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PRINCE - CONTROVERSY (DEMO CASSETTE). Super scarce original demo cassette of Prince's 4th studio album. The TDK D-C46 cassette has white labels pasted over the top with 'PRINCE SIDE ONE' and 'PRINCE SIDE TWO' printed. The inlay contains a 'review' of the album stating: "...Find out how the man who made the Lyceuym look and sound like New York City's 42nd Street can do the same for your stereo"... The cassette appears to be in excellent condition. Provenance: From the archive of Virgin Records label executive Jumbo Vanrenen

CLASSIC PUNK/NEW WAVE/ALT - LPs. Mega smart collection of 25 x LPs plus 1 x 10". Artists/titles include The Clash - London Calling (stock UK og CBS CLASH 3 - A1/B1/C2/D3 - records VG+ with some light surface/storage marks, some of which could be cleaned/generic white inners/VG solid sleeve, some paper scuffs on the reverse and some general edgewear), Ozric Tentacles - Erpland (DOVE LP 1 - Ex+ or 'NM' records very clean/Ex+ lovely sleeve too), The B-52's - Play Loud (200 776-320), The Tubes - Now, Sparks - Terminal Jive (UK og V2137 - Ex/VG+ w/printed inner) and Kimono In My House (ILPS 9272 - Ex+/Ex), The Tourists (RCALP 5001 no 7"), OMD (x4), The Stranglers (UAG 30045), The Housemartins - London 4 Hull 0 and The People Who Grinned...,The Style Council, Tubeway Army, Lene Lovich, Rezillos, Fischer-Z (x2), Fairground Attraction, Tears For Fears and Prefab Sprout. Condition is typically neat VG+ to Ex+.

POPULAR ARTISTS FROM 1950s/1990s - 7" COLLECTION PLUS LPs. Eclectic mix of around 150 x 7" plus a small selection of 5 x LPs and 2 x 12". Artists/titles include The Beatles - Beatles For Sale (PMC 1240 3N/3N UK og - VG/VG), and With The Beatles (PMC 1206 7N/7N - VG/G), Elvis Presley - Peace In The Valley, The Caravelles, The Rolling Stones - The Last Time, Freddie Mercury, A-ha, Ten Years After, Bronski Beat, Adam Ant, The Who, Helen Shapiro, Frank Ifield, Adam Faith, Petula Clark, Mike Oldfield, Connie Francis, Jane Morgan, Floyd Cramer and Calum Kennedy. Condition does vary though titles still often grade between VG and Ex.

SEX PISTOLS - 7" COLLECTION. Impressive archive of 47 x 7" from The Sex Pistols. Including duplicates, titles/number of copies include The 'Spunk' 7" Singles Collection (limited edition 7 x 7" yellow set CMXBX1534 - 'as new' records/with booklet/Ex outer box), Holidays In The Sun (inc. 2012 pic disc and stock VS 191), God Save The Queen (VS 181), No One Is Innocent/My Way (VS 220, x4), Pretty Vacant Live, (I'm Not Your) Stepping Stone, Pretty Vacant (inc. 2007 copy and 7 x stock UK VS 184 copies), Something Else (x2), C'mon Everybody (VS272, x5), Silly Thing/Who Killed Bambi (VS 256, x5), Land Of Hope & Glory, Mal-One - 430 Kings Road, The Friendly Hopefuls - Tribute... (blue, ABS 004) and PiL (x6) inc. S/T (og newspaper sleeve, please note record cracked). Condition is generally VG to Ex though some do vary.

UNDERTONES RARE CASSETTE DEMOS. From the collection of acclaimed designer Bush Hollyhead, who worked on artwork for The Undertones, Pink Floyd and others. Titles are The Undertones (original Sire demo of the eponymous debut, containing 15 tracks including 'Mars Bars' that didn't appear on the album - with printed Q-Cassettes labels with handwritten 'NO14', some tearing to the label though the cassette appears in excellent condition/printed green card inlay with handwritten 'Ian Wright Copy No 17'), 'EMI Demos' (4 track demo with the tracks Conscious, Love Parade, Untouchable and Bitter Sweet, handwritten inlay stating 'Demos EMI RM/SQ 20-6-82 with the track listing and times handwritten, 'Noise Reduction No', the AD-C46 tape with 'U.Tones' handwritten on the otherwise plain label, the cassette appears to be in excellent condition) and 'The Undertones/Feargal Sharkey' (SD C90 TDK cassette with 'The Undertones' written on one side and 'Feargal Sharkey' written on the other/with humourous green picture card inlay showing a gnome pushing a wheelbarrow - the cassette appears in very good condition).

Russian repousse copper plaques, by Irakli Ochiauri, a Georgian painter and sculptor who was awarded the Shota Rustaveli State Prize, comprising an upright rectangular panel of a lady in magnificent headdress and jewels, 58cm high, 30cm wide, another similar reclining nude, 57cm x 29cm, and a square shaped crouching nude, 36cm x 33cm (3)Condition report: all i ngood conditionreclining nude has green verdigris patination

Of Slavery Interest: After H. Pidding, 19th century mezzotint entitled "Here's Freedom to those who wish it to others", 17cm x 14cm, in glazed frame, together with a pair of 19th century hand coloured prints entitled 'Family of Negro Slaves from Loango' and 'A Coromantyn Free Negro, or Ranger, armed', 23cm x 18cm, in glazed frames (3)Provenance: The Robert Barley Collection

Unusual Late 18th century pen portrait of James Dennet, the subject depicted in profile, described below as 'James Dennett, a Roman Catholic priest who lived with Sir Thomas Gage in Suffolk, died the 1st of March 1789 in the 90th year of his age, 24 x 17cm, unframedProvenance: The Lorna and Gordon Turner CollectionCondition report: Image is trimmed to edge, unframed, a little time staining, no serious defects

