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Los 1167
A code 3 scratch built Dinky Toys Albion Tanker Lorry, the idea for this model was suggested in 1951 but never made it past the drawing board, this example is constructed with a white metal chassis, resin tank, and Supertoys wheels, finished in dark green with light green hubs, black ladder, and Milk Marketing Board decals, it has one small chip to one rear wheel arch and to the underside of one of the chassis tanks, sold in a plain red card box with lift off lid
Los 100
dating: Third quarter of the 19th Century provenance: Piedmont, Nice straight double-edged blade with central fuller doubling toward the weak, with small signs of use and time, some light stains on one side. On the first half featuring an engraved trophy surmounted by the crowned Savoy shield, inside frames; on the opposite half a similar trophy but surmounted by the motto 'W V.E. RE D'ITALIA.' One-piece brass hilt with loop-guards with circular ends. Ancient leather scabbard with some signs of use and time, brass hilt and cap with button shaped as a Savoy shield. Complete with white-dyed belt frog. Cf. 'Storia dell'Arma Bianca Italiana' C. Calamandrei, p. 339 above. length 69 cm.
Los 133
dating: Late 19th Century provenance: Scotland, Straight single-and-false-edged blade with light fuller and tang, areas damaged by rust. Partially pierced, iron basket-hilt; large smooth pommel; wooden grip covered with metal wire binding. Leather-covered wooden scabbard with iron mounts. length 96.5 cm.
Los 215
dating: circa 1800 provenance: Southern Italy, Straight, single-and false-edged blade (light pitting), with fuller at the center, tang engraved with florals. Iron base of octagonal section with beautiful molded knot. Faceted, iron socket decorated with rings and frames. Wooden scabbard with antique velvet covering (partially lined and with signs of time), all reinforced with brass mounts and carved, partially-engraved and pierced bands. length 34,7 cm.
Los 290
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, rust-colored surface (Sabi-iro-nuri), mon with black kanji at the front side. Black lacquered interior with red-colored signature, complete with Futon and laces. The good quality of this Ashigaru Jingasa suggests that it belonged to a leader of a group of foot soldiers. diameter 35.3 cm.
Los 295
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, flat, the surface lacquered in a rust-coloured craquele (Sabi-iro-tataki-nuri). Beautiful, gold Maru-ni-hidari-mitsudomoe-mon at the front side. Black-lacquered interior with gold decoration. Missing scabbard. This type of flat Jingasa was used by the Samurai only during journeys or processions. This type of Hidari-mitsudomoe mon was very frequently used in shinto shrines and as symbols by several samurai clans. diameter 39.3 cm.
Los 297
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, flat, the surface lacquered in a rust-coloured craquele (Sabi-iro-tataki-nuri). Beautiful, gold Maru-ni-daki-kashiwa-mon on the front side. Black-lacquered interior complete with lined futon and fabric laces. In good condition apart from minor missing parts on the lacquer. diameter 42.5 cm.
Los 299
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, flat, the surface lacquered in black craquele. Beautiful, gold Maru-ni-mitsu-ohgi-mon (three fans in a circle) at the front side, two Hayashi kanji (indicating the family name of the Samurai) on the lateral sides. Red-lacquered interior with raised border, complete with line fabric futon and laces. diameter 42.3 cm.
Los 300
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, flat, the surface lacquered in a rust-coloured bas-relief craquele, Sabi-iro-tataki-nuri (a very small lacking part on the border). A gold Miyake-Rinpo mon at the front side. Interior red-lacquered with remains of laces. Rare. diameter 37.2 cm.
Los 302
dating: Period (1603-1867) provenance: Japan, Light kanshitsu structure, the surface with lacquered bands in rust brown and smooth black (less damaged), the top with hachimanza, Maru-ni-Mokko-mon at the front side. Red-lacquered interior complete with futon and fabric laces. Unusual Jingasa of a boy from a wealthy Samurai family. diameter 23 cm.
Los 422
dating: 1851 provenance: Liege, Rifled, 12 mm cal barrels (clean bore, one with a very light layer of rust at the surface, with clearly visible rifling), octagonal at the ends, seven-faced at the center and decorated with grooves, engraved with floral motifs at the edges, engraved with floral motifs and marked '1' and '2' and with 'Acier Fondu' in gold at the bases, front sight; the tangs engraved with floral motifs, with adjustable rear sight and numbered en suite. Forward spring locks signed 'J. B. RONGÉ Á LIÉGE' in gold, and finely engraved with hunting scenes. Wooden stocks carved with floral motifs and with grooved butts. Iron mounts engraved with floral motifs, the trigger guards with finger support. In their original wooden case (small damages) with brass mounts, with a plaque inscribed 'Al Sig.r Ciravegna 1.mo Premio del Tiro. Turin 1851' at the center of the lid. Lined with red velvet (faded), complete with all tools. length 42 cm.
