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315251 Los(e)/Seite
Los 7
One of the first views of the Moon's far side, recorded by an automatic Yenisey-2 photo-television camera system mounted on the probeLuna 3, 4-22 Oct 1959Vintage gelatin silver print on fibre-based paper, number labels affixed to identify geographical areas of the Moon, trimmed to the shape of the Moon 20 x 24 cm (8 x 9½ ) and mounted onto a board, Svenska Dagbladets stamp dated 28 Oct 1959 and press caption on the board's versoFootnotes:Luna 3 was the third robotic probe successfully launched to the Moon and the first one to return images of the far hemisphere of the Moon. It took twenty-nine photographs of which six were published
Los 8
The dog Laika, the first living creature to orbit the Earth, photographed before the launch (left); accompanied by a second still photograph from the film 'First Soviet Satellites of the Earth' showing Laika in the cabin of sputnik (right)Sputnik 2, November 3, 1957One vintage gelatin silver print on fibre-based paper, 22 x 18 cm (8¾ x 7 in), with the APN (Novosti Press Agency) caption attached to the verso, and one vintage gelatin silver print on fibre-based paper, 24 x 18.5 cm (9½ x 7¼ in), with the APN (Novosti Press Agency) caption, stamps and cropping marks on the verso Provenance: from Tim Furniss collection Footnotes:Laika became the first living creature to orbit the Earth. It is now the accepted version that it orbited the Earth four times before dying from overheating. The technology at the time was not sufficiently developed to return the spacecraft to Earth. Medical observations and examinations conducted during this mission provided the scientists with important data needed to develop technology that would allow humans to survive such flight. As a result, Sputnik 2 mission raised an ethical debate about the use of animals in spaceflight testing
Los 82
Charles ConradRichard Gordon ties a tether to the Agena vehicle during EVAGemini 11, 13 September 1966Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA S-66-54556, with A KODAK PAPER watermarks and NASA Manned Spacecraft Center caption on versoCondition Report: Three small areas of paper abrasion to the back, not affecting the front, six small dings and a small area of restoration on the frontCondition Report Disclaimer
Los 85
James LovellBuzz Aldrin, photographed in the open hatch, carries a micrometeoroid package to the spacecraft during an EVAGemini 12, 11-15 Nov 1966Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED NASA S-66-63538, with A KODAK PAPER watermarks and NASA Manned Spacecraft Center caption printed on versoCondition Report: Three filing rings impressions in upper margin, light creases in lower right corner, otherwise fineCondition Report Disclaimer
Los 86
The first space selfie, Buzz Aldrin during EVAGemini 12 11-15 Nov 1966Vintage gelatin silver print on fibre-based paper, 20. 3 x 24.3 cm (8 x 9½ in), an AP Wirephoto print with a press caption across the front and a date stamp on the verso (18 Nov 1966)Footnotes:Illustrated: Ron Schick, Julia van Haaften, A View from Space, p.4 'This closeup of astronaut Edwin A. Aldrin was made shortly after he opened his hatch in the Gemini 12 spacecraft and stood up to begin a series of operations designed to provide more information on man's ability to work in space. At lower left is a portion of a Maurer camera used to photograph some of Aldrin extravehicular activity' (caption)To capture this self-portrait, Aldrin attached the camera to the side of the spacecraft to stabilize it and get his face in the frame.
