UntertasseMeissen, um 1740 Porzellan. Farb- und Goldstaffage. Altozier-Relief. Reicher Rankenhenkel mit plastischem Köpfchen einer Dame mit kleinem Dreispitz. Bunter Insektendekor mit Schattenrändern. Blaue Schwertermarken, Pressnummern. Untertasse mit kleiner Restaurierung am Rand. Teil eines Kaffee- und Teeservices, von dem sich 26 Teile in Großherzoglich-Badischen Besitz im Zähringer-Museum Baden-Baden befinden (vgl. Keramos 32/66, Wend von Kalnein, Die Porzellan- und Fayencesammlung des Zähringer-Museums Baden-Baden.) Provenienz: Lempertz Auktion Meissen-Porzellan. Sammlung Jahn. 12. Juni 1989, Kat.-Nr. 123. Vgl. Jedding, Hermann, Meissener Porzellan des 18. Jahrhunderts in Hamburger Privatbesitz. Hamburg 1982, Nr. 151.

Germany, BADEN, Friedrich II, 5 Marks, 1913g (KM. 281); BAVARIA, Otto, 5 Marks (4), 1902d, 1903d (2), 1913d (KM. 915); WÜRTTEMBERG, Karl, 5 Marks, 1874f (KM. 623); Wilhelm II, 5 Marks (2), 1903f, 1908f (KM. 632) [8]. Varied state £100-£150

German Baden engraved ruby flash goblet, circa 1875, decorated with cameo views of landmarks over a petalled foot, height 14.5cm

