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78472 Los(e)/Seite
Los 4
Uzo Egonu (Nigerian, 1931-1996)Still Life signed and dated 'Uzo Egonu 80' (lower left)oil on linen144.5 x 107cm (56 7/8 x 42 1/8in).Footnotes:ProvenanceA private collection, UK.Born in 1931, Uzo Egonu left Nigeria at the age of 13 to complete his schooling in England where he then studied fine art and design at the Camberwell School of Arts and Crafts, London between 1949 and 1952. Unlike many of his Nigerian contemporaries similarly educated in Britain, Egonu chose to remain in London where, apart from a year spent in Paris in 1953, he lived and worked for the rest of his life. Still Life (1980) was painted at the height of Egonu's mature period when he had adapted his practice to accommodate changes in his visual perception. Following the critical success of his paintings in Britain in the 1950s and 60s, Egonu embarked upon a decade of printmaking. By 1979, his sight had been severely damaged by toxic fumes emitted from the oxidisation of materials employed in the etching process. His vision was so severely compromised that he had to mix colours from memory and used a rolled black tube to focus his sightline in order to assess the arrangement of elements in a painting. He consequently termed this period of artmaking 'Painting in Darkness' (Egonu quoted in O. Oguibe, 1995: p. 40).Despite the pragmatic challenges faced by the artist, works from this period are rich in colour. Egonu produced a number of still life paintings in the early 1980s with dynamic compositions that evidence a continuation of his experiment with line, form, and perspective. As in the present work, the domestic objects typically employed as the subject of the still life are rendered unfamiliar as they are abstracted beyond recognition. Two rounded forms are connected by grey lines which carry the eye across the canvas, while the depth of field is flattened so that subject and background are expressed as unified tessellated geometric forms. Passages of solid colour are juxtaposed with lively patterns, transforming the everyday scene into a formalist expression of pictorial elements. Egonu's treatment of the still life genre evokes Western modes of modernist abstraction encountered by the artist in London. Crucially, however, this body of work also references the Igbo textile design familiar to the artist from his childhood in Nigeria. This dual referential framework demonstrates the artist's ambition to move beyond the confines of a European modernism, finding African cultures to be 'as rich and engaging [a source] as any other' (Egonu quoted in O. Oguibe, 1995: p. 61). Drawing upon the aesthetics of the Cubist movement, Nigerian ornamentation, and 1960s British Pop Art, the present work rejects naturalism to express Egonu's unique artistic vision. His aptitude for printmaking is reflected in the graphic simplification of form which echoes a series of screenprints created contemporaneously to Still Life in the early 1980s. The prints feature female figures undertaking a range of household activities including reading and darning fabric, illustrating the artist's investigation of domestic themes in this period. The juxtaposition of West-African inspired patterns with geometric fields of solid colour in both his painterly and printmaking practices encapsulate the artist's bold approach to representation in this period. Egonu achieved critical acclaim during his lifetime. His work has been included in several landmark exhibitions including The Other Story at the Hayward Gallery in 1989 which explored the work of black artists living and working in twentieth-century Britain. Today, his work is held in important public institutions including the V&A and the Tate Collection, both in London.BibliographyOlu Oguibe, Uzo Egonu: An African Artist in the West (London, 1995).For further information on this lot please visit Bonhams.com
Los 73