Of local interest: Rare and possibly unique hand drawn map of Dunwich. The map with polychrome tinted street plan and map of the coast extending to Dunwich Haven and Walberswick in the North, including extant details such as St Peter’s Church (lost to the sea in 1697), this appears to relate to the Ralph Agas map (now lost) made 1587, a map which was subsequently copied by Joshua Kirby for his engraving of Dunwich published 1753, the present map shows the same degree of coastal erosion in the Agas map and the Kirby version, the present map also with extensive inscribed geographical detail in archaic English, French and Latin, details which the Kirby engraving doesn't include and so may be derived from the Agas original, the present map probably 18th or early 19th century, unframed, with cloth support, approximately 71 x 59cmProvenance: The Lorna and Gordon Turner CollectionCondition report: Provenance:;Estate of Lorna and Gordon Turner, who were local collectors and dealers in Books with particular interest in Suffolk history. it's unknown how long this has been in their collection and how it was acquired. The map is cloth lined and anecdotally was previously rolled although is now flat, presented unframed. Deterioration is severe towards lower edge and an area far left (see images) also some staining general detrioration although the majority of the text and drawn detail is retained and legible. we believe this is based on the (now lost) Agar map of 1587 and may be taken from the Kirby published engraving of 1753 (which is taken from the Agar map) this map varies significantly from the Kirby engraving only because of the extensive inscriptions in English , French and Latin, it's unclear whether this may have been copied from the Agar map or an original addition by the author of the present map. We assume this map to date from the 18th or 19th centuries

Mary Beale (1633-1699) oil on canvas - portrait of Jeremy Taylor, Chaplain in Ordinary to King Charles 1st, half length in clerical dress within a painted cartouche, 77cm x 64cm, in gilt frameProvenance: Nicholas Bromley Davenport Esq., Capesthorne Hall. Christie's 15th April 1994 where purchased by the vendors late father.NB: a copy of a label verso states 'This picture was originally at Baginton Hall and is an Heirloom under the will of William Bromley Davenport who died in 1884; removed from Baginton Hall during the fire of 1899 and rehung in 1902 at Capesthorne Hall'Condition report: The work has been professionally re-lined and restored circa 20-30 years ago. It is now in ready hang condition. Under a UV light (see images) there are areas of overpainting visible.

*Sir James Gunn (1893-1964) oil on canvas - 'First sketch for Conversation Piece, Belloc, Chesterton & Baring. E. Grindlay deputising for Maurice Baring, 31-1-32', signed and dated, inscribed verso, 45.5cm x 35.5cm, framed. Also included is a black and white photograph of the finished work, inscribed 'To Edward Grindlay, March 1932, H. James Gunn', in glazed frame, 45cm x 39cm overall, together with a collection of ephemera relating to Maurice Baring, G. K. Chesterton and Hilaire Belloc, together with seven books. Provenance: The descendants of Edward and Evelyn Grindlay. Removed from Westcott, Dorking Exhibited: Thos. Agnew & Sons Ltd, Old Bond Street, May 1946 'First Impressions', No. 38'. NB: Sir James Gunn and Edward 'Teddy' Grindlay met in 1917 when they joined the 10th Scottish Rifles, and became life long friends and Grindlay, Gunn's patron. In the Scottish National Portrait Gallery publication of 1994, it states 'The idea for a portrait of the three writers came to Gunn in 1930 at a dinner to celebrate Belloc's 60th Birthday. He recalled the episode in a speech to University College School ..."Splendid, you shall show it in the Royal Academy and it will help to sell our books"... I arranged with a friend (Edward Grindlay) who was the right shape to deputise for Maurice and on that Sunday I made my first sketches...Conversation Piece was given to the National Portrait Gallery in November 1960'.Condition report: Generally very good original condition, it has not be re-lined. There is a slightly curious line above the standing figures head which looks like a scratch but firstly doesn't feel like one and doesn't look like one close up, it does not detract from the work in my opinion. The frame has some minor losses to the corners.

Sir James Gunn (1893-1964) collection of ephemera, sketches and photographs to include: a signed photograph inscribed 'To Ann Morrison Grindlay, Chloe Madonna, H. James Gunn', in glazed frame, pencil drawings on menus, a letter from Gunn to Teddy discussing designs for a book plate, a copy of 'Clarence House', inscribed 'To my dear friend Edward Grindlay who first gave me the idea for 'Conversation Piece', James Gunn 1949'. Together with other ephemera Provenance: The descendants of Edward and Evelyn Grindlay. Removed from Westcott, Dorking NB: Sir James Gunn and Edward 'Teddy' Grindlay met in 1917 when they joined the 10th Scottish Rifles, and became life long friends and Grindlay, Gunn's patron

Early Tibetan thangka, distemper on cloth, within a cloth border, painted with an extensive scene of gods and holy men, total size approximately 125 x 75cm, together with a related framed letter. Provenance: The wall hanging was acquired in Tibet in 1933 by the late Dr C. Raymond Greene (1901-1982), brother of the author Graham Greene. Raymond Greene was a distinguished mountaineer and physician, notably senior physician on the 1933 Everest attempt lead by Hugh Ruttledge, a height of 28,116ft was achieved on this attempt.The accompanying framed letter in this lot, addressed to Dr. Greene, is from the Abbot of Rongbuk Monastry in Tibet, requesting his assistance in the treatment of a sick monk. It is believed that the lot was a gift to Dr Greene for his assistance, probably from the Monastry founder Ngawang Tenzin Norbu (1867-1940/42) who was Abbot at the time.The Rongbuk Monastry claims to be the highest in the world and is situated near Mount Everest at around 16,400ft. It was a regular stop off point for the early British Everest attempts which were generally made from The North Side with base camps established at the Rongbuk glacier about 5 miles from the Monastry. The Monastry was renowned for its treasures of Buddhist books and other religious items, most of which were lost in a 1989 fire after being moved to Tengboche Monastery in Nepal for safe keeping during the Cultural Revolution. Condition report: Good overall condition for age. The silk backing has come away and been reattached at the top. There are some loose threads on the front. The painting in good overall condition - some minor marks, a few spots of wear with the material visible underneath. May benefit from attention to dust and dirt.

Tiger skin rug with black felt backing, measuring 267cm nose to tail, 182cm paw to paw.Provenance: The vendor's husband was a tea planter in Demulie, Assam and by family repute gifted the tiger skin by the Indian Maharajah for saving the life of his illegitimate son Shakes. His friend, Shakes, was having an affair with another planter's wife and was caught in the act. Chased by the planter with a gun, and fleeing for his life, he swam across the river to the bungalow residence of our vendor’s husband who hid Shakes until the coast was clear. The tiger rug, believed to have been removed from the Maharaja’s Palace, was a gift for his efforts.Condition report: There are seven claws on the front paws and four on the back paws.