Rechtswissenschaften - - Umfangreiche Arbeitsbibliothek des Rechtswissenschaftlers Hans-Peter Benöhr. Die umfangreiche Arbeitsbibliothek enthält Werke aus 5 Jahrhunderten mit Schwerpunkt auf das 20. Jahrhunderts, vom alten Druck in Pergament (ca. 80 Werke) bis zu (überwiegend) modernen Ausgaben (auch zahlr. Taschenbücher), dazu zahlreiche Zeitschriften-Ausgaben (insgesamt wohl über 1000 Bände). Im Folgenden eine Auflistung der interessanten alten Drucke in (teils Halb-) Pergament und (Halb-) Leder (teils mit Gebr.-Spuren). Mevius, David. Codex Mevianus. 3 Bde. (Bd. 3: Supplement.). Ergänzt von O.P. Zaunschliffer, hrsg. von C.L. Leucht. Dillingen, Bencard, 1703. 4°. Pgt.d. Zt. - Ders. Commentarii In Jus Lubecense. 4°. Ldr. d. Zt. Ffm. 1744. - Savary, J. Le Parfait Negociant. Bd. 1. Nouv. ed. Paris, 1749. 4°. Ldr. (Gebr.-Sp.). - A. Vinnius. In quatuor libros Institutionum Imperialium commentarius academicus et forensis. 2 Bde. 4°. Ppbde. Venedig, Graziosi, 1768. - Kreittmayr, W.X. Anmerkungen über den Codicem Maximilianeum Bavaricum civilem. 5 Bde. München, 1758-68. 4°. Ldrbde. d. Zt. - Lancelottus, P. Corpus Juris Canonici Emendatum Et Notis Illustratum. Basel 1682. 4°. Ldr. d. Zt. - Carpzov, B. Jurisprudentia Forensis Romano-Saxonica Secundum Ordinem Constitutionum. Ed. V. Leipzig, Ritzschius, 1668. 4°. Pgt. - Gratian. Decretum Gratiani emendatum. Venedig, 1584. 4°. HPgt. - Mynsinger, J. u. A.v. Gail. Observationum practicarum Imperalis camerae libri 2. Turin 1609. - Wahrhafter Plan betreffend die Reforme der Justitz ... Preussen. 4°. Pp. Halle 1749. - Leyser, A. Meditationes ad pandectas. 8 Bde. d. Reihe. Pgt. 1717 ff. - Grimm, J. Deutsche Rechtsalterthümer. Pp. 1828. - Huber, U. Praelectionum Juris Civilis. 3 Bde. 4°. Pgt. Neapel 1734. - Duarenus, F. Omnia quae quidem hactenus edita fuerunt opera. 2°. Schweinsleder. Frankfurt 1607. - Bynkershoek, C.v. Opera Omnia. 4 Bde. 4°. Pp. Neapel 1766. - Fabri, A. Coniectvrarvm Iuris Ciuilis. 2 Bde. 4°. HPgt. Lugdunum 1591, 1602. - Groenewegen, S. Tractatus de Legibus Abrogatis et Inusitatis in Hollandia. 4°. Pgt. Amsterdam 1669. - Pufendorf, S. De Jure Naturae et Gentium libri octo. 4°. Pgt. 1716. - Gothofredo, D. Corpus Juris Civilis. 4°. HLdr. 1788. - Grotius, H. De Jure Belli ac Pacis. Pgt. 1720. - Marcellinus, A. Rerum gestarum libri qui de XXXI supersunt. 4°. Pgt. 1693. - Struve, G.A. Sytagma Juris Feudalis. ed. 7. Pgt. 1690. - Gregor IX. Decretalium copiosum argumentum. 2°. Halb-Schweinsldr. 1514. - Justinian. Digestorum seu Pandectarum. 2 Bde. Ldr. 1553. - Aquin, Th. v. Summa Theologica. 4°. Ldr. 1702. - Donelli, H. Opusculorum Juris Civilis. 2°. Pgt. 1766. - Ostervald, S. Les Loix us et Coutumes ... Neuchatel. 4°. Ldr. 1785. - Rodriquez, A. Tractatus de Concursu et Privilegiis Creditorum in Bonis Debotoris. 4°. Pgt. 1665. - Brissoni, B. De Formulis et Solennibus Populi Romani verbis. 4°. Pgt. 1731. - Gaito, J. D. Tractatus absolutissimus de Credito. 4°. Pgt. 1664. - Noodt, G. Operum Omnium. 2 Bde. Folio. Pgt. 1763. - Voet, J. Commentarius ad Pandectas. 2 Bde. Folio. Pgt. 1769. - Maria, J. L. Discursus Legales de Commercio. 4 Tle. in 3. Folio. Pp. 1740. - Lauterbach, W.A. Collegium Pandectarum. 3 Bde. 4°. Pgt. 1784. - Brunnemann, J. Commentarius in Codicem Justinianeum. 4 Bde. 4°. Pgt. 1778. Pandectarum Iuris Civilis... 5 Bde. 4°. Pgt. 1551. - Mynsinger, J. Apotelesma. 4°. Pgt. 1599. - Stryk, S. Continuatio quarta Usus Moderni Pandectarum. 4°. Pgt. 1737. - Ders., Specimen Usus Moderni Pandectarum. 4°. Pgt. 1730. - Dufresne, C. Glossarium ad Scriptores Medicae et Infinae Latinitatis. 6 Bde. Folio. Ldr. 1733. - Donelli, H. Commentariorum Juris Civilis. 7 Bde. Pgt. Folio. 1763 u.v..m. - Dazu Sammlungen zum schweizer, französischem (u.a. Lorré, Legislation Civile, Commerciale et Criminelle. 16 Bde. 1836 ff. HLdr.), österreichischem Recht, Rechte und Gesetze der Juden, römisches Recht, deutsche Landesrechte in Hamburg, Baden, Sachsen etc., umfangreiche Sammlung zur Geschichte und zur Entwicklung des bürgerlichen Gesetzbuches, zahlreiche (meist) moderne Gesetztestexte und Kommentare. Umfangreiche Arbeitsbibliothek des Rechtswissenschaftlers Hans-Peter Benöhr. Hans- Peter Benöhr, 1937 in Berlin geboren und Mitte 2017 dort gestorben, hatte nach Assistentenjahren und nach der Habilitation in Hamburg (1971) Lehrstühle in Neuchâtel, Wien, Frankfurt und an der Humboldt Universität in Berlin inne. Er hielt als Emeritus noch alljährlich Kurse zum deutschen Wirtschaftsrecht an chinesischen Universitäten, hat als "visiting professor" schon in frühen Jahren in Kansas/USA gelehrt und fühlte sich im Übrigen besonders mit Frankreich verbunden. Er war Begründer und langjähriger Leiter des deutsch-französischen Studiengangs der Humboldt Universität und stand durch seine Ehefrau Sylvie und seine beiden Söhne auch familiär Frankreich sehr nahe (J. P. Meincke). Er vertrat politisch einen an den Werken von Adam Smith orientierten Wirtschaftsliberalismus mit sozialstaatlichen Elementen und kam in seinen Forschungen zur Geschichte der Sozial- und Arbeitslosenversicherung zu dem Ergebnis, dass es in Deutschland in der Neuzeit entgegen anderer Meinungen keine von staatlichem Einfluss freie Wirtschaft gegeben habe. Ergänzend untersuchte Benöhr die Geschichte der Juden als Minderheit in Deutschland. - Kein Versand, nur Abholung möglich.