Los 423
dating: 1850 provenance: Eibar, Octagonal, rifled, 14 mm cal. barrels (clearly visible) signed in silver 'FABRICA DE ZULOAGA EN EIBAR,' rear sight and engraved floral motifs, foresight; engraved tangs. Forward spring locks, one signed '....Zuloaga' (the first word is not clearly legible), the other 'En Eibar 1850,' engraved with floral motifs on granulated background. Wooden half stocks with shell on the fore-end cup and grooved butts, iron hilt decorated en suite. Shield on the back. In wooden case lined with dark blue velvet with light blue bordering complete with all tools and key. length 41 cm.
Los 456
dating: 1886 provenance: USA, Rifled barrel (very light pitting, rifling well defined), provided with front sight, detached rear sight (present and easily restorable), with patents up to 1885 and company markings, with caliber inscription "45-70" and marks of the company "PW". Frame with the same stamp, upper tang with model inscription "1886", the lower one with serial number "141xxx". Working mechanism. Bolt, hammer and barrel with remains of browning. Wooden stock and fore-end, checkered hard-rubber butt-plate with the company mark. Takedown model with quick disassembly. Complete with an accompanying letter from the Cody Firearms Museum. Interesting. length 102,5 cm.
Los 458
dating: 1887-1890 provenance: USA, Round, rifled barrel (bore with light pitting, visible rifling), with folding and adjustable foresight and rear sight, featuring the company marking and patents up to 1887, in two lines, caliber at the base on the left side '44 Cal.'. Frame with lower tang featuring the serial number '70xxx'. Working mechanism. Fore-end and butt, both of walnut. Saddle ring on the left side. length 94 cm.
Los 462
dating: 1868 - 1875 provenance: USA, Round, rifled, 32 cal barrels engraved with floral motifs like all the iron parts, with high rib featuring address and patents, silver front sight. Grooved, five-shot cylinder, spur triggers. Mother-of-pearl grips. Remains of silver plating, one revolver also with remains of gilding (at the hammer and in the cylinder's grooves). Serial numbers '91xxx' and '85xxx.' Engravings en suite. Kept together in an antique wooden case with burgundy velvet lining featuring light-blue piping. length 20.5 cm.
Los 72
dating: Third quarter of the 19th Century provenance: Papal States, Black, felt-covered bicorn complete with cockade, stripe and button with tiara on crossed keys and star. Interior with brown leather sweat-band and brown cloth lining stamped 'ESPOSIZIONE UNIVERSALE PARIS'. Signs of use. Red cloth tail coat with black cloth collar and cuffs decorated with branches in gilded threads, two back tips with trophies. Buttons in two rows show the order of the Golden Spur in bas-relief. Interior lined with white silk (with clear signs of use). Complete with large gilded epaulettes with bullions in gilded threads and the order's silver insignia. Complete with light black fabric trousers (a sewn up tear) with two large buttons at the bottom decorated with remains of small coloured glass stones. The Order of the Golden Spur, also known as the Order of the Golden Militia, is a papal order of knighthood with an uncertain date of origin but it certainly dates back to before the 16th century. One of the most famous decorated people of this order (exactly with the Order's medal) was Wolfgang Amadeus Mozart. height 101 cm.
Los 96
dating: Late 19th Century provenance: Kingdom of Italy, Slightly-curved, single-and false-edged blade with cylindrical back, richly engraved on half-length on both sides. With the crowned German eagle surrounded by trophies and racemes on the right side, and the effigy of a hussar on horseback on the left side. With stamp 'Z' within a crowned shield at the tang, on one side. Remains of nickel plating. Iron hilt with remains of nickel plating, guard with four loop-guards, marked 'UNIONE MILITARE TORINO' and with numbers. Smooth ebony hilt, long checkered iron cap. Two sword knots, one made of blue and gilt cloth and one of leather. Iron scabbard with signs of use and time, light pitting and a strike, with remains of nickel plating, two lugs and leather clutches. length 101,5 cm.