Mid 19th century English School oil on board - 'Ellington' a dark bay racehorse in a stable, initialled within the trough J.F. and named, 30cm x 40cm, attached verso are a collection of newspaper cuttings and handwritten notes relating to the career of the horse who, under the ownership of Admiral Harcourt, won the 1856 Derby, he was eventually sold to the King of Italy in 1863

A 19th century Italian silver-gilt chamber stick, unmarked, probably by Castellani, Rome circa 1880-1890. modelled as a seated devil with arms out to hold a candlestick, his tail forms the ring handle, the shaped base with flame decoration, the front with a grotesque mask, on three owl and winged devil mask feet, length 11cm, approx. weight 8.7oz. For another example of a devil chamber stick, see Bonhams, New Bond Street, Important Design, 27 November 2019, lot 23. The design for this chamber stick is by Michaelangelo Caetani, who was Castellani's principle patron. A number of candlesticks designed as demons are noted in Castellani's stock registers up to 1899.

A George III silver coffee pot stand, by William Eaton, London 1813, circular form, gadroon border, the centre with an armorial within foliate mantling, wooden underside, diameter 15cm, plus a George III silver mug, marks slightly worn, possibly by Joseph Angell, London 1816, circular bellied form, with a chased band of grapes and vine leaves, double snake scroll handle, gilded interior, on a circular foot, height 10.5cm, approx. weighable 6.5oz. (2) The armorial is that of Burrard with Copland in pretence. This is probably Reverend George Burrard, 1769-1856, (3rd Baronet from 1840) who married Elizabeth Ann Coppell in 1804, she died in 1815. Burrard was Chaplain to Queen Victoria.

Bosch Magentos, a German silver and enamel trophy beaker, by Gottlieb Kurz, circa 1913, tapering circular form, applied with the Bosch Magentos badge, and with two circular silver and enamel plaques of Camille Jenatzy, 'The Red Devil', and inscribed '1st Prize, 24 Hours Reliability Trial 1913', height 11.5cm, approx. weight 7oz. The caricature is of Camille Jenatzy, who was nicknamed 'The Red Devil' and who featured in early Bosch advertising. He was a Belgian race car driver. He is known for breaking the land speed record three times and being the first man to break the 100 km/h barrier. He was killed in a hunting accident in 1913.

A George II silver coffee pot, by Samuel Courtauld I, London 1757, baluster form, embossed scroll and fluted decoration, leaf capped spout, the hinged cover with a fluted acorn finial, and gadroon border, on a raised circular foot with a gadroon border, in a later fitted presentation case, by Richard Parsons, inscribed on a plaque ' This George II silver coffee pot made by Samuel Courtauld in 1757 was presented to Sipko Huismans on 16 July 1996 by his colleagues on the Board of Courtaulds plc to mark his retirement after 35 years service including 12 years as a Director and 5 years as Chief Executive', height 27.5cm, approx. weight 28.9oz. Provenance: A Private Collection George Kidner's Auctioneers, Lymington, Sipko Huismans Courtauld Plc, who purchased the pot for their collection in 1961. Exhibited at The Museum of London Treasury Exhibition, April 1982 to May 1983.

A pair of George I Irish silver footed tazza, by Edward Workman, Dublin 1715, circular form, moulded border, the centres with a later armorial within foliate mantling, on a raised circular foot, one with a scratch weight '18=10', the other with a crudely scratched '18=10', diameter 24.4cm, height 6.8cm, approx. weight 37oz. (2) The arms are those of Smyth for Thomas Smyth (1650-1725) who was Bishop of Limerick from 1695-1725.

A late 19th century Austrian silver and niello work vesta case, maker's mark L.V, Vienna circa 1894, rectangular form, with foliate niello decoration and with gold foliate highlights, sprung-hinged cover, the interior inscribed 'Grand Duke Michael of Russia from Spencer Eddy 1894', length 4.8cm, approx. weight 1.1oz. Provenance: A Private Collection. Alastair Dickenson Ltd. Woolley and Wallis, Salisbury, Silver Sale, 30 April 2008, lot 209. Grand Duke Mikhail of Russia, born 1878 St. Petersburg and assassinated 1918 in perm. In 1894 on the death of his father Tsar Alexander III, Mikhail's brother became Tsar Nicholas II. In 1917 Tsar Nicholas II abdicated, March 15th bequeathing our inheritance to our brother the Grand Duke Mikhail, who for only a few hours, was the last Tsar of Russia before it was declared a Republic. Spencer Fayette Eddy, American diplomat, born Illinois 1874, died 1939. He was Secretary of the American Embassy in St. Petersburg in 1894, and narrowly escaped with his life to Berlin during the time of the 1905 Revolution when he was nearly ridden down by cavalry when he got in between half a squadron of Cossacks charging the crowd and the crowd itself.

A George I silver 'College' or 'Ox-eye' cup, by George Gillingham, London 1720, baluster form, with tubular ring handles, the front with a monogram 'SJW', the reverse 'Felices ter & amplius Quos irrupta tenet copula, nec. malis Divulsus querimomis Suprema citius solvit amor die', height 10.3cm, approx. weight 9.5oz. Provenance: A Private Collection. Alastair Dickenson Ltd. A Private Collection. Anthony Marks Antiques. Sotheby's New York, Important Silver, 18 October 2001, lot 301. Sotheby's New York, Important Silver, 22 April 1998, lot 311. The inscription translates as 'Three times happy are they and more, who are held by unbreakable bonds and whose love, undivided by evil quarrels will be dissolved on the final day'.

A Queen Anne silver mug, by Paul de Lamerie, London 1713, tapering circular form, faceted scroll handle, the front engraved with an armorial and motto within foliate scroll mantling, height 10.8cm, approx. weight 13.85.oz. Provenance: A Private Collection. Alastair Dickenson Ltd. Sotheby's London, 20 November 1986, lot 82, purchased by ADC Heritage. Christie's London 27 April 1938, lot 29, purchased by How of Edinburgh. The arms are those of Orfeur of High Close and Plumbland Hall, Co.Cumberland, for Charles Orfeur, who died in 1725.

A late 17th century silver dressing table box, unmarked, circa 1680, circular form, the pull-off cover with an embossed relief of Ajax committing suicide, the sides with chased foliate decoration on a matted background, diameter 8.8cm, approx. weight 7.5oz. Provenance: A Private Collection. Alastair Dickenson Ltd. Woolley and Wallis, Salisbury, Fine Silver and Objects of Vertu, 25 April, 2017, lot 1017. The scene is taken from a print in the Rijksmuseum by Crispin Van de Passe (1564-1637). He was the father of Simon Van de Passe, who was best remembered for finely engraved silver counters in the first half of the 17th century.