Deutschland - - Sammlung von 11 meist kolorierten Original-Graphiken. Überwiegend 19. Jh. Verschiedene Techniken: u.a. Kupferstich, Stahlstich und Lithographie. Blattmaße von 14 x 21 cm bis 46,5 x 31,5 cm. Je auf Unterlage und unter Passepartout montiert. Enthält: J.J. Tanner, Schloss Biebrich in Wiesbaden. - Salathé nach Federle. Vue du Château de Biberich Résidance de S.A.S. Le Grand Duc de Nassau. - L. Weber, Zurich, prise depuis la Weid, Côté du Nord. - Alsterbassin in Hamburg. - Grund-Riss der englischen Anlage von Hohenheim. - R. Stieler, Marktplatz zu Heilbronn. - R. Bowyer (Hrsg.), Hamburgh. - Huquié fils, 4e Vue d'Optique nouvelle, representans La Gde place du Mont S.te Marie à Francfort sur le Mein. Dessiné pend.t l'hyver. - F. Stroobant, Le Quai du Mein à Francfort. - Ders., La Cathedrale de Worms. - F. Remberger, Panorama von Baden. Dieses Blatt unvollständig, im Rand beschnitten. - Teils etwas gebräunt. Insgesamt sehr gut erhalten. Germany - Collection of 11 mostly coloured original prints. Mostly 19th century. Various techniques: among others copper engraving, steel engraving and lithography. Each mounted on a backing and under passepartout. - Contains: see above. - Partly somewhat browned. Overall very good condition.

Anny van Kruyswyk. Sammlung von ca. 80 Briefen und Postkarten mit Photographien an die Sopranistin Anny van Kruyswyk sowie einige von ihr. Tls. deutsche, tls. niederländische u. ungarische Handschriften. Um 1909-1940. Gesteckt in mod. Ringordner. Anny van Kruyswyk (14.04.1898 Wien - 20. April 1976 München) studierte an der Musikakademie in Budapest, wo sie auch ihr erstes Engagement erhielt und 1926 erstmals die Opernbühne betrat. Danach war sie u.a. an Opern in Frankfurt, Wiesbaden und Nürnberg tätig. Seit 1931 gehörte sie Jahrzehntelang als Kammersängerin der Bayerischen Staatsoper an. - Vorliegende Sammlung enthält Briefe und Postkarten aus Baden Baden, Monaco, Monte Carlo, Paris, St. Moritz, London, Budapest, Holland u.a. von: Annie Sinning, den Eltern, Tante Anna, Cousin Oskar etc. - Tls. auf Hotelbriefpapier. - Tls. leicht gebräunt, wenig angeschmutzt u. fleckig, insg. wohlerhalten. Collection of approx. 8 letters and postcards with photographs to the soprano Anny van Kruyswyk and some of her. Some German, some Dutch and Hungarian manuscripts. - Anny van Kruyswyk (14.04.1898 Vienna - 20. April 1976 Munich) studied at the Academy of Music in Budapest, where she also received her first engagement and entered the opera stage for the first time in 1926. Afterwards she worked at operas in Frankfurt, Wiesbaden and Nuremberg, among others. From 1931 she was a member of the Bavarian State Opera for decades. - This collection contains letters and postcards from Baden Baden, Monaco, Monte Carlo, Paris, St. Moritz, London, Budapest, Holland and others by Annie Sinning, her parents, aunt Anna, cousin Oskar etc. - Some on hotel stationery. - Occ. slight browning, soiling and staining, overall good condition.