Los 30
Hugo van der Goes, Hieronymus Wierix, Lamentation of Christ. / Description: Lamentation of Christ. After a painting of Hugo van der Goes (1440-1482), Hieronymus Wierix (1533-1619) ca 1586, Published by in Antwerp by Hans van Luyck ca 1586. Hollstein Dutch 382-1(2), first state. Very rare engraving in very good condition. A superb strong impression of this first state engraving printed on thin laid paper with 5 mm margins, with a good watermark. Some very light traces of aging , nearly visible. Very rare. / Dimensions: 18,2 cm x 19,2 cm / Condition: Very rare engraving in very good condition. A superb strong impression of this first state engraving printed on thin laid paper with 5 mm margins, with a good watermark. Some very light traces of aging , nearly visible. Very rare. / Literature: Hollstein Dutch 382 1(2) first state of two / Medium: engraving /Circa: 1586
Los 43
Hieronymus Wierix (1553-1619) - St Bernard kneels before Madonna and Child in a church / Description: In an open church interior, we observe St Bernard kneeling before the Madonna and Child. In a way, the composition recalls the Berlin Madonna in the church by Jan van Eyck. Incoming light streams onto the scene in which Mary's breast milk sprays in his direction but does not effectively reach him. Through a vista at the back of the church, we witness a finely elaborated scene in which St Bernard is in profound adoration for the newborn child in his manger, accompanied by Mary and Joseph. "Monstra te esse matrem" is a line from the hymn Ave Maris Stella, and means "Show yourself as our Mother". / Dimensions: 9,10 x 6,50 cm / Condition: Fine dark impression, trimmed on the plate edge / Literature: Mauquoy-Hendrickx 1979 / Les Estampes des Wierix ... catalogue raisonné (1082) ----- Alvin 1866 / Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix (864) / Medium: Engraving /Circa: Before 1619
Los 434
Joachim Ringelnatz. Janmaate. Topplastige Lieder. Mit 1 signierten Orig.-Lithographie von Rudolf Grossmann und 8 signierten kolorierten OKaltnadelradierungen von Max Pretzfelder. Berlin, Otto Holten für Galerie Flechtheim, 1922. 20 nn. Bll. (die ersten 2 weiss). Fol. Beigefarbene OSeide mit goldgepr. Deckelvignette und rückseitigem Signet, mit Kopfgoldschnitt, in OUmschlag in OHLeinenkassette (40,3 x 30,5 cm) (diese etw. fleckig, bestoßen u. mit kl. Reparaturen, der OUmschlag etw. lichtrandig). Erste Ausgabe - Wilpert/G.² 14; Kayser/Des Coudres 18; Schauer II, 118; Hayn/Gotendorf IX, 493; Rodenberg 19. - Eines von 50 num. Exemplaren auf Bütten, im Druckvermerk von Ringelnatz und Pretzfelder signiert. - 19. Druck des Verlages der Galerie Flechtheim. - Text in Leibniz-Fraktur, Druck des Textes bei O. von Holten, Berlin. Druck der Lithographie bei H. Birkholz und der Radierungen bei A. Ruckenbrod. - Die Lithographie von Rudolf Grossmann ein Porträt des Schriftstellers Ringelnatz. Grossmann war Mitglied der Berliner Sezession. Er übernahm 1929 einen Lehrauftrag an der Staatlichen Kunstschule in Berlin. - Die Radierungen von Max Pretzfelder, Maler, Radierer und Film-Kostümbildner. - Dreiseitig unbeschnittenes Exemplar in tadellosem Zustand, die Radierungen gratig in zartem Kolorit. With 1 signed original lithograph by Rudolf Grossmann and 8 signed colored dry-point etchings by Max Pretzfelder. Beige orig. silk with gold-stamped vignette on cover and signet on verso, with gilt top edge, in orig. wrapper and orig. half cloth case (40.3 x 30.5 cm) (which is somewhat stained, bumped and with small repairs, the wrapper slighty light-margined). - First edition - One of 50 numbered copies on laid paper, signed by Ringelnatz and Pretzfelder in the imprint. - 19th printing of the Flechtheim Gallery. - Text in Leibniz gothic type, printing of the text by O. von Holten, Berlin. Lithography printed by H. Birkholz and etchings by A. Ruckenbrod. - The lithograph by Rudolf Grossmann a portrait of the writer Ringelnatz. Grossmann was a member of the Berlin Secession. He took a teaching position at the State Art School in Berlin in 1929. - The etchings by Max Pretzfelder, painter, engraver and film costume designer. - Untrimmed copy in near mint condition, the etchings in delicate coloring.
Los 404
Corinth, Lovis - - Jonathan Swift. Gullivers Reise ins Land der Riesen. Eine Reise nach Broddingnag. Mit 25 (10 blattgr.) Original-Lithographien sowie 1 sign. Orig.-Radierung von Lovis Corinth. Berlin, Propyläen-Verlag, 1922. 75 S., 2 Bll. Folio. Roter OHMaroquin mit goldgepräg. verziertem Rücken u. Deckeltitel u. Kopfgoldschn. (etwas lichtrandig). Schauer II, 87. - Müller 641-666. - Eins von 200 Exemplaren der Vorzugsausgabe (ges. 400) mit der zusätzl. sign. Original-Radierung auf Kaiserlich-Japan, Druckvermerk von Corinth signiert. - Titelbl. mit kl. Fleck, insgesamt schönes Exemplar der Vorzugsausgabe. With 25 (10 sheet-size) original lithographs and 1 sign. original etching by Lovis Corinth. Red original half morocco with gold-stamped spine and cover title and gilt top edges (some light margins). - One of 200 copies of the special edition (total 400) with the additional sign. original etching on Imperial Japan, printing note signed by Corinth. - Title page with small spot, overall fine copy of the special edition.
