534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 90
THE PROPERTY OF A EUROPEAN NOBLEMAN A FINE GERMAN HUNTING TROUSSE (WEIDBESTECK), SECOND QUARTER OF THE 18TH CENTURY comprising cleaver with heavy single-edged chopping blade, iron hilt chiselled in low relief, comprising a pair of straight quillons decorated with large game, recurved terminals formed as monsterheads, ring-guard decorated on the lower face with a woodland scene involving a boar set upon by a pair of hounds and, on the upper face, a further woodland scene involving a stag set upon by three hounds, integral grip decorated on the inside with a stag hunting scene en suite with the ring and the outer with a hunter in contemporary dress at the base, a panel of engraved silver in the middle on each face, and pommel formed as a maned lionshead with brass tongue, in its fabric-covered wooden scabbard (light wear, shrinkage, now a poor fit) encased in pierced iron, the inner face with two loops for suspension, the outer decorated with a vertical arrangement of stag and boar hunting woodland scenes involving hunters in contemporary dress, plain iron locket (two rivets missing, loose), and complete with its accompanying pieces comprising bodkin with file, three knives of differing length and a fork, each with grip inlaid with an engraved silver panel front and back and chiselled iron lionshead pommel en suite with the cleaver, and remaining in good untouched condition throughout 35.0 cm; 13 3/4 in cleaver blade A related example formerly in the Meyrick Collection at Goodrich Court, Herefordshire is illustrated Skelton 1854, plate II, figs. 10 and 11. Another, formerly in the collection of Prince Carl of Prussia, is illustrated Hiltl 1876 cat. no. 516.
Los 230
THE PROPERTY OF A EUROPEAN PRINCE A COMPOSITE SOUTH GERMAN LIGHT FIELD ARMOUR, CIRCA 1600-10 comprising burgonet with rounded skull formed in two pieces joined along the crest of a high roped medial comb (with one split), projecting forward at the brow to an acutely-pointed integral peak and at its rear to a similarly pointed integral neck-guard (the main edges of both peak and neck-guard originally accompanied by a recessed border, subsequently removed), and fitted at each side with a hinged cheek-piece (associated), flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with five auditory holes in a dice-formation, the right struck at its front edge with the arsenal number 'X' over '15'; 'Almain' collar formed of a single plate front and rear, flanged upwards at the neck-opening and fitted at each side with an integral spaudler of five lames (associated and partly composed, the right detached); one-piece breastplate of late peascod fashion with a deep flange at the waist fitted at each side with a pair of modern straps (all but one now broken) for the suspension of a pair of long tassets each extending to just above the knee and formed of seven lames (the upper two of the right associated), the lames of the left and right tassets struck with groups of four and three triangular assembly marks respectively; and backplate formed in one piece with a broad shallow neck-opening and a deep waist-flange; the main edges of the armour formed with inward turns, those of the burgonet notched and those of the tassets roped and accompanied by a recessed border; the subsidiary edges decorated in part with pairs of incised lines; and the interiors of the burgonet, collar and cuirass respectively painted in white with the numbers '37', '111' and '32' beneath the letters 'SO' of the Solothurn Zeughaus (the whole lightly patinated overall) See note at front of catalogue for information concerning stands Provenance Solothurn Zeughaus, Switzerland
Los 339
PROPERTY SOLD BY THE DESCENDANT FAMILY OF THE 8TH EARL OF AIRLIE THE SILVER-MOUNTED GEM-SET SWORD PRESENTED OF DAVID WILLIAM STANLEY, 8TH EARL OF AIRLIE, BREVET MAJOR 10TH ROYAL HUSSARS, BY JOHN FRANCIS LATHAM FOR WILKINSON SWORD COMPANY, LONDON SILVER HALLMARKS 1885, NO. 27050 FOR 1885 with polished regulation blade, etched on one face with the presentation inscription in a central panel enclosed by elaborate scrollwork and, on the other, with further scrollwork, Regimental details, the owner's full arms with crest, supporters and motto, maker's details including 'patent solid hilt', and battle honours for Peninsula, Waterloo, Sevastopol, Ali Masjid, Afghanistan (1878-9) and Egypt 1884, silver triple-bar