Russland - - Jean-François Thomas de Thomon u.a.. Sammlung von neun russischen Architekturzeichnungen mir Darstellungen von Palästen. Um 1800-1830. Je Feder, Tusche und Aquarelle auf Papier. Blattmaße von 24,5 x 33 cm bis 43,5 x 79,5 cm. Die Sammlung enthält ein signiertes Blatt des russisch-französischen Architekten Jean-François Thomas de Thomon (1760-1813), welches das Erste Theater in Odessa (heutige Ukraine) darstellt. Das Gebäude im klassizistischen Stil wurde 1809 von ihm errichtet und brannte 1879 nieder. Eine weitere Zeichnung mit späterer hs. Bezeichnung in Graphit in italienischer Sprache: "Orangerie della casa Vorouzof". Gemeint ist wohl der Woronzow-Palast, ebenfalls in Odessa. Die prächtigste Zeichnung der Sammlung zeigt die nördliche Fassade des Alexanderpalastes in Zarskoje Selo (heutige Stadt Puschkin), der von Katharina der Großen für ihren Enkel und zukünftigen Kaiser Alexander I. zu dessen Hochzeit mit Louise von Baden in direkter Nachbarschaft zum Katharinenpalast erbaut wurde. Der klassizistische Flügelbau mit seinen charakteristischen, imposanten Säulen und Statuen wurde zwischen 1792-96 von dem berühmten italienischen Architekten Giacomo Quarenghi (1744-1817) errichtet, welcher in Russland ansässig war. Desweiteren enthält die Sammlung Zeichnungen mit Fassadenansichten von nicht identifizierten Palästen, davon einer zusätzlich mit Grundrissen der Etagen, sowie ein Palast im Stil der italienischen Renaissance. Die Zeichnung des Woronzow-Palastes mit Klappteil. - Meist mit Maßstab und teils mit hs. Beschriftungen in russischer oder französischer Sprache. - Meist mit Falzen und kl. Randläsuren sowie etwas angeschmutzt und knitterig. 1 Bl. mit hinterlegtem Einriss. Die Zeichnung des Theaters etwas wasserfleckig. Farben gut erhalten. Hochinteressante Sammlung zu russischer Architektur zur Zeit des Kaiserreichs. Russia - Collection of nine Russian architectural drawings depicting palaces. Around 1800-1830, each with pen, ink and watercolours on paper. - The collection contains a signed sheet by the Russian-French architect Jean-François Thomas de Thomon (1760-1813), depicting the First Theatre in Odessa (today's Ukraine). The building in the classicist style was erected by him in 1809 and burned down in 1879. Another drawing with later handwr. inscription in graphite in Italian: "Orangerie della casa Vorouzof". Certainly the Vorontsov Palace in Odessa. The most magnificent drawing in the collection shows the northern façade of the Alexander Palace in Tsarskoye Selo (today's city of Pushkin), which was built by Catherine the Great for her grandson and future Emperor Alexander I for his wedding to Louise von Baden in the direct vicinity of the Catherine Palace. The neo-classical wing building with its characteristic imposing columns and statues was built between 1792-96 by the famous Italian architect Giacomo Quarenghi (1744-1817), who was based in Russia. Furthermore, the collection contains drawings with facade views of unidentified palaces, one of them additionally with floor plans, as well as a palace in the style of the Italian Renaissance. One drawing with folding part. - Mostly with scale and partly with handwritten inscriptions in Russian or French. - Mostly with folds and small marginal defects as well as somewhat soiled and creased. One sheet with backed tear. The drawing of the theatre somewhat waterstained. Colours well preserved. Highly interesting collection on Russian architecture at the time of Empire.

MIXED BLUE & WHITE & OTHER POTTERY GROUP - notables include a Baden-Powell pink lustre cup and saucer, West German stoneware vase, 31cms H and a pair of Cobalt Satsuma decorated vases, 16cms heights

Spannendes gemischtes Lot mit einigen Schmankerln, darunter u.a. Ulmer Guldenklippe 1704, ca. 14,1 g. Russland, Katharina I., 1/2 Rubel 1726, ca. 12,8 g. Deutsch-Ostafrika 1 Rupie 1914 J. Niederlande Reichstaler 1629 (?). Weiteres mehr, z.B. Dt. Kaiserreich, Weimarer Republik, BRD 5 DM 1955 G Markgraf v. Baden und zurück in die Antike. Bitte unbedingt besichtigen!| Exciting mixed lot with a few delicacies, including Ulmer Guldenklippe 1704, approx. 14.1 g. Russia, Catherine I, 1/2 ruble 1726, approx. 12.8 g. German East Africa 1 Rupee 1914 J. Netherlands Reichstaler 1629 (?). Other more, e.g. German Empire, Weimar Republic, FRG 5 DM 1955 G Margrave v. Baden and back to antiquity. Please visit!