Los 9
Miss BakerMercury Programme, 28 May 1959Vintage gelatin silver print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), USIS stamp and a caption affixed to versoProvenance: from Tim Furniss collectionFootnotes:Miss Baker and Able were two small female squirrel monkeys who flew as part of NASA's Bioflight No 2 mission, along with payloads ranging from blood samples to yeast cells to two frogs on Jupiter AM-18 on 28 May 1959. Their survival - they were the first live creatures to survive a spaceflight - was of paramount importance to NASA who needed the success to harvest public support for its activities. Miss Baker lived until she was 27
Los 98
An oblique view of the lunar surface and the lunar horizon transmitted by the first robotic probe to soft land on the Moon, Soviet Luna 9Luna 9, 2 February 1966Vintage gelatin silver print on fibre-based paper, 20.5 x 25.7 cm (8 x 10 in), an AP Wirephoto print with the APW press caption across the front and another one attached to the verso (dated 4 February 1966)Footnotes:Luna 9 was the first robotic spacecraft to successfully soft land on the Moon in 1966. It preceded the US Surveyor 1 by around 4 months.After touchdown a television camera erected from the probe and the system began a photographic survey of the lunar environment. Seven radio sessions with a total of 8 hours and 5 minutes were transmitted, as well as three series of TV pictures. After assembly the photographs gave a panoramic view of the immediate lunar surface.Although the pictures of the Moon were initially not released by Soviet authorities, their signal format was found to be similar to the Radiofax signal universally used by newspapers to transmit pictures. Thus, Jodrell Bank Observatory near Manchester was able to instantly intercept, decode and publish Luna 9's first photographs from the Moon's surface
Los 219
Sebastian Vettel signed in black 12 x 8 colour print of a Red Bull RB9 - four time F1 World Champion; Richard Petty signed in silver 12 x 8 colour print of him driving a Pontiac NASCAR - nicknamed 'The King', won seven championships, 200 races and started over 1,100 races; another two; Kenny Roberts signed in black 12 x 8 colour print of him at British GP 1979 - three time World Champion; Giniel de Villiers signed in black 12 x 8 colour print of him in a Toyota Hi-Lux at speed in The Dakar rally 2014; all signed at Goodwood Festival of Speed 2005, 12 & 13; other motorsport prints including Damon Hill, Vic Elford, Jacques Lafitte, Martin Brundle, Sebastian Buemi, Bruno Senna, Andrews Manta 400 etc.
Los 125
A collection of Chinese gouache pictures, comprising: one with three ladies standing next to trees, inscribed with signature of Ren Yixing, dated year of Jiashen, 47 x 78cm, one with a literatus seated on a rock under a pine tree by a stream, inscribed with signature of Tieming, dated year of Kuiwei, 33 x 65.5cm, one with a lady, inscribed and dated year of Jiawu, 35 x 34cm, two with long inscriptions and the signature of Chen Zixuan, each 32 x 31.5cm, another, and three Chinese hanging scrolls, each with a mountainous landscape, inscribed, ink and colour on silk, 60 x 23cm, and a reproduction print, of a horse in the style of Xu Beihong, 22 x 29cm (10)Condition report: Gouache pictures with cockling, creases and splits. Two with long inscriptions also stained.Horse - Printed. Water stains. Cockling.Landscapes - all with creases and cockling.
Los 131A
A collection of Chinese and Japanese pictures, comprising: one with a landscape, a red seal to the lower-left corner, ink and colour on paper, 30.5 x 22cm, framed and glazed, a gouache painting, of a pheasant standing on a rock under a blossoming prunus tree, surrounded by birds and butterflies, ink and colour on paper, 40.5 x 59cm, framed and glazed, an embroidery, of a temple, 59 x 68cm, framed and glazed, and a handscroll, of a print copy of Dwelling in the Fuchun Mountains (4)Condition report: Landscape - tired, holes and losses throughout. Pheasant - splits and holes in various locations. Temple - fabric stretched with cockling and foxing. Handscroll - printed, loose threads to edges.
Los 140A
A Chinese gouache painting, of a shepherd with goats, inscribed with signature of Zhou Bing, ink and colour on paper, 148 x 41cm, together with a reproduction print, in the style of Qi Baishi, 131 x 33cm, and a pair of Chinese calligraphy scrolls, in archaic font, with the signature of Luo Zhenyu, ink on paper, 134 x 29.5cm (4)Condition report: Qi Baishi - printed. Upper rod missing. Creases, cockling, foxing, stains and splits throughout.Zhou Bing - both rods missing. Creases, cockling, foxing, stains and splits throughout.Calligraphy - Both with creases, cockling and light stains, signs of old repairs.
Los 403
15th-16th century AD. A glazed terracotta pitcher with piriform body, trefoil mouth, m-section strap handle and pie crust foot, blue and white criss-crosses around the rim, dashed lines along the handle and in vertical panels flanking the handle, helmetted soldier in profile against a field of foliate scrolls and sprays; apparent finger print/s on base; Italy, Tuscany, Montelupo. 1.17 kg, 23.3cm high (9 1/4"). Private collection, Sarthe, France. Ex central London gallery. [No Reserve] Fine condition, chipped.