RÉMY VUIBERT (France, 1607? - 1652)."Penitent Magdalene".Oil on canvas. Antique re-colouring.Measurements: 47 x 37 cm.With her hand on her chest and genuflecting, the young and blonde Mary Magdalene bows a crucifix that can hardly be appreciated in the image due to the darkness that emanates from the cave and contrasts with the luminosity of the pearly skin of the young woman and her violet iridescent mantle. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution, hence the later legend of her penance in the desert. While Eastern Christianity honours Mary Magdalene especially for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had been a prostitute. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh.The date of Vuibert's birth remains hypothetical. If today the idea of a birth in 1600 seems to have been abandoned, one can think of a birth around 1606 in Troyes, according to Pierre-Jean Mariette's Abecedary, or even a later date, even suggesting, in an extreme case, the date of 1615. The 1620s was a formative period for him, about which little is known. He could have frequented a Trojan or Parisian workshop, like that of Georges Lallemant2. He was a pupil of Simon Vouet in Rome, perhaps between 1624 and 1627, although today these dates seem unlikely3. Most probably he would have entered Simon Vouet's studio in 1632, where he would have met Dufresnoy and Mignard, and would have stayed in Rome from 1635 with the latter. He arrived in Rome in 1635, where he met Nicolas Poussin. He then executed several engravings based on works by Raphael. He left 18 etchings executed in 1635, including four compositions for the ceiling of the signature chamber in the Vatican (The Judgement of Solomon, Adam and Eve, Apollo and Marsias, and The Providence that Governs, and Providence Governing the World) as well as 14 allegorical figures from the decorations of Constantine's salon (Prudentia, Innocentia, Moderatio, Evangelium, Fortitudo, Sapientia, Aeternitas, Aeclesia, Charitas, Paupertas, Comitas, Iustitia, Fides and Pax)4. He also copied Le martyre de Saint André de Dominiquin, in line with Poussin's aspirations, and left an etching executed in 1640 from a drawing made in Rome5. He is also attributed with a series on The Story of Diana, which was probably based on works by Dominiquin, depicting Latona and her children, Diana and Actaeon, Diana and Endymion, Pan and Diana, and the Sacrifice of Iphigenia6. He also studied the work of Guido Reni, from whom he recorded The Archangel Michael slaying the Devil in 1636, and perhaps copied compositions by Zampieri. Around 1636-1637, he painted a Judgement of Solomon, acquired by the Marquis of Giustiniani and later engraved by Agricola under the name of Poussin. Vuibert appears as an eminently classical painter, a follower of Poussin's style and a characteristic painter of Parisian Atticism. Few works by his hand have survived, except for the Scenes from the Life of the Virgin on the ceiling of the nuns' choir in the convent of the Visitation in Moulins.
Los 20
Dame Laura Knight, RA, RWS (British, 1877-1970)Portrait of Leighton Lucassigned, dated and inscribed 'To my dear Mr Lucas/from/Laura Knight/July 1920' (lower right) charcoal 36.2 x 24.5cm (14 1/4 x 9 5/8in).Footnotes:Leighton Lucas was an English composer, born into a Canadian musical family. His father, Clarence Lucas, was a musical director and composer. He began his career as a ballet conductor and then progressed into orchestral music composition. Leighton had four siblings, including Van Norman and Claribel (depicted in lots .. and .. of this sale) who also had careers in music. Dame Laura Knight met the Lucas family in the 1920s and gifted several etching portraits to the family.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 852
British 1821 Pattern Light Cavalry Officers Sword, regulation pattern sword with swept bar hilt, grip with wire binding. Housed in steel scabbard with two hanging rings. Plated plain slightly curved blade with fuller to the back edge. All original etching has been removed. Exterior fittings painted gold at some time. Blade 90cms, overall 107cms. Accompanied by a reproduction 1854 pattern infantry officers sword complete with scabbard. (2 items)
Los 856
Extremely Rare British Made (Firmin & Sons) Confederate States of America Dolphin Head Naval Officers Dress Sword, the sword with deep brass dish guard with relief of the confederate naval insignia of anchor over crossed cannons in oval cartouche, cotton plants and tobacco leaves relief through the knuckle bow leading to the sea serpent / dolphin head pommel and back strap designed to look like scales. Fish skin covered grip with the original wire binding. The slightly curved steel blade is finely etched with foliage and the 2nd pattern confederate flag with anchor behind. Other side of the blade has etched foliage, cotton plants and tobacco leaves, centre with the insignia of the confederate navy. Blade forte with makers details, “FIRMIN & SONS 153 STRAND & 13 Conduct St LONDON”. The blade 76 ½ cms in length. Some