Los 384
Joan Miró. (1893 Montroig - 1983 Mallorca). Les essències de la terra per Miró. 1968. Mit 14 blatt- und doppelblattgroßen, teils (Farb-) Lithographien. Je auf chamoisfarbenem GVA Pro Bütten. Blattmaße von 49 x 37,3 cm bis 49 x 74,5 cm. Im Druckvermerk von Miro signiert. Lose Doppelblätter in illustriertem Originalumschlag und Leinenkassette. - Kassette ausgeblichen und mit Lagerspuren. Die Graphiken vereinzelt mit kleinen, leichten Braunflecken und teils minimalen Anschmutzungen. Insgesamt in gutem Zustand. Die Abzüge kontrastreich und satt. Cramer, 120. - Die prächtigen Illustrationen im Stil der Abstraction Lyrique entstanden nach Zeichnungen Mirós zu acht alten katalanischen Texten. Die Mappe enthält sowohl diese Texte als auch die Ode auf Miró von Juan Perucho. Les essències de la terra per Miró. With 14 sheet- and double-sheet-sized, partly (colour) lithographs. Each on buff GVA Pro laid paper. Signed by Miro in the printing note. Loose double sheets in illustrated original envelope and linen case. - Cassette faded and with traces of storage. The prints sporadically with small, light brown spots and partly with minimal soiling. Overall in good condition. The prints rich in contrast and luscious. - The magnificent illustrations in the style of Abstraction Lyrique were created from drawings by Miró to eight old Catalan texts. The portfolio contains these texts as well as the Ode to Miró by Juan Perucho.
Los 440
Carl Emil Uphoff. Adam und Eva. Mit 15 (8 signierten) kolorierten Original-Radierungen und Aquatinten von C. E. Uphoff. Gedr. und hrsg. durch die Werkgemeinschaft Worpswede. Berlin, Grimm und Rogowski, 1921. 15 unpag. Bll. Quer Fol. OPgt. mit goldgepr. DVignette in privater Lwd. Kassette mit goldgepr. RTitel (materialbedingt fleckig, der VDeckel etw. aufgebogen). Rodenberg 137. Lang, Expr. 354. Kat. Lindenau-Museum, Altenburg 4719-4733. Äußerst seltene Publikation - Eines von 110 handschriftlich nummerierten und im Druckvermerk signierten Exemplare. - Die erste Publikation der Werkgemeinschaft "Das neue Worpswede", einer Privatpresse, die von den in der Künstlerkolonie Worpswede wirkenden Künstlern Carl Emil u. Fritz Uphoff sowie Ludwig Tügel gegründet wurde. Worpswede wurde zur Heimat bedeutender Künstler des Jugendstils, Impressionismus und des Expressionismus. Viele Kunstschaffende flüchteten aus der Stadt in die Künstlerkolonie auf der Suche nach ländlichen Motiven oder romantische Sehnsüchte nach bäuerlicher Idylle und einem einfachen, naturnahen Leben verfolgend. Die Künstler Uphoff und Tügel gehen mit der Publikation insbesondere dem Wunsch nach, die Buchkunst als eine Einheit von Text und Illustration durch Anwendung derselben Technik wiederaufleben zu lassen. - Die Folge besteht aus einer Eingangsvignette, einem sign. Titel, 6 sign. Graphiken und 6 rad. Textbll. (jeweils mit Vignette) und einem sign. Druckvermerk. -- Im Vorsatz mit hs. Annotationen in Bleistift, papierbedingt sehr zart u. gleichmäßig gebräunt, im oberen Rand mit durchgehendem kl. Wasserschaden (Motive nicht betroffen), durchgehend etw. lichtrandig, insgesamt eine sehr seltene und wohlerhaltene Publikation mit filigranen handkolorierten Radierungen. With 15 (8 signed) coloured original etchings and aquatints by C. E. Uphoff. Original vellum with gilt cover vignette in private linen case with gilt title on spine (stained due to material, cover somewhat opened). - Extremely rare publication - one of 110 hand-numbered copies signed in the printer's note. - The first publication of the Werkgemeinschaft "Das neue Worpswede", a private press founded by the artists Carl Emil and Fritz Uphoff and Ludwig Tügel, who were active in the artists' colony of Worpswede. Worpswede became the home of important artists of Art Nouveau, Impressionism and Expressionism. Many artists fled from the city to the artists' colony in search of rural motifs or to pursue romantic longings for a rural idyll and a simple life close to nature. With this publication, the artists Uphoff and Tügel particularly pursue the desire to revive book art as a unity of text and illustration by applying the same technique. - The series consists of an initial vignette, a signed title, 6 sign. etchings and 6 etched texts (each with vignette) and a signed printer's note. -- Annotations in pencil in the endpapers, paper very delicately and evenly browned, upper margin with small water damage throughout (motifs not affected), light margins throughout, overall a very rare and well-preserved publication with delicate hand-coloured etchings.