hilt including chequered back-strap engraved with the owner's crest and motto beneath an earl's coronet, composition grips inlaid with a green and red gem set bouquet of rose-cut diamonds on one face and the Regimental device, the Prince of Wales's feathers in enamelled gold, gems and rose cut diamonds on the other, with a portion of its sword knot cord (knot missing), in its silver scabbard, with silver drag and two silver rings for suspension (small dents) 89.0 cm; 35 in blade The presentation inscription reads PRESENTED TO DAVID WILLIAM STANLEY, 8TH EARL OF AIRLIE, BREVET MAJOR 10TH ROYAL HUSSARS BY HIS TENANTS, NEIGHBOURS AND OTHER FRIENDS IN THE COUNTIES OF ANGUS AND PERTH IN TESTIMONY OF THEIR RESPECT AND ADMIRATION OF HIS GALLANT SERVICES IN AFGHANISTAN AND THE SOUDAN 1885 Lieutenant Colonel David Stanley William Ogilvy, 6th Earl of Airlie (titled 8th Earl during his life) was born on 20 January 1856 at Florence, Italy to David Graham Drummond Ogilvy, 5th Earl of Airlie and Hon. Henrietta Blanche Stanley. He was educated at Eton College and Balliol College, Oxford. He gained the rank of Lieutenant in 1874 in the service of the 1st Regiment, joining the Scots Guards the following year and 10th Hussars in 1876. He fought in the Second Afghan War between 1878 and 1879. He succeeded to the title of Lord Ogilvie, 6th Earl of Airlie on 25 September 1881. He fought in the Sudan Expedition in 1884 and the Nile Expedition between 1884 and 1885, being slightly wounded at Abu Klea and again at El Gubat, where he was twice mentioned in despatches. He held the office of Representative Peer for Scotland between 10 December 1885 and 1900. He married Lady Mabell Frances Elizabeth Gore, daughter of Arthur Saunders William Charles Fox Gore, 5th Earl of Arran of the Arran Islands and Lady Edith Elizabeth Henrietta Jocelyn, on 19 January 1886 at St. George's Church, Hanover Square, London. He gained the rank of Lieutenant-Colonel in December 1897 in the service of the 12th Lancers. He fought in the Boer War in 1900, and was mentioned in despatches for gallantry at Modder River, and was again wounded near Brandfort. He was killed in action on 11 June 1900 at Diamond Hill, Pretoria, Transvaal, South Africa, after leading his regiment in a charge which saved the guns. The following is an abbreviated account of the Battle of Diamond Hill, taken from Louis Creswicke's South Africa and the Transvaal War (1901): The Boer rifle-men approached with such audacity with a view to the annihilation of the gunners of Q Battery and the capture of their pieces, that for protection sake the 12th Lancers were ordered to charge. The Earl of Airlie, who already had had his horse shot under him, was seeking a new charger. He joined his regiment in time to lead to the attack, but he found himself exposed to a murderous tornado from the southern slopes of Diamond Hill. Nevertheless, the charge of the valiant band, small though it now was, had a glorious result. Away scudded the Boers to both sides, scattering over the distance towards Diamond Hill, while their oppressive propinquity to the British guns was brought to an abrupt close. This done, Lord Airlie decided, as the horses were too jaded and overworked to engage in effective pursuit, to become no further involved. He was about to withdraw his regiment when suddenly a bullet caught him, and, almost instantly, he fell dead. Thus the Empire lost one of its finest soldiers, one of its most honourable, well-beloved of men. The Wilkinson ledgers record this sword as a silver-hilted light Cavalry sword with patent tang, proofed 16 December 1881 and sold to Rt. Hon. The Earl of Airlie.
Los 226
A RARE LATE GOTHIC CANTLE PLATE, EARLY 16TH CENTURY, ENGLISH OR FLEMISH formed of two plates strongly flanged inwards at its upper and lateral edges, overlapped and joined medially by a later radially-fluted rivet, and embossed over the full outer surface with diverging terraced fluting (areas of light pitting, one small internally patched repair) 14.5 cm; 5 3/4 in high A number of cantle plates of related form, in one case mounted on its original saddle, are preserved in the Royal Armouries at the Tower of London and Windsor Castle. It is likely that the present example, like them, is from the arsenal of Henry VIII. A related cantle plate is preserved in the Metropolitan Museum of Art, New York. See Pyhrr, Larocca and Breiding 2005, p. 62., no. 30.