surface staining. Evidence of polishing to the hilt but generally good example. No scabbard. Provenance: This sword was originally purchased in a market in Preston (Lancashire, North West, England) in 1938 and was kept by a collector since then until October 1990 when the sword was sold / traded with another collector, the late Jerry Withers, who in turn had kept the sword until his passing in December 2020. The sword, along with other items from Withers collection has been consigned to C&T Auctioneers and Valuers Ltd. Paperwork relating to the transaction for the sword is included with the lot. The Confederate "Dolphin Head" Naval Officer's Sword was based upon the English Pattern 1827 Lion's Head Naval Officer's Sword, and retained the solid guard with folding counter guard of the English sword pattern, but introduced new decorative motifs including the sea serpent pommel cap with scaled backstrap, as well as the Confederate naval blade and guard designs. The design of the sword has been attributed to George T. Sinclair of the Confederate Navy. The swords are encountered with two different retailer markings. The first were made by Robert Mole of Birmingham and bear the marks of Courtney & Tennent of Charleston, SC. The other variation is the Firmin retailer marked sword, whose maker (or makers) are not currently known. Both versions of the swords from the two retailers exhibit two variations in the blade etching, with the primary difference being in the presentation of the Confederate national flag. The two known Courtney & Tennent variations use the Confederate 1st National Flag with three wide horizontal stripes and a square canton. One version depicts 11 stars in a circle within the canton, the other version leaves the canton blank. The two previously known variations of the Firmin blade etching depict a 1st National Flag as well, but with a 13-star St. Andrews cross in the canton, with the difference in the etching being that one variation is frosted, while the other one is deeply etched without frosting. The 2nd National Flag was not adopted until May 1 of 1863, and it is generally believed that the production of the Dolphin Head swords did not commence until the end of 1862 or very early in 1863. At that time, the 1st National Flag was still in use. The appearance of a 2nd National Flag on this blade suggests that this sword was a later production item, likely not produced until the very end of 1863 or even during 1864. The Dolphin Head is one of the rarest American swords you could hope to find, with many serious advance collections not having an example.
Los 183
Hunt (William Holman, 1827-1910). The Abundance of Egypt, 1857, etching on chine appliqué, published in Etchings for the Art-Union of London by the Etching Club, numbered 20 to centre of lower margin, and with the artist's name scratch-lettered lower left, plate size 155 x 122 mm (6.1 x 4.8 ins), sheet size 36.7 x 27 cm (14.45 x 10.6 ins), framed and glazedQty: (1)Footnote: Hartnoll 14; Bronkhurst 2006, Appendix, B2.
Los 190
Brangwyn (Frank, 1865-1956). Old Houses on the Tiber, 1908, etching and drypoint on cream paper, printed with plate tone, signed in pencil to lower margin, plate size 15 x 21.7 cm (6 x 8.5 ins), sheet size 280 x 355 mm (11 x 14 ins), together with:Castel Sant'Angelo, Rome, circa 1908, etching and drypoint on cream paper, signed in pencil to lower margin, plate size 180 x 138 mm (7.1 x 5.4 ins), sheet size 355 x 280 mm (14 x 11 ins), matching frames, glazedQty: (2)
Los 191
Palmer (Samuel, 1805-1881). The Sleeping Shepherd, 1857, etching on chine appliqué, with artist's name printed lower left, and numbered 5 centre of lower blank margin, as published in Etchings for the Art Union of London by the Etching Club, 1857, image size 9.5 x 7.8 cm (3 3/4 x 3 ins), plate size 123 x 102 mm (4.9 x 4.1 ins), sheet size 146 x 120 mm (5 3/4 x 4 3/4 ins), a few marks and light mount staining, framed and glazedQty: (1)Footnote: Lister 6, iv/iv.
Los 192
Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching with drypoint, printed with plate tone, on fine japan tissue, signed in pencil, plate size 263 x 414 mm (10 3/8 x 16 1/4 ins), sheet size 300 x 445 mm (11 5/8 x 17 1/2 ins), framed and glazedQty: (1)Footnote: Rinder 468.One of the Cameron's largest and finest Scottish landscapes, described by Rinder as “Cameron’s supreme landscape achievement as etcher” (D.Y. Cameron, An Illustrated Catalogue of his Etchings and Dry-Points, 1887-1932, Glasgow, 1932, p.xx).