A Charles II silver tankard, possibly by Phillip Price, London 1663, tapering circular form, scroll handle, dated '1672', the flat hinged cover with an armorial within ribbon-tied foliate mantling and with a scroll thumb-piece, the front of the tankard initialled 'T*K' over 'A*H' with plume mantling, height 17cm, approx. weight 28oz. Provenance: A Private Collection. Alastair Dickenson Ltd. Christie's, London, Fine Silver, 31 March 1971, lot 120. Spink and Son advert in Connoisseur, March 1967. Exhibited: International Art Treasures, Bath, 1973, No.200. The arms are those of Kennedy quartering those of France. The initials are for Sir Thomas Kennedy who married Agnes Haldane on 1st November 1670. Sir Thomas was Lord Provost of Edinburgh in 1685 and died in 1715. For maker's mark see, Mitchell, D., Silversmiths in Elizabethan and Stuart London, The Boydell Press, 2017, page 436.

A Charles II silver plate, maker's mark over-struck, London 1677, circular form, reeded border, engraved with a coat of arms with plume mantling, the underside with scratch initials 'BR' diameter 25.5cm, approx. weight 12.4oz. Provenance: A Private Collection. Alastair Dickenson Ltd. The arms are those of Richards quartering Taylour for The Richards family of Radnorshire. The initials on the underside are probably for Bridget Richards, (nee Taylor), who married John Richards of Llanandras.

A Lladro figure of a lady wearing a hat, accompanied by a child who is picking flowers. The height is approximately 37cm. With Original box.

A silver charm bracelet with 12 charms attached. The charms are: a cable car, a fire engine (with lift up ladder), pair of shoes, a bed, a stork carrying a baby, horse drawn cart, Paisley Abbey, wedding and engagement rings, wheelbarrow (with moving wheels), old lady who lived in a shoe (which opens to reveal woman and children), a steam engine (which opens to reveal coal bucket and shovel) and a carriage lamp.

TEN ROYAL ALBERT BEATRIX POTTER FIGURES, 'Mr Benjamin Bunny', 'Jeremy Fisher', 'Jemima Puddle-duck made a Feather Nest', 'Cottontail', 'Benjamin Wakes Up', 'Peter in the Gooseberry Net', 'Old Mr Bouncer', 'The Old Woman who lived in a Shoe Knitting' (seconds), 'Ribby and the Patty Pan' (seconds) and 'Pigling Bland' (Condition Report:- all appear ok except where mentioned for seconds)

ELVIS PRESLEY AUTOGRAPH, an Elvis Presley Signature signed 'Best Wishes Elvis Presley' in red ink on brown paper, provenance is provided by and accompanying typed facsimile letter from Judy White who was employed by the Las Vegas Hilton Hotel from 1971-1975

Display Board of British Military Badges, consisting of cap badges of various infantry regiments who served during WW1. Royal Flying Corps cloth pilots wing and cap badge also mounted. Mixture of originals and re-strikes. Sold as seen, not been taken off of the board. (40 items)

A Moorcroft Pottery trumpet vase shape 158/6 in the Talwin pattern by Nicola Slaney after Talwin Morris a turn-of-the-century graphic artist who became influential in Art Nouveau book design, dated 2017 to the base, 16 cm H boxed

A collection of 60's, 70's Lps to include: The Who, Blood Sweat & Tears, Tim Hardin, Brian Chalker, Leonard Cohen, Ian Hunter etc

A collection of 1950'/ 60s 45rpm & Ep's Beat Theme Singles to include: John Lennon, The Who and Deep Purple etc

A collection of 1950'/ 60s 45rpm & Ep's Beat Theme Singles to include: The Kinks, The Who, Yardbirds etc

A collection of 1950'/ 60s 45rpm & Ep's Rock & Roll Theme Singles to include: The Who, Billy Fury, Bob Dylan etc

A collection of 1950's & 60's Singles to include: The Who, Rolling Stones, Dave Curtiss, Tremors, Dusty etc

Beswick Beatrix potter figures: Mrs Tiddle Mouse, The old Woman who lived in a shoe, Aunt Pettitoes, Pickles, Mr Benjamin Bunny, Samuel Whiskers & Timmy Willie, BP3, 2 boxed, (7).

Beswick Beatrix potter figures: Mrs Rabbit and Peter, This Little Piggy had None, Peter in the Watering Can, Timmy Willie Fetching Milk, Jonny Townmouse eating corn, Yock Yock in the Tub, The old woman who lived in a shoe knitting, Jeremy Fisher Catches a Fish & Farmer Potatoes, BP4/BP10, 6 boxes, (9).

Leather easel framed and mounted MC WWI group of medals awarded to Major W.M.Biden, a display with circular black & white photograph of Major Biden and group of medals comprising of Military Cross with engraved detail Capt. W M Biden R.A.M.C 12th April 1917, 1914 Star with 5th AUG-22nd NOV 1914 clasp the reverse marked Capt. W.M.Biden R.A.M.C, with associated 1914-1918 War Medal and Victory Medal to Major W M Biden, Victory Medal with Mentioned in Dispatches oak leaf laurel and associated newspaper cutting for London Gazette 26th July 1918 'Captain William Mervyn Biden M.B. R.A.M.C Spec. Rez-His Organisation For The Evacuation Of The Wounded Was Admirable With Total Disregard Of Danger He Personally Supervised The Stretcher Parties Who Worked In Daylight In Full View Of The Enemy'