Schönes Goldkonvolut Baden zur Zeit des deutschen Kaiserreichs - 4 x Baden - 20 Mark 1872/1873/1894/1914,/G, Friedrich (3x)/ Friedrich II. (1x), je 7,16g Gold fein. 6 x Baden - 10 Mark 1873/1876/1901/1904/1907/1909/G, je 3,58g Gold fein. 1 x 5 Mark 1877/G, Friedrich, 1,79g Gold fein. Erhalt stets unterschiedlich, mind. jedoch ss. Am besten besichtigen!| Beautiful gold collection Baden at the time of the German Empire - 4 x Baden - 20 Mark 1872/1873/1894/1914,/G, Friedrich (3x)/ Friedrich II (1x), each 7.16g gold fine. 6 x Baden - 10 Mark 1873/1876/1901/1904/1907/1909/G, each 3.58g gold fine. 1 x 5 Mark 1877/G, Friedrich, 1.79g gold fine. Condition always different, but at least VF. Best to inspect!

BRD - Top 5, die ersten 5 DM Gedenkprägungen ex 1952/64, Germanisches Museum, Schiller, Markgraf von Baden, Eichendorff, Fichte, unterschiedlich erhalten, teils verbessert.| FRG - Top 5, the first 5 DM commemoratives ex 1952/64, Germanisches Museum, Schiller, Margrave of Baden, Eichendorff, Fichte, variously preserved, some improved.

Interessantes Konvolut im Präsentationskasten mit 9 Auszeichnungen, bestehend aus u.a. Preussen Königlicher Kronen-Orden Kreuz 4. Klasse am Bandabschnitt, Bronze vergoldet und emailliert. Württemberg Charlottenkreuz, Baden Kriegsverdienstmedaille mit Bandspange 1870-1871, Hessen 2 x Militärsanitätskreuz 1914, Verdienstkreuz für Pflege der Soldaten. Mecklenburg-Schwerin Kriegsverdienstkreuz 2. Klasse am Band für den Krieg 1870. Hamburg Hanseatenkreuz 1915 und Weiteres. Erhaltungen verschieden. Keine Gewähr für die Authentizität aller Stücke. Bitte unbedingt ansehen!| Interesting lot in the presentation box, consisting among other things of Prussia Royal Crown Order 4th Class Cross on the ribbon section, gilt and enamelled bronze. Württemberg Charlottenkreuz. Baden War Merit Medal with ribbon clasp 1870-1871, Hessen 2 x Military Medical Cross 1914, Merit Cross for the care of soldiers. Mecklenburg-Schwerin War Merit Cross 2nd Class on the Ribbon for the War 1870. Hamburg Hanseaten Cross 1915 and others. Conditions different. No guarantee for the authenticity of all pieces. Please have a look!

24 Münzen ex RDR/ Deutsches Reich - Beginnend mit 2/3 Taler Bremen/Emden 1687, 12 Mariengroschen 1669, danach 3/5 Markstücke des Kaiserreiches von Baden, Bayern, Preussen und Sachsen, sehr unterschiedlich erhalten, wohl alle ss, oft Grünspan.| 24 Coins ex RDR/ German Empire - Starting with 2/3 Thaler Bremen/Emden 1687, 12 Mariengroschen 1669, then 3/5 Mark pieces of Baden, Bavaria, Prussia and Saxony, very different condition, often verdigris.

Altdeutschland/Kaiserreich - Tableau mit 26 Münzen, darunter u.a. Baden 2 Gulden 1846 Leopold, Mecklenburg-Schwerin 2/3 Taler 1841 Paul Friedrich, Anhalt-Bernburg Taler 1834 Alexander Carl und Weiteres. Zusätzlich 2 x Schiffsgeld anbei. Erhaltungen verschieden, bitte ansehen| Old Germany/German Empire - tableau with 26 coins, including Baden 2 guilders 1846 Leopold, Mecklenburg-Schwerin 2/3 thalers 1841 Paul Friedrich, Anhalt-Bernburg thalers 1834 Alexander Carl and more. Additionally 2 x ship money attached. Conditions different, please have a look