Los 354
Art Déco - - Sammlung von 120 Original-Entwürfen für kunstvolle Monogramm-Vignetten im Stil des Art Nouveau und Art Déco. Vermutlich Frankreich, um 1920. Feder und Deckweiß auf festem, dunklen Papier. Gezeichnet auf 24 Albumseiten, je unter dekorativem Schutzhemdchen. Folio. In Lwd.-Album d. Zt. Die umfangreiche Sammlung zeigt überaus kunstfertig ausgearbeitete Entwürfe für Monogramm-Vignetten, welche durch die Verwendung von Deckweiß und Feder und den somit entstehenden Hell-Dunkel-Kontrast stark plastisch wirken. Der anonyme Urheber bediente sich sowohl des stylistischen Vokabulars des Jugendstils mit seinen eleganten Kurven, langgeschwungenen Linien und vegetabilen Elementen als auch strenger geometrischer Formen wie sie im aufkommenden Art Déco zu finden sind. Auf jeder Albumseite befinden sich zwischen vier und sieben verschiedene Entwürfe in unterschiedlichen Größen, je mit einer handschriftlichen Inventar-Nummer versehen. - Einige wenige Entwürfe minimal atelierspurig und berieben. Insgesamt sehr gut erhalten. Art Nouveau - Art Déco - Collection of 120 original designs for artistic monogram vignettes in the style of Art Nouveau and Art Déco. Probably France, around 1920. Pen and opaque white on strong, dark paper. Drawn on 24 album pages, each under a decorative protective sleeve. Folio. In contemp. cloth album. - The extensive collection shows very skilfully worked out designs for monogram vignettes, which appear very vivid by the use of opaque white and pen and the resulting light-dark contrast. The anonymous author used both the stylistic vocabulary of Art Nouveau with its elegant curves, long curved lines and vegetal elements as well as strict geometric forms as found in the emerging Art Déco. Each album page contains between four and seven different designs in various sizes, each with a handwritten inventory number. - A few designs minimally studio-marked and rubbed. Overall very well preserved.
Los 233
Medizin - Psychologie - - Hermann Rorschach. Psychodiagnostik. Tafeln. 10 farbig u. schwarz-weiß bedruckte Tafeln. Bern u. New York, Hans Huber u. Grune Stratton Inc., o.D. Blattmaße je 25 x 19,5 cm. Lose eingelegt in Gr.-8°. OKt. Flügelmappe mit DTitel (etw. lichtrandig, fleckig u. berieben). Tafelband, ohne den Textband. - Die Karten verso je mit datierten Copyright-Aufdrucken von 1921. - Der von dem Schweizer Psychiater entwickelte Rorschach-Test stellt einen projektiven Test zur Psychodiagnostik in der Psychatrie dar. Rorschach interessierte sich bereits länger für die Wahrnehmung von Tintenklecksen und führte hierzu erste Studien durch. Er versuchte beispielsweise festzustellen, ob begabte Schüler mehr Phantasien als nur durchschnittliche Schüler hatten. - Beeinflusst durch die Psychoanalyse werden im Rahmen des Rorschach-Tests von den Probanden 10 verschiedene ein- und mehrfarbige Kleckse gedeutet, was Aufschlüsse über die Persönlichkeit des Patienten geben soll. - Das bedeutende Buch mit dem Portfolio von 10 Tintenkleksen für den Rorschach-Test basiert auf Studien, welche an 300 psychisch erkrankten Menschen sowie 100 gesunden Probanden durchgeführt wurden. - Mit üblichen Nutzungsspuren, die Kanten etw. bestoßen, insgesamt wohlerhalten. Medicine - Psychology - 10 colour and black and white printed plates. Loosely laid in orig. cardboard wing folder with cover title (somewhat light-margined, stained and rubbed). - Plate vol., without the text vol. Set of boards generally known as Rorschach test. - The cards each with dated copyright imprints on verso. Measures 25 x 19.5 cm each. - The Rorschach test, developed by the Swiss psychiatrist, represents a projective test for psychodiagnosis in psychiatry. Rorschach had already been interested in the perception of inkblots for some time and conducted initial studies on this subject. For example, he tried to determine whether highly talented students had more fantasies than just average students. - Influenced by psychoanalysis, the Rorschach test involves test subjects interpreting 10 different single- and multicolored blots, which is supposed to provide information about the patient's personality. - The important book with the portfolio of 10 ink blots for the Rorschach test is based on studies conducted on 300 mentally ill people as well as 100 healthy subjects. - With usual traces of use, the edges slightly bumped, overall in good condition.