A MEISSEN PORCELAIN CLOCK, RETAILED BY TIFFANY & CO. NEW YORK, MEISSEN, LATE 19TH CENTURY clock face set in porcelain featuring Aphrodite dressed in all white with gold tooled detailing cohesive to the gold tooled ground with arrows strapped to her back and her bow on her lap she rests next to the clock, a winged man's head rests below the clock face, centered below is a cartouche of a woodland courtship scene, below the scene is a gray and white shy dog, who sits next to cupid, all on curved feet, yellow, white and gold ground with floral bounty, the clock surrounded by a rose vine, the clock face marked,Tiffany & Co. New York;, underneath, marked with maker's mark in blue underglaze, number 28 in red underglaze, and incised 121 in paste all underbase; interior of clock stamped with 2; overall height: 39 cm (15 3/8 in.) CONDITION The clock appears in very original condition, minor surface dirt visible to the naked eye. Inspection under UV retouching to the verso's base. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A CRYSTAL CUT CENTERPIECE WITH BRONZE, MAISON BACCARAT, CIRCA 1930of oval form, with rounded and squared edges, the crystal bowl rests in a gilt bronze woven basket with the edges of the bowl resting on the wings of the nude gilt bronze sphinxes, either side of the bowl is flanked by two pairs of gilt bronze love birds, who rest on rosettes, all atop four disk shaped feet with wreaths, center bronze gilt woven basket stamped with Baccarat on the interior; overall length of centerpiece: 58 cm (22 7/8 in.); overall height of centerpiece: 19 cm (7 1/2 in.); dimensions of bowl: 40 x 28 cm (15 3/4 x 11 in.) CONDITION The centerpiece appears in excellent stable original condition. Minor patina and darkening visible to the gilt bronze decoration. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A SMALL ARMENIAN PAINTED WOODEN DOOR, 17TH-18TH CENTURY the wood carved door with metal demi-lune architectural details, metal loops that were once attached to the armachure visible to the left, the looped metal handle to the center right next to a keyhole, centered, Madonna and Christ the Child, dressed in black Madonna behind Christ the Child, who is dressed in orange stands in front with his hands in acceptance position, both with red halos against a wood ground, below a sea with ships and above other holy figures with a banner in white with lettering; signed lower right corner; overall height: 207 x 80 cm (81 1/2 x 31 1/2 in.)CONDITION The door appears in worn age-appropriate condition. With splintering, and unevenness. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

EMERIK FEJES (SERBIAN 1904-1969) Sacre Coeurtempera on paper 40 x 57 cm (15 3/4 x 22 1/2 in.) signed lower center, inscribed Paris upper center LOT NOTES Emerik Fejes was born in Austria-Hungary in 1904, moving to Serbia at the age of five. Between the two World Wars, Fejes worked in many trades throughout Yugoslavia before living in exile in Hungary during World War II. It was not until 1949, after suffering with chronic illnesses, that he would begin his first works. Fejes work was exhibited for the first time in 1955, and the artist’s first solo show was presented the following year. Fejes became prominent in the field of Serbian naive art, and while his subjects ranged from nudes to still life to genre scenes, he is perhaps most well-known for his urban landscapes depicting towns throughout Europe. Fejes city landscapes, often using tempera paint on paper, are known for their geometric forms, vibrant colors, and lack of dimension. The sprightly color palettes in Fejes works are representative of his wish to depict these bustling urban centers not in their more realistic muted neutral tones, but with a vibrancy that reflects those who inhabit such cities, and give a mosaic effect further emphasized by the two-dimensional painting style. Fejes often copied the outlines for his works from postcards of faraway towns, as his health troubles left him bedridden for much of his life. In 1957, Fejes befriended prominent Serbian art historian and critic Oto Bihalji-Merin, who brought Fejes to international acclaim. The largest collections of Fejes works are housed in the Museum of Naive and Marginal Art in Jagodina and the Croatian Museum of Naive Art in Zagreb.CONDITION Observed in frame. The work appears in age-appropriate condition. Visible waviness to the sheet. No significant issues to report otherwise.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A COLLECTION OF THREE MONOTYPES BY MIKHAIL TARKHANOV (RUSSIAN 1888-1962), 1920s, print each 30 x 41 cm (11 3/4 x 16 1/8 in.) PROVENANCECollection of Viktor Kholodkov LOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITION Unframed, the prints are in overall good condition. Minor signs of wear around the perimeter. Minor crease to the corner of one. A small tear to the corner of another. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A PORCELAIN BUST OF YOUNG MAIDEN, TURN TEPLITZ BOHEMIA, REISSNER STELLMACHER & KESSLER, AUSTRIA, EARLY 20TH CENTURYporcelain bust of a young maiden, who wears a blue ruffled petticoat embroidered with lace, under a white slip is visible, all with intricate gold detailing, she wears a bonnet and her curly hair is ruffled underneath, she looks to the right with her eyes downcast, marked with factory mark in red underglaze, incised with 11907 underneath; overall height: 32 cm (12 5/8 in.) CONDITION The bust appears in good original condition with no apparent issues visible to the naked eye. Inspection under UV shows restoration and overpainting to the edges of the bonnet. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ROBERT DELAUNAY (FRENCH 1885-1941) Study for Tour Eiffel, circa 1910-1911 ink and pastel on tracing paper full sheet measuring 27 x 20 cm (10 5/8 x 7 7/8 in.) signed lower right PROVENANCEEstate of Sonia DelaunayPrivate collection, FranceWith Galerie Cazeau-Beraudiere, ParisWith Nathan A. Bernstein & Co. LTD., New YorkAcquired at the above by the present owner LOT NOTES Robert Delaunay was born in Paris in 1885, at an early age Delaunay studied Decorative Arts in the Belleville District of Paris, at the age of nineteen, his focus shifted to painting, later he would contribute six works to the Salon des Independants in 1904. Later in 1906 after traveling to Brittany where he was influenced by the artistic group of Pont-Aven, he submitted works to the 22nd Salon des Independants, here is where he met Henri Rousseau. Delaunay formed a close relationship to Jean Metzinger famed 20th century French painter [theorist, writer, critic and poet] who experimented with different faceting of forms, which would later be known as Cubism. Delaunay and Metzinger shared a exhibition at a gallery run by Berthe Weill in 1907, during this time both artists were singled out by art critic Louis Vauxcelles calling them "Divisionists" who used larged, mosaic-like 'cubes' to construct small but highly detailed compositions. Metzinger and Delaunay worked closely together, often painting together from 1906-1907, during this time they would develope a new sub-style known of Neo-Impressionism. At the height of Delaunay's career he painted a number of series, Saint-Sevrin series (1909-1910), City series (1909-1910), Eiffel Tower series (1909-1912), City of Paris series (1911-1912), Window series (1912-1914), Cardiff series (1913), Circular Forms series (1913), and lastly The First Disk series (1913). Delaunay's Eiffel Tower series represented solid objects becoming fragmented merging with the space. In Delaunday's Eiffel Tower series, influnced by Cezanne, Analytical Cubism and Futurism, the tangiable object and the surround space are accompanied by an intense movement of geometrical planes. Delaunay was successful in Germany, Switzerland and Russia, participating in the first Blanc Reiter exhibition in Munich selling four works. In 1912 Delaunay had his first major exhibition in Paris, showing forty-six works from his early Impressionist works to his Cubist Eiffel tower. From 1914-1920 Robert and wife Sonia retreated to Spain, settling in Madrid, after 1921 Delaunay returned to Paris, in October of 1941 Delaunday died at the age of 56 from cancer. Delaunay's work can be viewed at The Musee National d'Art Moderne in Paris, the Neue Nationalgalerie in Berlin, the Bilbao Fine Arts Museum in Spain, Kunstmuseum Basel in Switzerland, Palais des Beaux-Arts de Lille in France, the Guggenhiem Museum, New York City, the Museum of Modern Art, New York City and many more. CONDITION The work appears in good stable condition. Minor discoloration and scuffs to the perimeter of the brown paper. Endemic creases to the tracing paper. A crease to the upper left corner, small tear to the left lower edge of the tracing paper. The tracing paper is hinged in two places at the top. The brown paper is hinged in two places at the top. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