Los 454
17th-18th century AD. A gold D-section annular band, the outer face engraved with a frieze of floral and foliate forms and a stylised skull, highlighted in niello, the inner hoop inscribed: 'A true frends remembrance', and a capital letter 'R' in a shield. Cf. The Portable Antiquities Scheme Database, id. KENT-6C2FB6 and NMGW-4AB918, for comparable inscriptions and styles; cf. id. GLO-82D866, for a ring with similar inscription and stamped 'R', dated 1650-1750, and GLO-5321BC, dated 1650-1700; cf. The British Museum, museum number AF.1342, for this mark on a 17th-18th century ring, the mark believed unidentifiable in standard works of reference. 1.93 grams, 19.10mm overall, 16.95mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (3/4"). UK antiques market between 1974-1985. From the Albert Ward collection (part 2), Essex, UK. The traditional practice of bequeathing rings belonging to the deceased to the family and friends they left behind was gradually replaced in the 16th and 17th centuries, when it became preferable for the deceased to leave a sum of money with which memorial, commemorative or mourning rings could be purchased. In the later part of the 17th century, such rings were distributed at funeral services, where they were worn in memory of the deceased. Memento mori inscriptions and popular devices such as skulls, crossbones and hourglasses became fashionable on jewellery and in print, prompting the reader or viewer to ponder the brevity of life and the necessity of preparing the soul for death. [No Reserve] Fine condition, with remains of enamel.
Los 455
Dated 1806 AD. A gold flat-section annular band, the outer face bearing the inscription: 'AARON GREEN ESQ DIED 3 NOV 1806 AGED 71', followed by a composite lozengiform motif on a niello background, framed above and below by plain bands and milling, the interior with four stamped marks: sovereign's head in oval cartouche, lion in six-sided cartouche, the letter 'L' in a cartouche and 'W.E' in a rectangular cartouche, probably for the maker William Edwards. Cf. The British Museum, museum number AF.1626, for a similar ring with a similar lozenge dated 18th century; museum number AF.1517, for a similar ring dated 19th century; museum number AF.1634, for a ring stamped 'W.E', known active dates 1800-1846. 4.52 grams, 20.84mm overall, 19.31mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18) (3/4"). UK antiques market between 1974-1985. From the Albert Ward collection (part 2), Essex, UK. The traditional practice of bequeathing rings belonging to the deceased to the family and friends they left behind was gradually replaced in the 16th and 17th centuries, when it became preferable for the deceased to leave a sum of money with which memorial, commemorative or mourning rings could be purchased. In the later part of the 17th century, such rings were distributed at funeral services, where they were worn in memory of the deceased. Memento mori inscriptions and popular devices such as skulls, crossbones and hourglasses became fashionable on jewellery and in print, prompting the reader or viewer to ponder the brevity of life and the necessity of preparing the soul for death. The traditional practice of bequeathing rings belonging to the deceased to the family and friends they left behind was gradually replaced in the 16th and 17th centuries, when it became preferable for the deceased to leave a sum of money with which memorial, commemorative or mourning rings could be purchased. In the later part of the 17th century, such rings were distributed at funeral services, where they were worn in memory of the deceased. Memento mori inscriptions and popular devices such as skulls, crossbones and hourglasses became fashionable on jewellery and in print, prompting the reader or viewer to ponder the brevity of life and the necessity of preparing the soul for death. [No Reserve] Fair condition. A large wearable size.
Los 456
Dated 1767 AD. A large gold annular band with keeled inner face, the external face inscribed: 'THOS . KNIGHT . OB : 30 . APR : 1767 . AET : 68' in raised letters followed by a composite lozengiform motif, on a niello background, slender recessed bands above and below. See The British Museum, museum number 1942,1004.1, for a similar ring. 3.80 grams, 21.40mm overall, 18.06mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (1"). UK antiques market between 1974-1985. From the Albert Ward collection (part 2), Essex, UK. The traditional practice of bequeathing rings belonging to the deceased to the family and friends they left behind was gradually replaced in the 16th and 17th centuries, when it became preferable for the deceased to leave a sum of money with which memorial, commemorative or mourning rings could be purchased. In the later part of the 17th century, such rings were distributed at funeral services, where they were worn in memory of the deceased. Memento mori inscriptions and popular devices such as skulls, crossbones and hourglasses became fashionable on jewellery and in print, prompting the reader or viewer to ponder the brevity of life and the necessity of preparing the soul for death. [No Reserve] Fine condition. A large wearable size.