Sammlung Deutsches Kaiserreich in drei Alben mit ca. 230 Münzen u.a. Anhalt, Baden, Bayern, Hamburg, Hessen, Preussen, Sachsen, Schwarzburg-Sondershausen, Sachsen-Coburg und Gotha, Sachsen-Weimar-Eisenach, Sachsen-Meiningen, Schaumburg-Lippe, Württemberg. Erhaltungen zwischen schön und fast vorzüglich, teils geschönt bzw. gereinigt, mit Grünspan (sowie typischer Säureschaden durch Aufbewahrung). Kein Obligo für die Authentizität. Bitte unbedingt besichtigen.| Collection German Empire in three albums with about 230 coins, i.a. Anhalt, Baden, Bavaria, Hamburg, Hesse, Prussia, Saxony, Schwarzburg-Sondershausen, Schaumburg-Lippe, Saxony-Coburg and Gotha, Saxony-Weimar-Eisenach, Saxony-Meiningen, Wurttemberg. Condition between fine and almost extremely, partly toned or cleaned, with verdigris (as well as typical acid damage due to storage). No liability for authenticity. Please inspect by all means.

Prall gefülltes Album historischer Ansichtskarten um 1900, nahezu 500 Karten! Darunter auch Württemberg und Baden mit Anlässen wie Turnfeste z.B. Kreisturnfest Reutlingen 1904, Grußkarten Hall, Heilbronn, Nördlingen, Degerloch, Sängerbundfeste mit u.a. Sängerfest des Schwäb.-Bayer. Sängerbundes Augsburg, Grußkarten Ulm, Hohenzollern, Tübingen, Freiburg i. Br., Stuttgart und viele andere Grußkarten aus ganz Deutschland enthalten, vereinzelt noch Schweiz, Italien. Teils starke Alters- und Gebrauchsspuren. Am besten ansehen.| Full album of historical postcards from around 1900, almost 500 cards! Including Württemberg and Baden with events such as gymnastics festivals, e.g. district gymnastics festival Reutlingen 1904, greeting cards Hall, Heilbronn, Nördlingen, Degerloch, Sängerbund festivals with, among other things, the Schwäb.-Bavarian song festival. Singers' Association Augsburg, greeting cards Ulm, Hohenzollern, Tübingen, Freiburg i. Br., Stuttgart and many other greeting cards from all over Germany, occasionally Switzerland, Italy. Partly strong signs of age and wear. Best view.

GOLDKONVOLUT Schlumberger Sammlung ex Württ. Bank mit Sammlerstücken im bekannten Album mit entsprechenden Beschreibungen, ca. 123,22 g fein, enthalten sind Rumänien 20 Lei 1890 Karl I., Norwegen 20 Kronen 1902 Oskar II., Niederlande 10 Gulden 1898 Wilhelmina, Schweiz 20 Franken 1883 Helvetica, Sardinien 20 Lire 1826 Karl Felix, Frankreich 20 Franken 1830 A Karl X., Sachsen 20 Goldmark 1903 E Georg, Preussen 20 Goldmark 1912 J Wilhelm II., Hessen 20 Mark 1897 A Ernst Ludwig, Baden 20 Goldmark 1872 G Friedrich I., Sachsen 20 Goldmark 1905 E Friedrich August III., Sachsen 20 Goldmark 1875 E Johann, Sachsen 20 Goldmark 1894 E Albert, Bayern 20 Goldmark 1895 D Otto I., Bayern 20 Goldmark 1872 D Ludwig II., Baden 20 Goldmark 1914 G Friedrich II., Württemberg 20 Goldmark 1900 F Wilhelm II., Württemberg 20 Goldmark 1876 F Karl. Erhaltungen verschieden, bitte ansehen. Steuerbefreit nach § 25c UStG| GOLDLOT Schlumberger collection ex Württ. Bank with collector's items in the known album with corresponding descriptions, approx. 123.22 grams fine within Romania 20 lei 1890 Charles I, Norway 20 crowns 1902 Oscar II, Netherlands 10 guilders 1898 Wilhelmina, Switzerland 20 francs 1883 Helvetica, Sardinia 20 lire 1826 Charles Felix, France 20 francs 1830 A Charles X, Saxony 20 gold marks 1903 E Georg, Prussia 20 gold marks 1912 J Wilhelm II., Hesse 20 marks 1897 A Ernst Ludwig, Baden 20 gold marks 1872 G Friedrich I., Saxony 20 gold marks 1905 E Friedrich August III., Saxony 20 gold marks 1875 E Johann, Saxony 20 gold marks 1894 E Albert , Bavaria 20 gold marks 1895 D Otto I., Bavaria 20 gold marks 1872 D Ludwig II., Baden 20 gold marks 1914 G Friedrich II., Württemberg 20 gold marks 1900 F Wilhelm II., Württemberg 20 gold marks 1876 F Karl. Conditions different, please have a look. Tax-exempt according to § 25c UStG