PAIR OF ORMOLU-MOUNTED SEVRES STYLE VASES, GILLES, LATE 19TH-EARLY 20TH CENTURY of narrow ovoid form, two handled, the handles formed as foliate scrolls. each vase showing a courting scene in a gold detailed cartouche. one scene shows a young man courting the seated woman by music, while the other scene shows a young man courting a seated woman who holds a fan while standing next to her. both set in garden scenes. the cartouche is surrounded by gold foliate and floral tooled design. the verso features a gold gold bouquet of flowers. all against a green ground. each vase sits on a rectangle plinth, the cover with a gadrooned pine-form finial, signed Gilles lower right of each scene; overall height: 33 cm (13 in.) CONDITION The vases appear in age appropriate condition. Light surface dark spots, around the base of each vase. Inspection under UV shows retouching to the base of the vase of the courting scene where the man stands next to the seated woman with a fan. Otherwise no other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

DONATO CRETI [IL DONATINO] (ITALIAN 1671-1749) St. Jerome in a Landscapeink on paper 16.6 x 12.6 cm (6 1/2 x 4 7/8 in.) PROVENANCECollection of Jean Francois Gigoux (1806-1894), painter and lithographer who donated an extensive collection of paintings and drawings to his hometown museum, Musee des Beaux-Arts et d'Archeologie de BesanconCollection of Heinrich Schwarz (1894-1974), prominent art historian and curator, including at the Austrian State Museum, Museum of Art at the Rhode Island School of Design, and the Davison Art CenterLOT NOTESSt. Jerome was a common subject for Creti. A closely related composition on a slightly larger sheet, with a more developed landscape and showing the saint kneeling before a crucifix, is held at the British Museum, accession no. 1946,0713.853 (click here to view online.)CONDITIONThe sheet is in overall stable age-appropriate condition. The sheet is laid down at the four corners with old tape. Some wear near the two lower corners with 5 mm tear at the lower left. Two stains to the lower left. The wove paper has stiffened somewhat from age. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A ROYAL VIENNA PORCELAIN VASE, 'EIN GEHEIMNIS', PAINTED BY WAGNER FINELY, ACKERMANN & FRITZE, GESETZLICH GESCHUTZT TRADEMARK, RETAILED BY OVINGTON BROS NEW YORK , FIRST HALF OF 20TH CENTURYof ovoid form, with two small matching handles, centered in a gold cartouche two young children stand sharing a secret. the little boy dressed in a white peasant shirt, black pants, brown shoes and a green hat stands with his arm around the other child who is dressed in a brown work suit, blue apron, red socks and brown shoes with a fur cap, listening intently. the cartouche is surrounded by gold intricate details in a continuous floral and foliate motif, signed Wagner on the lower left side of the scene. verso features a gold floral bouquet all against a maroon ground. marked with gesetzlich geschutzt trademark in red underglaze, followed by the title Ein Geheimnis in red underglaze, with maker's mark Ackermann & Fritz royal vienna beehive in blue underglaze, followed by Dresden Porcelain gold rose mark in gold underglaze, stamped with retailer's mark Ovington Bros Co. New York in red overglaze, number 03303 Germany in red underglaze all under base of vase; overall height: 33.02 cm (13 in.)CONDITIONThe work appears in age-appropriate condition. Minor rubbing to the gilt rim around the lip of the vase, rubbing to the gilt handles. Minor scuffs and light surface scratches to the maroon ground on the right side of the vase, visible to the naked eye. Minor light scratches and scuffs to the lower and upper left side of the vase, visible to the naked eye. Light surface dust around the two handles. Inspection under UV shows no signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A GEORGE III SILVER-GILT URN, WILLIAM BURWASH AND RICHARD SIBLEY, LONDON, 1811 of campana form, two handles formed from coiled snakes who are rising form the head of mercury, the base with a continuous motif of bulrush and acanthus leaves, the rim with patarae and anthemion in strapwork and a gadrooned budding finial, the recto and verso center features a crest flanked by two dogs, with a banner reading, HUMAN I NIHIL ALIENUM;; the urn marked with maker's mark, city mark, date mark and duty mark visible on the interior of cover and base of urn; overall height: 43 cm (17 in.); total weight: 3.85 kg (132 oz.) PROVENANCE Charles 2nd Earl of Talbot thence by descent to The Earl of Shrewbury and Waterford Christie's London, 17 October 1962, lot 139 Acquired at the above by the current owner CONDITION In age-appropriate condition. With overall tarnish resulting in discoloration. Would benefit from a polish, otherwise no other issues apparent to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A L S Lowry 1887-1976 pencil sketch , male nude studyProvenance : Originally from the collection of a North West Family, who sold another Lowry in lot 421 23/10/20 Adam Partridge sale. Sold for £14,000. 