Los 195
Delacroix (Eugene,1798-1863). Juive d'Alger,1833, etching on laid paper, as published by Cadart & Luquet, Paris for the Société des Aqua-Fortistes, the fourth state (of four), with the title, publisher's and printer's name added to lower margin, a very good, adrk impression, plate size 21.5 x 17.5 cms (8.5 x 6.9 ins), with margins, framed and glazedQty: (1)Footnote: Delteil 18.
Los 197
Drury (Paul, 1903-1987). Nicol's Farm, 1925, etching on antique laid paper (with partial watermark), published by the XXI Gallery in an edition of 75 impressions, signed, dated, and titled in pencil, some overall toning/browning, framed and glazed, plate size 111 x 192 mm (4.25 x 7.5 ins), sheet size 216 x 250 mm (8.5 x 9.9 ins)?????Qty: (1)Footnote: Garton 18, v/vi.
Los 202
Langmaid (Rowland 1897-1956). Plymouth Hoe, drypoint etching on cream wove paper, 1/100, image size approx. 90 x 330 mm (3.5 x 13 ins.), framed and glazed, artists proofs, signed and titled in pencil, plate size 88 x 335 mm (3.5 x 13.25 ins), with full margins, sheet size by 19 x 44 cm (7.5 x 17.25 ins), mounted to backing card with single glue spot to upper left and upper right black corner, framed and glazed (25.5 x 49.5 cm), with original printed title label, and framers label of Harris & Sons, Plymouth to verso, together withTower Reach & Greenwich from the River, two etchings on pale green wove paper, both artists proofs, signed in pencil, signed in pencil, plate size 63 x 166 mm (2.5 x 6.5 ins), with margins, both framed and glazed, both with period label of Deighton's Strand gallery to versoQty: (3)
Los 206
Morisot (Berthe, 1841-1895). Berthe Morisot dessinant, avec sa fille,1889, drypoint etching on pale cream wove paper, printed with light plate tone, the second state (of two), a very good clean impression, plate size 19 x 14 cm (7.5 x 5.5 ins), with margins, framed and glazedQty: (1)Footnote: Johnson 8.
Los 210
Palmer (Samuel, 1805-1881). The Skylark, 1850, etching on chine collé on thick wove paper, the seventh state (of eight), after the plate was minimally cut down, but this impression, apparently without the vertical line extending obliquely to the right of the skylark towards the tree on the right side of the image, and without the etched lettering to lower margin Samuel Palmer 1717 (as described in Lister), signed in the plate to lower-left corner, a few light scattered spots, and pale mount stain, margins trimmed, plate size 120 x 97 mm, sheet size 134 x 105 mm, framed and glazed (19.5 x 17.5 cm)Qty: (1)Footnote: Lister E2, vii/viii. Perhaps an intermediate state between states 6 and 7.
Los 211
Palmer (Samuel,1805-1881). Christmas, or Folding the Last Sheep, 1850, etching on chine collé on heavy pale cream wove paper, a few light spots and mount staining, plate size 124 x 117 mm, etched surface 98 x 81 mm, and before the plate width, the second state (of five), with signature etched to lower right corner of the image before the reduction in plate width to 102 mm, upper blank margin with some loss (where it previously adhered to mount), sheet size 157 x 146 mm, framed and glazed (18 x 19.5 cm)Qty: (1)Footnote: Lister E4, ii/v.
Los 214
Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on heavy buff laid paper, a very good well-contrasted impression of the third to fifth state (with the artist's name and date added to upper right corner of the plate), signed in pencil lower right, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, light mount stain, outer edges strengthened with paper to verso, hinge-mounted, in pale cream card window mount, plate size 139 x 188 mm, sheet size 160 x 230 mmQty: (1)Footnote: Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed.