BRD - 6 x 5 DM, Germanisches Museum, Schiller, Eichendorff, Markgraf von Baden, Fichte, Leibniz, durchschnittliche, sammelwürdige Erhaltungen, bitte besichtigen.| FRG - 8 x 5 DM, Germanic Museum, Schiller, Eichendorff, Margrave of Baden, Fichte, Leibniz, average, collectible condition, please inspect.

Dt. Kaiserreich - Unsortierte Sammlung im prall gefüllten Album, im Schwerpunkt Baden und Württemberg, darunter zum Beispiel u.a. Baden Ludwig 1818-1830 2 x Taler 1829/1830 (Thaler zu 100 Kreuzer im Kronenthaler Fuss), Württemberg Kronentaler Wilhem 1833 Handelsfreiheit. Dazu 1 Seite mit Kreuzern, zahlreiche 5 Mark und 3 Mark Stücke des Dt. Kaiserreichs. Bitte ansehen, in den Erhaltungen verschieden| German Empire - Unsorted collection in a bulging album, with a focus on Baden and Wurttemberg, including, for example, Baden Ludwig 1818-1830 2 x thalers 1829/1830 (thaler to 100 kreuzer in Kronenthaler foot), Württemberg Kronentaler Wilhem 1833 freedom of trade. In addition 1 page with Kreuzers, numerous 5 Mark and 3 Mark pieces of the German Empire. Please take a look, the conditions vary

Reizvoller Sammlungsteil mit einigen Highlights in 4 Alukoffern, darunter u.a. 2 Tableaus Dt. Kaiserreich, BRD Top 5 mit 5 DM 1952 D Germanisches Museum, 5 DM 1955 F Schiller, 5 DM 1955 G Markgraf v. Baden, 5 DM 1957 J Eichendorff und 5 DM 1964 J Fichte. Allerlei 5 DM und 10 DM Münzen, mindestens 100 x 10 Euro! Versäumen Sie keinesfalls die persönliche Besichtigung dieser besonderen Sammlung! Erhaltungen verschieden| Charming collection part with some highlights in 4 aluminium cases, among others 2 tableaus Dt. Kaiserreich, BRD Top 5 with 5 DM 1952 D Germanisches Museum, 5 DM 1955 F Schiller, 5 DM 1955 G Markgraf v. Baden, 5 DM 1957 J Eichendorff and 5 DM 1964 J Fichte. All kinds of 5 DM and 10 DM coins, at least 100 x 10 Euro! Don't miss the personal viewing of this special collection! Conditions various

BRD Top 5 - 5 x 5 DM 1952 - 1964 Davon 1 x 5 Mark 'Germanisches Museum', 1952 D, vz+ mit wz. Kratzer; 1 x 5 Mark 'Friedrich Schiller', 1955 F, fast stgl. mit Kratzer; 1 x 5 DM 'Margraf von Baden', 1955 G, vz- mit feinen Kratzer; 1 x 5 DM 'Eichendorff', 1957 J, fast vz; 1 x 5 DM 'Fichte', 1964 J, vz+ feine Kratzer, min. Fingerfleck, jeweils mit Tönung.| FRG Top 5 - 5 x 5 DM 1952 - 1964 Of which 1 x 5 Mark 'Germanisches Museum', 1952 D, XF+ with tiny scratch; 1 x 5 Mark 'Friedrich Schiller', 1955 F, almost BU with scratch; 1 x 5 DM 'Margraf von Baden', 1955 G, XF- with fine scratch; 1 x 5 DM 'Eichendorff', 1957 J, almost XF; 1 x 5 DM 'Fichte', 1964 J, XF+ fine scratch, min. finger spot, each with toning.