Porzellan, Camaieudekor in Eisenrot, Vergoldung. Modell 920, Neuzierat. Der Rand und die reliefierten Zieraten mit goldradiertem Mosaik und anhängenden zweifarbigen Röschen und Blättern. Im Spiegel, im Inselstil, die feingemalte Darstellung der trauernden Klymene am Grab ihres Sohnes Phaeton. Um die monumentale Grabsäule mit bekrönender Urne und Spruch, die zu Pappelbäumen erstarrten Sonnentöchter, die Schwestern des Phaeton. Im Hintergrund der von Apoll zu einem Schwan verwandelte ligurische König Kyknos. Blaumarke Zepter, Pressnummer 13. D 24,8 cm.Berlin, KPM, 1783.Im Januar 1783 gab der König ein Service bei der Manufaktur in Auftrag, welches ausschließlich seinen geliebten ovidischen Metamorphosen gewidmet sein sollte. Friedrichs Leidenschaft für die römisch-griechischen Mythologien spiegelte sich nicht nur in der Gestaltung von Porzellan, sondern auch in zahlreichen Gemälden und Interieur, wie z.B. im Ovidsaal in den Neuen Kammern oder dem Konzertzimmer in Schloss Sanssouci. Wie bei vielen anderen Servicen hatte der König auch hier exakte Vorstellungen über die Umsetzung des Dekors, welcher der Vorlage des französischen Kupferstichwerks "Les Métamorphose d'Ovide" (1767 - 1771) von Pierre Basan folgte. Bereits im Dezember 1783 wurde das Service auf Schloss Sanssouci geliefert und ist in den dortigen Inventaren der Silberkammer verzeichnet.ProvenienzSammlung Renate und Tono Dreßen.LiteraturVgl. Lenz, Berlin 1913, 2. Bd., Taf. 150, Abb. 708.Vgl. Teller und andere Formteile bei Köllmann, Braunschweig 1966, Bd. 2, Taf. 141. Zur Geschichte des Services s. Bd. 1, S. 306.Weitere Stücke aus dem Besitz der Stiftung Huis Doorn abgebildet im Kat. Kaiserlicher Kunstbesitz, Berlin 1991, Nr. 105.Zur allgemeinen Darstellung ovidischer Szenen auf Porzellan s. Braesel, Ovid auf Porzellan, Speisen und Erzählen, in: Keramos 196/2007, S. 3 - 13.Vgl. Kat. Kronschatz und Silberkammer der Hohenzollern, Berlin-Brandenburg-München 2010, S.46.Model no. 920 with Neuzierat mouldings. The relief moulded rim decorated with gilt etched mosaics and roses. The centre of the well with a finely painted depiction of Clymene mourning at the grave of her son Phaeton. The grave monument, crowned by an urn and an inscription, is surrounded by the sisters of Phaeton – daughters of the sun who were transformed into poplar trees. In the background is Cycnus, King of Liguria, who was transformed into a swan by Apollo. Blue sceptre mark, pressnummer 13. D 24.8 cm.1783.In January 1783, King Friedrich II placed an order with the manufactory for a service which was to be exclusively decorated with scenes from Ovid's Metamorphoses, which he loved. The king's passion for ancient Greek and Roman mythology not only found its expression in porcelain designs, but also in the numerous paintings which decorated the interiors of his castles, such as the concert room and the Ovid Gallery in the New Chambers of Sanssouci. As with his many other services, the king had a precise idea in mind of how he wanted it to be decorated. The designs were to be based on the engravings from the French work "Les Métamorphose d'Ovide" (1767 - 1771) by Pierre Basan. The service was delivered to Sanssouci Palace in December 1783 and is listed in the inventory of the silver chamber.ProvenanceCollection of Renate and Tono Dreßen.LiteratureCf. Lenz, Berlin 1913, vol. 2, pl. 150, illus. 708. Cf. plates and various moulded items in: Köllmann, Braunschweig 1966, vol. 2, pl. 141. For more on the history of the service, see vol. 1, p. 306. Further pieces in the possession of the Stiftung Huis Doorn are illustrated in cat.: Kaiserlicher Kunstbesitz, Berlin 1991, no. 105. For general information on the depiction of scenes from Ovid on porcelain see: Braesel, Ovid auf Porzellan, Speisen und Erzählen, in: Keramos 196/2007, p. 3 – 13. Cf. cat. Kronschatz und Silberkammer der Hohenzollern, Berlin-Brandenburg-Munich 2010, p.46.

Porzellan, farbiger Aufglasurdekor, Vergoldung. Modell 1113, Konisch. Spiegelfüllende Darstellung des Gemäldes, die Fahne bedeckt mit gold akzentuiertem Lapislazulifond, gerahmt von zwei breiteren Goldstreifen. Rückseitig beschriftet "Joseph." Blaumarke Zepter mit emailblauem Überstrich, goldene 28, geritzt III. Rote Besitzermarke B-C, rot gelackte Inv.Nr. 406/? 9. D 24 cm.Berlin, KPM, um 1803 - 13.Die Darstellung im Spiegel des Tellers geht zurück auf den Kupferstich „Joseph und Potiphars Weib“ des berühmten Schweizer Kupferstechers Johann Jacob Frey d.Ä. (1681-1752). Der Stich wiederum reproduziert das Ölgemälde des italienischen Barockmalers Carlo Cignani (1628-1719), das um 1684 in Bologna entstand. Überliefert sind mindestens vier Bilder von Cignani mit diesem Sujet. Mit großer Wahrscheinlichkeit handelt es sich bei der dem Stich zugrunde liegenden Version um das mit 262 x 192 cm größte Joseph-Bild des letzten Meisters der Bologneser Schule. Dieses erwarb der dänische König Christian VI. 1731 aus der Sammlung des verstorbenen Grafen Christian Danneskiold-Samsøe. Seitdem ist es im Besitz des Königshauses und wird im Statens Museum for Kunst in Kopenhagen ausgestellt (Inv.Nr. KMSsp125). Der Teller ist ein Paradebeispiel für die um 1800 in Berlin in Mode gekommene vollständige Übermalung des weißen Porzellanscherbens durch Kopien älterer Ölgemälde im Spiegel und prächtige, reliefierte und/oder radierte Goldgestaltung der Ränder, der Fahne und der Anstiege. Die Kombination von Steinimitat mit Goldbordüren wird in einigen KPM-Akten als „Wiener Bordüre“ bezeichnet. Sie geht möglicherweise auf den 1797 aus Wien zur KPM gekommenen Maler Franz Osterspey zurück. Die besten dieser so bemalten Teller, Tassen, Plateaus und Platten wurden ab 1800 regelmäßig auf den Berliner Akademie-Ausstellungen präsentiert.Rückseitig zeigt der Joseph-Teller auffällige Sammlungskürzel und -nummern. Sie finden sich identisch auf einem weiteren Teller gleichen Modells mit einer Darstellung von Jupiter und Io nach einem Kupferstich des Ölgemäldes von Charles Monnet, der 1804 auf der Berliner Akademie-Ausstellung gezeigt wurde. Er stammt aus der Twinight Collection und wurde in Berlin, in der Lempertz Auktion 1125 am 7. November 2018, als Lot 45 versteigert. Auch dessen Fahne ist mit Steinimitat verziert, diesmal in rosafarbenem Marmor. Der nachfolgende Teller mit der Darstellung Antiochus und Stratonice wurde ebenfalls auf der Unterseite mit gleichen Inventarkürzeln früherer Sammlungen gekennzeichnet. Der Kupferstich, der diesem Teller zugrunde liegt, ist noch nicht gefunden.LiteraturVgl. Kat. Raffinesse & Eleganz, München 2007, Nr. 55.Model no. 1113. The well painted with a reproduction of a painting by Carlo Cignani, the lip with gilt embellished faux lapis lazuli. Labelled “Joseph.” on the reverse. Blue sceptre mark with a blue enamel dash above, 28 in gold, incised III. Red owner's mark “B-C”, red lacquered inventory no. 406/? 9. D 24 cm.C. 1803 - 13.The depiction on the well of this plate is based on the copperplate engraving "Joseph and Potiphar's Wife" by the famous Swiss engraver Johann Jacob Frey the Elder. (1681-1752). The engraving in turn reproduces the oil painting by the Italian Baroque painter Carlo Cignani (1628-1719), which was created around 1684 in Bologna. At least four paintings by Cignani with this subject have survived. It is highly probable that the version on which the engraving is based is the largest Joseph painting (262 x 192 cm) by the last master of the Bolognese school. The Danish King Christian VI acquired it in 1731 from the collection of the late Count Christian Danneskiold-Samsøe. Since then it has been in the possession of the royal house and is exhibited in the Statens Museum for Kunst in Copenhagen (Inv.no. KMSsp125). The plate is a prime example of the complete overpainting of the white porcelain body with copies of older oil paintings in the well and magnificent relief and/or etched gold design on the lips and rims which became fashionable in the Berlin manufactory around 1800. The combination of imitation stone with gold borders is referred to as the "Viennese border" in some KPM records. It possibly goes back to the painter Franz Osterspey who came to KPM from Vienna in 1797. The best of the plates, cups, trays and platters painted in this way were regularly presented at the Berlin Academy exhibitions from 1800 onwards. On the reverse, the Joseph plate displays an extensive array of abbreviations and numbers. They are found identically on another plate of the same model with a depiction of Jupiter and Io after an engraving of the oil painting by Charles Monnet, which was shown at the Berlin Academy Exhibition in 1804. It comes from the Twinight Collection and was sold in Berlin in Lempertz Auction 1125 on 7th November 2018, as lot 45. The lip of that plate is also decorated with imitation stone, this time resembling pink marble. The following lot, a plate depicting Antiochus and Stratonice, was also marked on the underside with the same inventory abbreviations from former collections. The engraving on which this plate is based has not yet been found.LiteratureCf. cat. Raffinesse & Eleganz, Munich 2007, no. 55.