Los 224
A PAIR OF GREAVES AND SABATONS, 19TH CENTURY IN THE SOUTH GERMAN STYLE OF CIRCA 1550-60 each with a full-length tubular greave formed of a rear plate cut at the heel with a large keyhole slot to accommodate a spur, and a front plate cut at its lower end with an arch to accommodate an integral sabaton of seven lames, the last forming a toe-cap of rounded square form; the main edges of both elements formed with notched inward turns accompanied by recessed borders repeated at the lateral edges of the front plate of the greave, and both elements decorated medially with a pair of recessed bands (some patches of light active rusts (2) Provenance Dr Bashford Dean, Riverdale, New York Clarence H. Mackay, Harbor Hill, Long Island, New York John Woodman Higgins Armory, Worcester, Massachusetts, Inv. No. 2603 Literature Bashford Dean, Catalogue of a Loan Exhibition of Arms and Armor, Metropolitan Museum of Art, New York, 1911, no.23, pl.XIX Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 94
Los 227
A HORSE CAPARISON, 19TH CENTURY of two parts entirely covering the horse's body including the head, each of crimson damask silk backed with coarse woven fabric, the outer surfaces applied with heraldic leopards and shields in contrasting damask and velvet, with tasselled fringed borders (staining and light wear) (2)
Los 441
A CASED SCOTTISH .451 CALIBRE ALEXANDER HENRY PATENT PERCUSSION SPORTING AND TARGET RIFLE BY ALEXR. HENRY, 8 SOUTH ST. ANDREW ST., EDINBURGH, NO. 657, CIRCA 1858-62 with browned octagonal twist barrel signed in full along the top flat at the breech, the forward section matted, rifled with seven grooves, engraved 'Patent No. 238 Gauge 451' in front of its sprung folding-ladder back-sight, windage adjustable fore-sight, scroll-engraved case-hardened breech with platinum plug, scroll-engraved case-hardened tang, border-engraved flat lock decorated with scrolls, a stag and a tiger, signed beneath the hammer, fitted with blued safety-catch and hammer, the latter en suite with the lock and tang (the interior with surface rust), highly figured half-stock with chequered pistol-grip and fore-end, engraved iron mounts comprising circular butt-trap cover decorated with a lion, butt-plate, serial numbered trigger-guard decorated with a tiger and with a trap for caps with engraved iron cover behind, ramrod-pipe, barrel bolt escutcheons (the barrel bolt head slightly chipped), horn fore-end cap, vacant brass escutcheon and original brass-tipped wooden ramrod, and in untouched condition with traces of early finish (areas of light pitting and patination): in original oak case fitted and lined in pigskin (small scuffs and stains), the case lid with vacant brass escutcheon on the exterior and the interior with maker's label, complete with its accessories (some missing) including nickel-mounted Alexander Henry powder-flask, brass bullet mould, circular brass cap-dispenser, turned hardwood boxes, brass loading rod, patch-cutter, turnscrews and oil bottle 82.0 cm; 32 1/4 barrel Together with a handwritten card inscribed '[this] rifle was made by Alex. Henry of Edinburgh in 1869 for George Martineau, Ensign 6th Surrey Rifle Volunteers, who won 'The Queen's Prize' at Wimbledon in n1868 and bought this rifle with the prize money (£100)….William Martineau, Kincraig, 1st March 1931'. The maker's records state that '...serial no. 657, single .451 patent number 238, 1860' was made for G. Martineau Esq., circa 1857-58.