Konvolut Deutsches Kaiserreich /SILBER - Baden mit 56 Münzen (Jaeger 26-40) Sammlung ist fast komplett (ohne Jg. 1874), u.a. J. 27F, J. 29F. Erhaltungen sehr verschieden von schön bis vorzüglich, teils geschönt bzw. gereinigt. (teils Säureschaden aufgrund der Aufbewahrung). Bitte unbedingt besichtigen.| Konvolut German Empire /SILVER - Baden with 56 coins (Jaeger 26-40). Collection is almost complete (without yr. 1874), contains J. 27F, J. 29F. Conditions very different from fine to extremely fine, partly toned or cleaned (partly acid damage due to storage). Please be sure to visit.

Antique 9ct Chester hallmarked gold Baden Powell / Lord Roberts portrait pendant - 2cm diameter & total weight 3.4g

Konvolut Münzen, u.a. SILBER. u.a. 'Bayern, Landmunz 12 Kreuzer, 1752', 'Wurtemberg 6 K, 1748', 'Österreich 6 K, 1849', 'Baden 10 K, 1830'. Zustand II

Baden-Württemberg: Verdienstmedaille - SILBER. Silber, gepunzt '1000', in Etui, Widmung: 'Zugeeignet von Lothar Späth, Ministerpräsident des Landes Baden Württemberg' von 1978 bis 1991. 25 g. Ø 4 cm. Zustand I-II

Giovanni Paolo Panini, 1691 Piacenza – 1765 Rom, zug.Antike Ruinen mit BesuchernÖl auf Leinwand. Doubliert.73 x 99 cm.Ansicht einer ruinösen Tempel- und Palastanlage mit Säulen und Rundbögen, daneben umherliegende Steinfragmente. Zu diesen Stücken gehören am linken Bildrand, vor zwei mächtigen Säulen, ein Kapitell, der Dreiviertel-Torso einer nackten Frau und das steinerne Standbild eines Mannes am Ufer eines kleinen Flusses. Dieser fließt durch die Ruinen in der Bildmitte und wird auch zum Baden genutzt, wie ein nackter Mann beweist, der sich gerade abtrocknet. Zu den Fragmenten gehört auch eine Vase mit umlaufenden Blattdekor sowie ein Relief mit zwei Masken, das auf einem hohen Sockel steht. Im Hintergrund die bergige Landschaft unter hohem wolkigem Himmel. Auf der rechten Randseite ragen zwei große Bäume in den wolkenreichen Himmel. Das Gemälde ist bevölkert von zahlreichen Figuren, darunter sind links hinter einer balkonartigen Brüstung drei junge Männer mit zwei Frauen im Gespräch, unterhalb dieser Gruppe zwei an den Ruinen sehr interessierte Männer, von denen einer auf die Standskulptur mit seiner linken Hand deutet. Der Betrachter wird in die Antike geführt, bei der einzelne Elemente kunstvoll arrangiert dargestellt werden. (12821042) (18)Giovanni Paolo Panini,1691 Piacenza – 1765 Rome, attributedANTIQUE RUINS WITH VISITORSOil on canvas. Relined.73 x 99 cm.View of temple and palace ruins with pillars and round arches surrounded by scattered ruins.

Two 19th Century Boer War interest picture albums / Ogdens ' Guinea Gold 'cigarette card albums. Each album showing images of the Monarch and leading officers during that war period. Examples to include Queen Victoria, Edward VII Prince of Wales, Col. Baden Powell, Lord Kitchener, Field Marshal Sir Henry Evelyn Wood and others. Mounted within original Ogdens album.

Triple lys de mer fossile Triple Fossil Sea LilliesSeirocrinus subangularisLower JurassicPosidonienschiefer Formation, Holzmaden, Baden-Württemburg, GermanyArtfully prepared, the exquisite fossils stand out with remarkable three-dimensionality, highlighted by the subtle shimmer of pyritization from crowns to root. They remain attached to a piece of ancient petrified wood, surrounded by what appear to be a number of small mollusks. The Crinoid, known also as the Sea Lily or Feather Star, is one of the world's so-called 'living fossils', with species still to be found in today's oceans from Indonesia to the Caribbean. Their fossils are also found all over the world, but the most beautiful and desirable are those from the Posidonia shale beds of Holzmaden, in southern Germany. The present specimen, representing one of the finest fossil formations in the world, possesses open crowns which measure 21 x 13 cm, 23 x 14 cm, 23 x 12 cm across, respectively. Matrix measuring 130 x 100 x 2.8 cm For further information on this lot please visit Bonhams.com