Los 216
Whistler (James Abbott McNeill, 1834-1903). Bibi Lalouette, 1859, etching and drypoint, on thin Japan paper with wirelines, a fine impression of the second (and final) state, printing with burr, platetone and inky plate edges, with margins, some minor handling creases, generally in very good condition, plate size 225 x 152 mm (8 7/8 x 6 1/8 ins), sheet size 258 x 201 mm (10 1/4 x 8 ins), framed 42 x 33.5 cmQty: (1)Footnote: Provenance: Thomas Agnew & Sons Ltd., Inv. No. 34624.Kennedy 51 ii/ii.Bibi was the 'patron's' son at a restaurant in the Rue Dauphine, Paris, famous for its burgundy, where Whistler and other members of the Société des Trois, Fantin-Latour and Legros, regularly took their meals. According to the Pennells, the artist owed Lalouette 3,000 francs when he left Paris.
Los 217
Whistler (James Abbott McNeill, 1834-1903). La Vieille aux Loques (from Twelve Etchings from Nature), 1858, etching and drypoint on off-white laid paper, signed in the plate lower right, the 3rd state (of three), mounted (to sheet edges only) on later card, plate size 210 x 148 mm (8.2 x 5.8 ins), sheet size 252 x 181 mm (9.9 x 7.1 ins), framed and glazed, with old typewritten label for the work to versoQty: (1)Footnote: Kennedy 21, iii/iii.
Los 222
Auerbach (Frank, 1931-). Head of Julia, 2001, etching on Somerset white paper, printed by Mark Balakjian at Studio Prints, in collaboration with Marlborough Graphics, London, in an edition of 150 impressions, signed, dated 01, and numbered 63/100 in pencil, as issued in the exhibition catalogue of the artist work entitled Frank Auerbach, Paintings and Drawings 1954-2001, at the Royal Academy of Arts, 14 September-12 December 2001, plate size 11.5 x 14.5 cm (4.5 x 5.75 ins) sheet size 23 x 25.5 cm (9 x 10 ins), the book also signed by the artist in ink and numbered 63 to colophon at rearQty: (1)
Los 226
John, Augustus Edwin (1878–1961). The Malt House, Etching and drypoint, 1904, a very good, atmospheric impression of the second (final) state, signed in pencil, inscribed with another hand in black pen and ink ‘Plate No. 14 “The Little Malt House” Imp. no. 16/25, on laid paper, with wide margins, a deckle edge at right, in good condition, minor rubbing around the signature, minor surface dirt, plate 8.1 x 10 cm (3 1/4 x 4 ins.), sheet 22.5 x 28.5 cm (8 7/8 x 11 1/4 ins), framed (36 x 36 cm.)Qty: (1)Footnote: Literature Campbell Dodgson 126
Los 237
Trevelyan (Julian, 1910-1988). Marseille, 1975, soft-ground etching with aquatint printed in colours, on T.H. Saunders handmade heavy paper, signed, titled and inscribed 'Artist's proof', and with colour notes added below 'I. Ultramarine (tube), Windsor Red (tube), 1 Windsor orange (tube), 1 II black (Windsor Penrose), 1 burnt sienna (tube) 1', artist's proof aside the numbered edition of 51 impressions, printed by Studio Prints, some minor light spots and marks to margins (generally in good condition), with full margins, sheet size 79 x 56.5 cm (31 x 22.5 ins)Qty: (1)
Los 33
Bloteling (Abraham, 1640-1690). Self Portrait of Anne Killigrew, circa 1680's, mezzotint by Bloteling after Anne Killigrew (1660-1685), a rich impression of the second (final) state, printing with effective contrasts, on fine laid paper with a partially visible letters watermark, with margins, a short repaired tear and a short tear at the lower sheet edge, a nick and and the extreme corner tip lower right lost, otherwise generallly in good condition, plate size 26.1 x 18.5 cm (10 1/4 x 7 1/4 ins), sheet size 32 x 22 cm (12 1/2 x 8 5/8 ins), together with Head of a bearded beggar in profile, facing right, etching after Sir Anthony van Dyck (1599-1641), a very good, clear impression, presumably on laid paper, with a narrow margin at bottom, otherwise retaining a blank fillet of paper around the borderline, laid down on card, a small hole at the upper sheet edge, sheet size 27.2 x 20.8 cm (10 3/4 x 8 1/8 ins)Qty: (2)Footnote: Provenance: Christopher Mendez, London.Hollstein 176 (Self Portrait of Anne Killigrew). Anne Killigrew (1660–1685) was an English poet and painter, extolled by contemporaries as 'A Grace for beauty, and a Muse for wit.' Killigrew's poems were circulated in manuscript and published posthumously in 1686 after she died from smallpox at the age of just 25.