Los 350
Brannam Pottery ovoid vase, the tube lined green scrolls on black glazed ground, impressed marks, 22cm high; two black glazed sparrow beak jugs, 18.5cm and 16cm high; a black glazed cow creamer, 13cm high; a small globular teapot decorated with birds, 13cm high; a silver lustre twin handled cup, 14.5cm high and a small print mesh vase, 7cm high. (7).
Los 423
Two limited edition prints of Bath by Matthew Grayson: 'Perspective Study of Pulteney Bridge' numbered 45/50, circa 35cm x 42.5cm, with notification of authenticity signed by the artist, and a coloured print of 'The South West prospect of Bath Abbey 2003', numbered 2/25, 31cm x 19.5cm, both glazed and framed
Los 57
After Milton Glaser, 'Big Nudes' for The Visual Arts Gallery, 209 East 23rd Street, New York, print on board, framed, 62 cm x 95 cm overall Condition Report: Generally good, some some small scuffs, dark marks and spots of residue. No watermarks or signs or restoration. Colours bright. No signs of having been folded. Unable to remove from frame to examine the back. Frame has some scratches
Los 661
A collection of framed music and film memorabilia to include a 1993 Apple Corps Limited, limited edition print of Sgt. Peppers Lonely Hearts Club Band, numbered 807/9800, a black and white poster of the Beatles, The Cavern 1962, a print of a drawing of the Beatles, a print of The Who on stage with The Who concert tickets, and three limited edition 35mm filmcel presentation frames for Star Wars, The Empire Strikes Back (600/1000), and A New Hope (666/1000), and The Matrix, Neo/Trinity (368/1000)
Los 663
A gilt framed wall mirror in the French 18th century style, of vertical form with domed top, adorned with ribbons and swags, the mirror with bevelled edge and surmounted by a glazed coloured print of figures dancing in a woodland clearing, height 100cm Condition Report: Believed to be a 19th century plate however the frame has been over painted and restored. Believe the print is 19th century however are unable to verify whether it is the genuine picture.
Los 268
signed and dated 1990oil and oil pastel on canvas 59,5 by 49,5cm; 78 by 68 by 6cm including framingPROVENANCEGregoire Boonzaier estate, thence by descent?Gregoire built his beloved Geelhuis in 1969 and over the years, the house became a recognised landmark in Vermont. It then became fondly known as ?Gregoire se Geelhuis?. This is the house where he entertained the likes of Jan Rabie, Marjory Wallace and Uys Krige to mention but a few. My fondest childhood memories come from times I spent in Vermont with my grandfather where he would entertain me and allow his inner child to come out and play. We would have water fights in and around the house, cook up a storm in the kitchen, making a huge mess of course, and when pancakes were on the menu, he would flip the pancakes, let them stick to the ceiling and then run around the house in an attempt to catch them before they landed on the floor. We would blow up lightbulbs in the fire drum used for burning waste and when he dropped them into the fire he would shout ?Bombs Away?, and we would then duck for cover and wait for the explosion to happen. If it wasn?t lightbulbs, it was firecrackers we were playing with. Separate to the house was his studio where he spent many an hour painting. I remember how disciplined he was when it came to working. He would treat me and allow me to help print linocuts by hand and he would give me a pallet and let me mix colours, of course under his guidance. He had only one rule for me when he was working, and that was that he had to be able to see me from the studio window which overlooked the garden, ocean and a small bay in front of the house. Sadly, those times had to come to an end but the memories will live on forever in me.?Lucian Boonzaier, grandson of Gregoire Boonzaier
Los 22
A vintage Niagara Cyclo Massage kit comprising hand unit and seat pad, contained in carry case and a limited edition print after Margaret Clarkson, entitled 'A Book At Bedtime', numbered 210/500 and signed in pencil to the margin, mounted and framed under glass, approximately 25 cm x 19 cm image size. [2]
![A large framed etching and a limited edition print after David Dipnall, largest approximately 55 cm x 41 cm image size. [2]](https://cdn.globalauctionplatform.com/38a77eb5-f76d-4436-b0ee-ae3c00ffb0e8/dc72fe5b-7e2d-4c23-9985-ae3c01015d80/468x382.jpg)
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315251 Los(e)/Seite