Los 100
VARIOUS OWNERS A FRENCH SMALL-SWORD, CIRCA 1760 with hollow-ground triangular blade etched with scrollwork at the forte, steel hilt cast, pierced and chiselled with scrolling foliage, including double-shell-guard decorated with bouquets and a band of strapwork, globular quillon, knuckle-guard, quillon-block and pommel the latter two each en suite with the shell-guard, and the grip bound with plaited silver wire and copper ribband (small areas of light pitting) 72.5 cm; 28? in blade Provenance The Bodmer Collection, Schloss Kyburg, Switzerland circa 1920
Los 281
A GERMAN ZISCHÄGGE, FIRST HALF OF THE 17TH CENTURY with rounded two-piece skull joined by a turn along the crest of a high medial comb, fitted at its brow with a flat obtusely-pointed peak, at its nape with an acutely-pointed neck-guard of four lames, and at each side with a broad scutiform pendent cheek-piece pierced at its centre, within an almond-shaped boss, with four small auditory holes, the peak pierced at its centre with a pentagonal-hole to accommodate a sliding nasal-bar (replaced) faceted for the greater part of its length, terminating at its upper end in a stepped, leaf-shaped finial, and retained by staple and locking-screw (replaced) at the brow, the main edges of the helmet formed with plain inward turns and its surfaces coloured black over light pitting 30.6 cm; 12? cm
Los 234
A COMPOSITE SOUTH GERMAN LIGHT FIELD ARMOUR IN THE 'BLACK AND WHITE' FASHION, LATE 16TH CENTURY WITH EARLY 17TH CENTURY BURGONET comprising burgonet with rounded skull formed in two pieces joined along the crest of a high roped medial comb, projecting forward at the brow to an acutely-pointed integral peak, and fitted at its flanged rear edge with a rounded one-piece neck-guard and at each side with a hinged cheek-piece in each case flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with five auditory holes in a dice-formation (the distal end of the hinge of the left cheek-piece lacking one rivet); 'Almain' collar formed of four lames (the upper two in each case associated), the lowest front one struck externally with the inverted mark of the Württemberg Zeughaus, and all struck internally with triangular construction-marks, and the whole fitted at each side with an integral spaudler, the left of six lames (wholly detached and the lowest three associated) and the right of five lames (partly detached and all associated); breastplate formed of a medially-ridged main plate projecting forward over the belly, with a broad shallow neck-opening, fitted at its arm-openings with moveable gussets and flanged outwards at its lower edge to receive a fauld of two (originally three) lames; and one-piece backplate with a slightly convex upper edge and a flanged lower edge fitted with a culet of one lame (slightly cracked at the centre of its upper edge where it is improperly riveted to the flange); the main edges of all elements formed with inward turns, those of the burgonet, spaudler and backplate notched, and the remainder file-roped; the whole decorated with raised bands and borders burnished bright against a black-from-the-hammer ground (partly refreshed with paint) in the 'black and white' fashion (the collar and backplate showing some active surface corrosion) See note at front of catalogue for information concerning stands Provenance Württemberg Zeughaus, Germany
Los 79
A FINE AND RARE BROADSWORD, LAST QUARTER OF THE 15TH CENTURY, PROBABLY VENETIAN with straight double-edged blade of pronounced flattened section, stamped with a series of small marks within a broad central fuller between a pair of slender fullers over the lower third on each side, steel hilt comprising rear quillon with flattened globular terminal formed with an additional bar curling along the plane of the blade, forward quillon extending at a right angle to form the knuckle-guard and drawn-out at the base to form an additional loop-guard, the knuckle-guard of flattened section and cut with pairs of decorative notched lines, square pommel drawn-out on each side to a raised central moulding, and wooden grip, perhaps the original (the steel parts with areas of patination and light pitting, the grip with worm damage) 92.8 cm; 36 in blade A large number of similar swords are preserved in the Armoury of the Doges Palace, Venice, one such example is struck with the same series of marks on the blade (inv. no. A300). Other examples are preserved in the Hofjagd- und Rüstkammer, Vienna. A number of the swords in the Doge's Palace are impressed 'CX' on the grip for the Consiglio Dieci. The Council of Ten was established in 1310 following a revolt and was intended as a temporary Government body. However, it became permanent in 1334 with powers that increased substantially and, a century later, it was overseeing the Republic's diplomatic and intelligence services as well as managing its military affairs. The hilt is a variant form of Norman type 6. See Norman 1980, pp. 69-70, plate 9, and Franzoi 1990, p. 86, no. 151, figs 43, 217.