Los 317
Avantgarde - Russische Avantgarde - - Vladimir Lebedev. Russian Placards / Placard Russe 1917-1922. 1st part / Premiere serie. (=Alles Erschienene). Mit 23 ganzseitigen Farblithographien. Petrograd: "Strelec'" fur "Isvestia VCIK" 1923. Titel und Text in Englisch und Französisch, am Schluss russische Zusammenfassung. 6 Bll., 23 Tafeln in Farblithographie mit je 1 Seidenschutzblatt mit englischer und französischer Bildlegende. Roter Ppbd. (hellroter OUmschlag mit montierter farbig lithogr. Deckelillustr. von Lebedev eingebunden) (minimal berieben, OUmschlag minimal mit Schmutzflecken und kleinen Defekten). MoMA 474. - Compton 1917-1934, S. 150. - Die eindrucksvollen konstruktivistischen Farblithographien basieren auf den Entwürfen Lebedevs für die ROSTA-Fenster, den Plakaten der russischen Telegrafen-Agentur, die in einpragsamer Weise tagespolitische Themen verbreiten sollten. Die Motive zeigen arbeitende Menschen, Rotarmisten u.a., aber auch satirische Darstellungen der Bourgeois und der Gegner des Kommunismus. Vor allem die Seidenhemdchen minimal gebräunt bzw. mit Abklatsch. Ansonsten ein gutes Exemplar dieses berühmten Buches. Russian Avantgarde. - With 23 full-page color lithographs. Light red cloth (original cover with mounted colour lithographic cover illustration by Lebedev bound in) (minimally rubbed, orig. cover with minimal dust). - The impressive constructivist color lithographs are based on Lebedev's designs for the ROSTA windows, the posters of the Russian telegraph agency, which were intended to disseminate daily political topics in an engaging manner. The motifs show working people, Red Army soldiers, etc., but also satirical depictions of the bourgeois and opponents of communism. Especially the silk shirts minimally browned or with offsetting. Otherwise a good copy of this famous book.
Los 279
Napoleonica - - Lithophanie mit Ganzportrait Napoleons in einem Feldlager. 1. Hälfte 19. Jh. Gegossene Biskuit-Porzellanplatte ohne Marke. Ca. 17,5 x 14 cm. Verso geritzt signiert. Gerahmt in hölzernen Biedermeier-Lichtschirm auf 2 Füßen (ca. 34 x 21 cm) (tls. etwas angestaubt). Reliefdarstellung, die bei rückseitiger Beleuchtung den Feldherrn neben einer Kanone sowie im Hintergrund ein Lagerfeuer mit Zelt und einem Soldaten zeigt. - Das Motiv (allerdings ohne Kanone) entspricht dem lithographierten Frontispiz zur 1822-1826 erschienenen Biographie "Vie politique et militaire de Napoleon" von Antoine-Vincent Arnault. - Lithophanien waren im 19. Jahrhundert als Fensterbehang sehr beliebt oder dienten als dekorative Abschirmung von flackernden Lichtquellen. - Insgesamt gut erhalten. Porcelain lithophane with full portrait of Napoleon in a field camp. 1st half 19th cent. Cast bisque porcelain plate without mark. Signed on verso. Framed and set in a wooden Biedermeier light shade on 2 feet (ca. 34 x 21 cm) (partially somewhat dusty). - The commander is depicted next to a cannon, in the background a campfire with tent and soldier. - The motif (without cannon) corresponds to the lithographed frontispiece to the biography "Vie politique et militaire de Napoleon" by Antoine-Vincent Arnault, published in 1822-1826. - Overall well preserved.
Los 10
GRUPO AUSTRAL (Antoni Bonet, Juan Kurchan and Jorge Ferrari-Hardoy). Argentina, 20th century."Butterfly Chair. Original design from 1938. Edition of the 1970s.Light brown leather and tubular metal.Slight restoration, visible on the back of the seat.Slight damage to the leather.Measurements: 92 x 76 x 67 cm.The BKF chair, also known as "Butterfly", is an iron and leather chair created in Buenos Aires by the Austral Group, composed by Antoni Bonet, Juan Kurchan and Jorge Ferrari. Today it is considered the main symbol of Argentine design, and one of the most celebrated internationally. It was created in 1938, and presented at the Salón de Artistas Decoradores de Buenos Aires in 1940. It was the result of the happy meeting of three young architects who met in Paris, in Le Corbusier's studio. Antonio Bonet, Juan Kurchan and Jorge Ferrari-Hardoy spent a year studying with the master, absorbing his legacy. They were particularly influenced by the book "L'Art Décoratifs d'Aujourd'hui", in which Le Corbusier demolished the idea of decorative art in favour of modern design. In his book, the architect analyses new designs, from furniture and technical objects to mass-produced industrial products and solutions conceived in military contexts that could be transferred to the domestic environment. Upon their return to Argentina, the three young men founded Grupo Austral, a design collective ready to investigate new horizons in architecture. The precedent for the Butterfly chair was the Tripolina: a redesign of a classic piece of military furniture. The three designers studied its potential and redesigned it, improving its features to give it a place of honour in the new domestic environment. They focused on the structure, inspired by the international tubular metal trend of the rationalist movement. The wooden frame with metal joints was replaced by two curved metal elements to create a single loop. The structure is linear, pure and continuous like a Möbius strip. It is versatile, light and stackable like a chair, but also comfortable and spacious like an armchair. The level of comfort it offers is reminiscent of a hammock, the traditional Latin American chair that forms a cocoon-like womb and offers the lightness and cleanliness of a hanging canvas. Today, the Butterfly is still recognised as a modern classic that enjoys universal success.