Los 38
Callot (Jacques, 1592-1635). La Carrière de Nancy (also known as Rue Neuve de Nancy), circa 1630, etching on laid paper, a very good, atmospheric impression of the first state (of two), before Israël Silvestre’s address, with thread margin or trimmed on the platemark at bottom, otherwise trimmed to the borderline, laid down at the sheet edges to a paper support, a small defect at upper left corner, a small repaired area at upper centre (generally in good condition), sheet size 16.6 x 51 cm (6 1/2 x 20 ins), together with Le Parterre de Nancy (Jardin de Nancy), circa 1630, etching, a delicate impression of the second (final) state, with Israël Silvestre’s address, with wide margins, laid down at the sheet edges to a paper support, in good condition, plate size 26 x 39 cm (10 1/4 x 15 3/8 ins), sheet size 31 x 44.2 cm (12 1/8 x 17 3/8 ins)Qty: (2)Footnote: Literature: Lieure 589 and 566 respectively.
Los 41
Callot (Jacques, 1592-1635). Le Martyre de St. Sébastien, circa 1631-33, etching on laid paper, a fine impression of the first state (of two), before Israël Silvestre’s address, trimmed to the subject, in good condition, two vertical printer’s creases (inherent to production), a very faint area of discolouration upper right, laid to the support sheet at the upper and lower sheet edges, sheet size 16.2 x 32.5 cm (6 3/8 x 12 3/4 ins)Qty: (1)Footnote: Literature: Lieure 670.
Los 44
Callot (Jacques, 1592-1635). Vue du Louvre (from Les Deux Grandes Vues de Paris), circa 1630, etching on laid paper, a good impression of the fifth (final) state, with re-touching and the grainy printing behind the highest tower of the Palais Bourbon at right, as published in L’Artiste, with wide margins, in good condition, laid down at the sheet edges to a paper support, a few pale foxmarks, plate size 16.2 x 34.2 cm (6 3/8 x 13 3/8 ins), sheet size 31 x 45.2 cm (12 1/4 x 17 3/4 ins), together with copies of Vue du Louvre and Vue du Pont Neuf by Bonnart, each entitled 'Veuë Ancienne de Paris', on laid paper, trimmed to the subject, laid down on paper supports, sheet size 16 x 32 cm (6 1/4 x 12 1/2 ins) or similarQty: (3)Footnote: Literature: Lieure 667 (Vue du Louvre).
Los 47
Della Bella (Stefano, 1610-1664). Castel Sant'Angelo, Rome, 1634, etching on laid paper, bears watermark (indistinct), a good impression, narrow margins, early ownership name in brown ink to verso 'Gallents' ? (possibly later 17th or early 18th century), plate size 211 x 343 mm (8.25 x 13.5 ins), sheet size 217 x 345 mm (8.5 x 13.6 ins), mountedQty: (1)Footnote: Literature: De Vesme/Massar 818.
Los 48
Della Bella (Stefano, 1610-1664). The Procession of the Holy Sacrament, 1648, etching on laid paper, a fine impression, with a thread margin at bottom, otherwise trimmed to the borderline, in good condition, sheet size 33 x 47.5 cm (13 x 18 5/8ins), sheet edges laid to the support sheet (34.5 x 49.5 cm), together with Campo Vaccino (Plate II from Paysages et Ruines de Rome), 1656, etching on laid paper, a very good impression, some thinning to edges, sheet size 14.1 x 14 cm (5 5/8 x 5 1/2 ins) plusCollignon (Francois, circa 1610-1687). Landscape with a monastery on a rocky island, & A Hunt, 2 etchings, both approximately 8.1 x 15.8 cm (3 1/4 x 6 1/4 ins)Qty: (4)Footnote: Literature: De Vesme/Massar 62.73 and 127.820 respectively.
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78472 Los(e)/Seite