Los 174
A SAXON MINER'S GUILD AXE, LATE 17TH CENTURY with flat iron head of characteristic form pierced with a slipped quatrefoil and circles, stamped with a maker's mark including the letter 'K' (rubbed) and fitted with a copper button on the spike, fruitwood haft profusely inlaid over its full length with engraved bone plaques of flowers and foliage involving figures kneeling in penance at the feet of Christ Crucified beneath the pious inscription 'INRI', all on a ground sewn with horn pellets enriched with brass wire scrolls along the back, and fitted with bone pommel engraved on both sides with a flowering medallion filled with the arms of Saxony on one side and the crossed pick and hammer of the Miners Guild on the other (small pieces of inlay replaced, minor losses and light wear) 88.9 cm; 39 in
Los 366
A SAXON SLURBOW, BY JOHANN GEORG ERTTEL, DRESDEN, DATED 1753 with blued steel bow decorated with a gilt band top and bottom at each side, fitted with an early string, retained by gilt cords and with its green pom-poms, fruitwood tiller fitted with an additional bar above and with bone bolt channel (very light worm damage), engraved with the date ahead of the string-release, inlaid with engraved staghorn segmental lines and plaques including panels of rococo foliage inhabited by hounds on each side of the mechanism, a doe and a stag pursued by a hound in a rococo landscape on the left of the cheek-piece and further decorated panels on top including a scalloped hollow for the thumb, steel string-release, double set trigger, steel trigger-guard, and bone butt-plate engraved with the number '1', 'I. G. E.' and 'Ertell' 67.0 cm; 27? in This was converted for use as a slurbow in its early working life. Two gunmakers of this name, a father and son, are recorded circa 1700-63 and 1728-94 respectively. A number of firearms by them are preserved in the former Electoral gewehrkammer, Dresden, though neither is recorded as a crossbow maker. It is likely that this is the work of the father as the son is recorded in Amsterdam as both Burgher and Master the year the present bow was manufactured. See Schaal 1975.
Los 343
A U.S. MODEL 1840 LIGHT ARTILLERY SABRE, DATED 1865 of regulation type, with curved blade stamped 'US/ADK' with the date at the forte on one face and with Ames manufacturing inscription and the serial number '252' on the other, brass hilt, leather-covered wire-bound grip, in its steel scabbard 83.0 cm; 32 3/4 in blade Provenance Milton R. Macintosh, Rhode Island, acquired December 1970, no. 11 John Woodman Higgins Armory, Worcester, Massachusetts, Inv. No. 3574
Los 69
A .600 CALIBRE TURKISH MIQUELET-LOCK RIFLE, DATED 1229 AH, CIRCA 1814/15 with octagonal sighted twist barrel rifled with nine grooves, retained by five slender and four shaped engraved silver bands, chiselled with a shaped panel encrusted with gold flowers and foliage at the muzzle and breech (light wear), the former fitted with standing back-sight pierced with four apertures, steel tang decorated en suite, steel lock of characteristic form encrusted with gold flowers including the date on the underside of the mainspring (light wear), highly figured burrwood full stock, inlaid over the fore-end and around the lock with brass rondels enriched with minute brass nails, shaped butt (now in two pieces), formed of contrasting panels of green-stained horn, bone and dark hardwood, inlaid with rondels and nails en suite with the fore-end (minor repairs), green-stained barrel bolt escutcheons, trigger-plate and fore-end cap (small chip), and original steel ramrod 72.5 cm; 28½ in barrel
Los 317
THREE RARE FLINTLOCK CARTRIDGES, FIRST QUARTER OF THE 18TH CENTURY, GERMAN OR DUTCH each formed of a cylindrical cartridge, fitted on the right with a screw-in pan and sprung steel (light rust) 6.0 cm; 2? in overall For a gun incorporating this system formerly in the Visser Collection see de Vries and Martens 2007, cat. no. 925.
Los 483
A 28 BORE PERCUSSION DUELLING PISTOL BY JOSEPH MANTON, NO. 9054, CIRCA 1824 with heavy octagonal sighted barrel, numbered beneath and with census mark, probably for King's County, IK-S 1010, patent breech engraved with a scroll on the right, inlaid with a platinum line, pierced platinum vent, and platinum-lined barrelsmith's stamp, engraved breech tang incorporating the back-sight, signed scroll-and border-engraved bolted lock, hammer of early form, figured walnut half-stock (light bruising), chequered butt, engraved blued numbered trigger-guard, vacant silver escutcheon and silver barrel bolt escutcheon, and horn fore-end cap (later ramrod) 25.5 cm; 10 in barrel See Scott-Edeson 2000, p. 78.