Los 114
GIO PONTI (Milan, 1891-1979).Wall lamp "Quadro di luce".Polished brass structure.Handmade, limited and numbered edition, produced by POLLICE ILLUMINAZIONE from original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017.Issue 2016-004/10.With trademark label, Pollice Illuminazione, Milan.Bulbs not included.Measurements: 20 x 80 x 12,5 cm. Sculptural wall lamp with indirect light, handmade, limited and numbered edition, based on the original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017. Its design is inspired by minimalist sculptures. Like a container of light, it is defined by the rigour of its primary shapes: square, hexagon and rectangle form a harmonious dialogue of lines that effectively organise the light. This product is manufactured using artisanal, non-industrial processes. Small imperfections and uneven surface ageing are deliberately present, which is a specific feature of the product and testifies to its craftsmanship.Architect, designer and academic, Gio Ponti is, together with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is renowned for his volcanic creativity, which led him to produce and design until the 1970s.His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept.Ponti studied architecture at the Politecnico. After the First World War, in which he had to serve, he worked as artistic director for the respected ceramics manufacturing company Richard-Ginori. Between 1923 and 1927 he teamed up with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international design tastes for over fifty years. Around 1933, Ponti teamed up with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was commissioned to build what would become one of the iconic buildings of the 20th century, the 32-storey Pirelli Tower in Milan.
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EERO SAARINEN (Finland, 1910 - United States, 1961).Tulip Table, 1960s.White enamelled metal base and veined marble top.Marks of use on the base, especially noticeable on the shaft.Measurements: 71.5 x 120 cm.Around 1955 Eero Saarinen designed a collection of furniture for Knoll International in which the four legs of the tables and chairs disappeared, as the designer considered them "horrible". This was to become known as the Tulip Collection, now one of the international icons of 20th-century design. The one we present here is a side table model, with a white enamelled metal base and a circular tabletop in light veined marble.Saarinen initially studied sculpture at the Académie de la Grand Chaumière in Paris, and later architecture at Yale University. He then furthered his studies in Europe on a scholarship, and on his return took up a teaching post at Cranbrook Academy, one of the most important architectural and industrial design academies in the United States. In 1937 he began designing furniture in collaboration with Charles Eames, winning the 1940 prize in the "Organic Design in Home Furnishings" competition organised by the Museum of Modern Art in New York. Later, as an independent designer, Saarinen created furniture designs for Knoll International. As an architect, Saarinen became famous for his spaces with curved lines, especially in the roofs of his buildings, with which he managed to give them a great lightness. One of his most representative and well-known buildings is the TWA terminal at J. F. Kennedy Airport in New York. Today, his designs are present in the most important collections around the world, including the MoMA in New York.
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KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With slight wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
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KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
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STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE DORÉTIBET, VERS XVIE SIÈCLE Himalayan Art Resources item no. 205029 12.5 cm (4 7/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF AMITAYUS TIBET, CIRCA 16TH CENTURY 西藏 約十六世紀 銅鎏金無量壽佛像Amitayus, the princely Bodhisattva of Infinite Light, sits cross-legged in dhyanasana on a wide-petal lotus base with a riverine pattern etched around the lower rim. His bare torso is adorned by large insets of turquoise while a voluminous lower garment falls elegantly over his legs and onto the base. Lastly, a diadem framed by small blossoms crowns his forehead and chignon. See another example that shares a type of wide lotus petal and a similar arrangement of jewellery, sold at Sotheby's, New York, 21 March 2019, lot 938.Provenance:Bonhams, London, 5 November 2014, lot 228.For further information on this lot please visit Bonhams.com
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NO RESERVE Nightingale (Florence) Notes on Nursing: What It Is, and What It Is Not, first edition, second issue, with "[The right of Translation is reserved]" at foot of title and yellow endpapers with printed advertisements dated 1860, ink signature to head of title, a little spotting or soiling, light water-staining to upper outer corner, original limp cloth, rubbed, rebacked, 8vo, [1860].
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NO RESERVE Railways.- Dmitriev-Mamonov (A.I.) & .F.Zdziarski. Guide to the Great Siberian Railway, translated by Miss L.Kukol-Yasnopolsky, revised by John Marshall, first English edition, 2 portraits, 3 phototype plates, one chromolithographed plate heightened with gold, 4 folding maps (3 colour) and 3 town plans, illustrations throughout, a few printed in colour, without advertisements at end, ink signature to head of title, occasional light foxing, Rhidorroch bookplate, contemporary straight-grain morocco, rather rubbed and faded, 8vo, St.Petersburg, Artistic Printing Society, 1900.⁂ Luxurious and comprehensive guide to the newly-built Trans-Siberian railway which connected Moscow with the Far East. The Russian, French and English editions were published simultaneously in 1900.
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NO RESERVE London.- Cruchley's New Plan of London in Miniature..., letterpress title, 8pp. index and advertisement leaf, hand-coloured double-page key map and 15 double-page hand-coloured engraved maps numbered 1-30 and pasted back to back in book form, a little browned, especially final double-page, a few short splits to folds, original cloth, yellow paper label to upper cover, lacking spine, covers detached, [c.1830] § Grand Panorama of London (The), from the Thames, long folding wood-engraved map, staining to joints, some splits and fraying to folds, loose in binding, folding concertina style into original cloth, gilt, Charles Evans, [1844] Reynolds & Sons (James) The Oarsman's and Angler's Map of the River Thames from its Source to London Bridge, long folding hand-coloured map mounted on linen, light soiling, one or two splits to folds, folding concertina-style into original cloth, damp-stained, James Reynolds, [1880s], all rubbed or worn; and c.15 others on London, 8vo et infra (c.20)
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NO RESERVE Delaroche (Paul) Bas-Reliefs du Parthénon et du Temple de Phigalie, 20 engraved plates, tissue guards, light spotting and soiling, contemporary roan-backed boards, gilt-stamped roan label to upper cvover, rather worn, upper cover detached, Paris, 1838 § Choisy (Auguste) L'Art de Batir chez les Romains, first edition, 24 engraved plates, 3 double-page, the last couple with light marginal spotting or soiling, loose as issued in ?original board folder with ties, rubbed, rebacked in cloth, ties renewed, Paris, 1873; and another, v.s. (3)
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NO RESERVE Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol. 1 second edition, the rest first editions, one engraved map only (of 3), lacking portrait frontispiece, half-titles and errata, vol. with worming and start, light foxing and browning, bookplates of Sir William Wilson Hunter, later half vellum, spines gilt, spines darkened with some chipping to labels, 4to, W. Strahan; and T. Cadell, 1776-88.
![NO RESERVE [Dubreuil (Jean)] La Perspective Pratique necessaire a tous Peintres, Graveurs, Sculpteurs, Architectes, Orfevres,](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/cd222f82-d1be-47db-a3c7-af6000b99588/468x382.jpg)
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NO RESERVE [Dubreuil (Jean)] La Perspective Pratique necessaire a tous Peintres, Graveurs, Sculpteurs, Architectes, Orfevres, Brodeurs, Tapissiers..., Part I only (of 3), first edition, engraved additional pictorial title (bound after letterpress title), fine engraved head-pieces & initials and 150 plates, plates 141 & 142 cancels pasted over previous plates (order reversed), signatures I & Y misbound, light marginal water-staining at beginning and end, a few spots, a good copy in nineteenth century calf-backed boards with green vellum corners, by E.F.Ledoux (signed on spine), spine tooled in gilt and blind, a little rubbed, spine slightly faded, [Berlin Kat. 4714; Fowler 108; cf. Millard French 63, second edition], 4to, Paris, Melchior Tavernier & François l'Anglois, 1642.⁂ Popular and useful work which went through several French and English editions; a second volume was issued in 1647 and a third in 1648-49. Dubreuil's "work on perspective is probably the most influential ever published expressly for the use of a lay audience." (Millard).
![NO RESERVE Water, Drainage & Sanitation.- [Chadwick (Edwin)] Report...from the Poor Law Commissioners, on an Inquiry into](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/ac5bd791-b187-475f-ac8d-af6000b7f73c/468x382.jpg)
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NO RESERVE Water, Drainage & Sanitation.- [Chadwick (Edwin)] Report...from the Poor Law Commissioners, on an Inquiry into the Sanitary Condition of the Labouring Population of Great Britain, first edition, 2 folding colour maps, folding table and 16 lithographed plates and plans, some double-page, illustrations, original cloth, a little rubbed, spine faded, [PMM 313], 1842; and 12 others on water, drainage & sanitation, 8vo & 4to (13)⁂ Shocking and influential report on the living conditions of labourers in London and the industrial cities of northern England. "It is one of the most important documents in the history of the first half of the nineteenth century. Its recommendations included for the first time national responsibility for drainage, cleaning of streets, paving, light and water supply, and a national health and burial service. The Health Board of 1848, the Local Government Board of 1871 and today's Ministry of Health (1919) are all directly traceable to Chadwick's report." PMM.
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