Los 233
A COMPOSITE SOUTH GERMAN LIGHT FIELD ARMOUR, AUGSBURG, CIRCA 1600-20 comprising burgonet with rounded one-piece skull rising to a high medial comb, projecting forward at the brow to an obtusely-pointed integral peak, and fitted at its flanged rear edge with a matching rounded one-piece neck-guard and at each side with a hinged cheek-piece in each case flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with five auditory holes in a dice-formation; 'Almain' collar formed of one plate front and rear, in each case flanged upwards at the neck-opening, and fitted at each side with an integral spaudler each of five lames (the right associated); one-piece breastplate of late peascod form with a narrow shallow neck-opening, fitted at its flanged lower edge with a fauld of one lame cut at the centre of its lower edge with a shallow arch separating a pair of sub-rectangular tassets each pendent on three straps and formed of four lames; backplate formed of a main plate with a shallow neck- opening cusped at its centre, and a somewhat narrower waist-lame flanged outwards at its lower edge to form a short integral fauld cut with a shallow central notch at its lower edge; and long gauntlets each formed of a tubular elbow-length cuff with a separate inner plate, a wrist-plate, five metacarpal-plates, a knuckle plate decorated with a transverse rib, a shaped finger-plate and scaled finger and thumb-defence, the latter connected by a lateral leather hinge to the last metacarpal-plate; the peak of the burgonet and the neck-openings of the breastplate and backplate respectively struck with makers' marks respectively involving the initials WH (?), HR and BN, in each case accompanied by the fir-cone mark of the city of Augsburg, and the front of the collar struck with the large arsenal number 37; the main edges of all elements formed with plain inward turns, and their surfaces retaining their original black-from- the-hammer finish (slightly rubbed and oxidised at points) See note at front of catalogue for information concerning stands The HR mark on the breastplate has been tentatively identified as that of either Hieronymus Ringler the Younger (born 1583, still living 1626) or Hans Roth (recorded 1613-1642). See Thomas, 1980, p. 88.
Los 564
MURDOCH, Iris, The Red and The Green, Chatto & Windus, 1965, 1st edn. in d/w. light foxing to fore-edges. Tog.with BURGESS, Anthony, Nothing Like The Sun, Heinemann, 1964, 1st edn. on d/w. plus WAUGH, Evelyn, The Ordeal of Gilbert Pinfold, Chapman & Hall, 1947, 1st edn. in d/w. Plus others, some 1st editions. 15
Los 675
FIVE PAGES OF WATERCOLOUR SKETCHES AND PHOTOGRAPHS from a Victorian album with Grubb family connections relating to Military actions in New Zealand by the 68th and 43rd Light Infantry regiments and Maori Culture circa 1860. Side 1 2 photographs of soldiers on parade possibly the 68th and 43rd Light Infantry, 17 x 22.5cm and 10 x 15cm Side 2 A watercolour view of Rangitoto and North Shore Entrance to Auckland Harbour A pen and ink sketch of Pukehniahina Redoubt at 'Gate PA' at Tauranga with key A watercolour sketch with text verso Interior of 'Gate PA' Redoubt. Commanding Officer Captain Tucker (68th Reg) dated Jan 17 1865 Two Birmese Tattooing Figures Jan 1st 1865 A photograph entitled 'Maoris with Flax Mats', 7 x 7.8cm Side 3 A watercolour sketch of 'Cabbage Tree' A photograph of 'Alexander Grubb saved from the wreck of the Colombo' A watercolour sketch of 'Freemans Bay near Auckland' A watercolour sketch View of Auckland Harbour from Public Gardens A watercolour sketch Auckland Harbour from Wynyard House Verandah A pen and ink sketch of a Tattooed Maori Side 4 A watercolour sketch of The Officers Mess at Maketu Redoubt signed with initials A.G. A watercolour sketch of Flax Drying in Matapulu (?) PA Side 5 A watercolour sketch Strelitzia Regina in Blossom in Domain-Parnell - NZ dated Jan 23rd A watercolour sketch Common Tree Fern signed A.G. and dated 24/3/65 A watercolour sketch 'View from the rifle pits at Te Manga (?) Side 6 A watercolour sketch inscribed verso A Maori Tomb, the end of a Canoe' Side 7 A watercolour sketch inscribed verso 'Interior of Matapihi PA Tauranga N.Z. not a fighting PA' dated 1860 A pen and ink sketch entitled 'Maori Weapons' with key dated 1860
Los 345
*@Rosenkrantz (Arild, 1870-1964). Adoration, pastel, showing a standing male figure in a blue tunic with arms outstretched in worship before an elevated cross transfigured by light, with a lantern on the ground beside, signed lower right, 63.5 x 45.5cm (25 x 18ins), original architectural gilt frame (slight loss to upper right), with Horner Galleries, Sheffield, label on verso Baron Arild Rosenkrantz was a Danish painter, sculptor, stained glass artist and illustrator, who studied in Rome and Paris, and spent much of his working life in England. He was influenced by the Pre-Raphaelites, in particular Edward Burne-Jones, and also by William Blake, Turner and Monet. In 1894 and 1895 he travelled to New York where he started working with stained glass, carrying out work for The Decorative Stained Glass Company and Tiffany. In England he showed work in the final exhibitions of the New Gallery, the favoured gallery of Burne-Jones and his followers in the 1890s, which closed in 1909. He had many commissions, including twelve large panels for the ceiling in the dining room at Claridges Hotel in London. He made stained glass windows and bronze sculptures for a number of English churches, houses and castles, and also established himself as a portrait painter, as well as a book illustrator. Arild Rosenkrantz was a spiritual seeker throughout his life, meeting Rudolf Steiner in 1912, founder of the philosophy of anthroposophy, the connection of the human understanding with the spiritual world. This painting, in both technique and subject matter, is typical of the deeply emotive and otherworldly quality of his work. (1)
![*[Laura Knight, 1877-1970]. Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, li](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/87485e6f-0a48-45bc-ed1c-ca520514c337/468x382.jpg)
Los 621
*[Laura Knight, 1877-1970]. Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, lithographic poster printed in black and gold, on heavy wove paper, designed by Christian van der Hoef, printed by Senefelder, Amsterdam, awarded to Laura Knight in the Fine Art competition, in which she received the silver medal, signed by the president of the Netherlands Olympic Committee and the president of the International Olympic Committee, some light toning and minor marks to margins, with a few light creases, sheet size 745 x 545 mm (29.3 x 21.5 ins) (1)
Los 598
*Conder (Charles, 1868-1909). Seated Lady, etching on laid paper, an artist's proof, signed in blue pencil, and marked 'Artist's proof' to lower margin, additionally signed within the plate with initials C.C. lower left, and with an area to the lower left of the plate marked off in blue pencil, plate size 202 x 150 mm (7.95 x 5.9 ins), light surface marks and overall spotting, laid down on backing card, sheet size 315 x 265 mm (12.4 x 10.5 ins) Provenance: From the collection of Lady Ottoline Morrell by descent. (1)
Los 450
*Van Dyck (Anthony, 1599-1641). Christ crowned with thorns (also known as The Reed offered to Christ), circa 1631, etching and engraving on heavy wove paper, by Lucas Vorsterman, with printed inscription at foot Anton Van Dyck invenit et fecit aqua forti, but without the privilege or publisher's name Bon Enfant, a very good well-inked dark impression, faint manuscript initials N.St. to lower right corner (possibly an early ownership), trimmed to plate mark, sheet size 264 x 215 mm (10.4 x 8.5 ins), some light scattered spotting and pale glue stains to extreme corners, mounted Hollstein 20. Of Van Dyck's 19 etchings 17 are portraits, the exceptions being Titian and his mistress (Hollstein 628 and the present work, Hollstein 519). (1)
![*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], en](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/001bc39b-192d-4b2b-b348-582e71e355bf/468x382.jpg)
Los 439
*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo's Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher's name Giovanni Giacomo Rossi, Rome (active 1638-1684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620 mm (19.5 x 24.4 ins), contemporary calf-backed marbled boards, worn, folio Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi's famous engravings after Michelangelo's fresco of the Last Judgement, originally published by Antonio Lafreri. (1)
Los 609
*Griggs (Frederick Landseer, 1876-1938). Meppershall Chapel, 1915, etching on laid paper, one of 30 impressions of the third state, signed in pencil, some light toning, sheet edges with some tears and loss to edges (caused by previous mounting and glue), encroaching particularly to the lower right corner of the image (but with some margin on all sides), plate size 131 x 116 mm (5.2 x 4.5 ins), sheet size 210 x 185 mm (8.3 x 7.2 ins), with margins shorter in several places Comstock 13, iii/iii. (1)
Los 639
*@Picasso (Pablo, 1881-1973). Los Toreros I-IV, 1961, together 4 lithographs, including one in colour, as issued in Jaime Sabartes, Picasso: Toreros, published by A. Zwemmer & A. Sauret, 1961, the English edition, with numerous colour and monochrome illustrations, contemporary presentation inscription to Robert Gardner-Medwin to front blank, dated February 1963, original decorated red cloth with slipcase (faded and some marks to edges), a few light spots to margins, oblong folio, sheet size 245 x 315 mm (9.7 x 12.5 ins) (1)
Los 471
*Aldunate (Carmen, Chilean, 1940-). La Lujuria, 'Lust', 1963, oil on canvas, signed, titled and dated to verso, Chilean export stamp to verso, 120 x 120cm (47x 47ins), framedProvenance: A private collection, London. Purchased by the vendor in a Santiago gallery in 1969 (export stamp to verso is dated 31 January 1970). Carmen Aldunate is a leading light in the Latin American Neo-Figurative movement, bringing a distinct feminist flavour clearly evident in the present work. Her work has been exhibited by galleries worldwide including the Museum of Modern Art in 1977, the Minories Art Gallery, Essex (2003), and an Eastern European travelling exhibition in 2004, as well as South America. (1)
Los 608
*Griggs (Frederick Landseer, 1876-1938). Lone-End, 1930, etching on pale cream laid paper, signed in pencil, and inscribed in black ink to verso D.H.P. for Dove's House Press, and numbered 18, from the published edition of 90 impressions, some pale discoloration and light spotting and surface marks, 182 x 260 mm (7.15 x 10.25 ins), sheet size 246 x 320 mm (9.7 x 12.5 ins) Comstock 43, iii/iii. (1)
Los 459
*Watts (Simon, active 1760-1780). The Assumption of the Virgin Mary (after Luca Cambiaso), 1763, woodcut printed in ochre, on laid paper, with margins, in very good condition, 475 x 300 mm (18.75 x 11.75 ins) mount aperture, framed and glazed, together with Skippe (John, 1741/42-1811), Joseph Sold into Slavery by his Brothers (after Raphael), 1783, colour chiaroscuro woodcut on laid paper, printed in black, grey-green and light green, image size 215 x 285 mm (8.5 x 11.25 ins), with separate printed dedication label mounted below, bearing the inscription 'Joanni Lane de Hospitio Lincoln: Arm: hoc observantiae pignus, prout Amico debitum praestantissimo, libenter offert J. Skippe', mounted on original laid backing paper, 292 x 367 mm (11.5 x 14.5 ins) plus Mulinari (Stephano, 1741-1790), La guida Imene, e Palpita alla Fanciulla il Core: Vide la Sua Vittoria, e la dipinse Amore (after Giovanni da San Giovanni), copper engraving with aquatint in sepia on laid paper, plate size 310 x 400 mm (12.25 x 18.75 ins), sheet size 345 x 470 mm (13.5 x 18.5 ins), and 2 other smaller colour woodcut prints after Parmigianino from the collection of Jonathan Richardson, one dated 1734, each mounted on large laid paper, folio sheet, and numbered in a contemporary hand in brown ink to lower right 44 and 54 (5)
Los 440
*Goya (Francisco de, 1746-1828). El famoso Martincho poniendo banderillas al quiebro (The famous Martincho playing the bull with the movement of his body), 1816, etching, drypoint burin and burnished aquatint on laid paper, with partial watermark 'AN', numbered 15 to top right, plate size 257 x 352 mm (9.7 x 13.8 ins), one or two surface marks and light diagonal crease towards left hand side, sheet size 313 x 475 mm (12.3 x 18.7 ins), tab-mounted Delteil 238. Harris 218. (1)
Los 334
*Attributed to Edward Lear (1812-1888). Tivoli, 24th October 1839, pencil and watercolour on paper, unsigned, but inscribed in pencil with location and date lower right, light overall toning, sheet size 235 x 400 mm (9.25 x 15.75 ins), laid down on modern backing card, window-mounted In May 1839, Lear left Rome, obstenibly destined for Florence, but first headed east to Tivoli and nearby Arcinazzo and Civitella di Subiaco (where he stayed until mid-October). The pencil inscription bears comparison with examples of Lear's handwriting. (1)
Los 947
THREE WATERCOLOURS, Evening Light Barnard Castle, signed lower right J A Dees, approximately 34.5cm x 52.5cm, 10 Deck Chairs Lyme Regis, signed lower right P Pagett, approximately 22.5cm x 38cm and Lock Keepers Cottage at Foxton, signed lower left Lila Bradshaw, approximately 30cm x 46.5cm (3)
Loading...-
534297 Los(e)/Seite