Porzellan, farbiger Emaildekor, hellrosa Fond, radierte Vergoldung. Modell Antikglatt mit Perlrand. Spiegelfüllende Waldlandschaft mit der Burg im linken Hintergrund. Auf dem Boden beschriftet. Blaumarke Zepter, rote Reichsapfelmarke, Malerzeichen, gepresst 32, geritzt III. D 24,3 cm.Berlin, KPM, 1832 - 37.LiteraturDrei weitere Teller aus dem Service mit Ansichten von Thüringen in der Twinight Collection (Kat. Raffinesse & Eleganz, München 2007, Nr. 107). Eva Wollschläger vermutet, dass die Malerei dem Manufakturmaler August Wilhelm Ferdinand Schirmer zuzuschreiben ist, der 1823 Thüringen und den Harz bereiste. Seine topografischen Zeichnungen gehörten bis 1840 zu den am meisten verwendeten Vorlagen der Malstube (ibd. S. 338).Antikglatt model with beaded rim. The well painted with a wooded landscape and a view of the castle in the left background. Blue sceptre mark, red imperial orb mark, painter's marks, pressnummer 32, incised III. D 24.3 cm.1832 - 37.LiteratureThree additional plates from the service with views of Thuringia in the Twinight Collection (cat. Raffinesse & Eleganz, Munich 2007, no. 107). Eva Wollschläger has suggested an attribution to the manufactory painter August Wilhelm Ferdinand Schirmer, who travelled through Thuringia and the Harz in 1823. His topographical drawings were among the most widely used designs in the painter's studio until 1840 (ibid. p. 338).

Biscuitporzellan, montiert auf glasiertem Sockel. Pressmarke Pferd, W und No3, Sockel mit Blaumarke F, geritzt 3. Etwas verfärbt, Sockel restauriert. H 19 cm.Fürstenberg, 1781.Herzog Ferdinand von Braunschweig und Lüneburg (1721 - 1792) war ab 1735 Prinz von Braunschweig-Wolfenbüttel. 1741 kämpfte er mit dem braunschweig-wolfenbütteler Regiment „Sommerlatte“ im preußischen Füsilier-Regiment an der Seite seines Schwagers, Friedrich II. von Preußen. Auch im Zweiten Schlesischen Krieg und im Siebenjährigen Krieg verpflichtete er sich auf der preußischen Seite und wurde vom König 1762 zum Feldmarschall ernannt. Als Freimaurer war er Mitglied in der Loge Friedrichs II. und gehörte ab 1783 zum Illuminatenorden. ProvenienzSammlung Renate und Tono Dreßen.LiteraturVgl. Ducret, Fürstenberger Porzellan, Band III Figuren, Braunschweig 1965, ABB. 329, das Exemplar aus dem Rijksmuseum Amsterdam. Hier ist das Modell Hendler zugeschrieben, der 1780-84 als Bossierer in der Manufaktur nachweisbar ist.Vgl. Kat. Weißes Gold aus Fürstenberg, Münster-Braunschweig 1988, Nr. 342.S.a. v. Wolff Metternich/Meinz, Die Porzellanmanufaktur Fürstenberg, Bd. I, München-Berlin o.J., S. 245 ff.Biscuit porcelain bust mounted on a glazed base. Impressed horse mark, W and No3, the base with blue F mark and incised 3. Slightly discoloured, the base restored. H 19 cm.1781.Duke Ferdinand von Braunschweig and Lüneburg (1721 - 1792) became Prince of Braunschweig-Wolfenbüttel in 1735. In 1741, he fought with the “Sommerlatte” regiment of Braunschweig-Wolfenbüttel in the Prussian fusilier regiment on the side of his brother-in-law, Friedrich II of Prussia. He also fought on the Prussian side in the Second Silesian War and the Seven Years' War and was appointed field marshal by the king in 1762. He was a Freemason and a member of Friedrich II's lodge and also became a member of the Illuminati Order in 1783.ProvenanceCollection of Renate and Tono Dreßen.LiteratureCf. Ducret, Fürstenberger Porzellan, vol. III Figuren, Braunschweig 1965, illus. 329, for the example in the Rijksmuseum in Amsterdam. Here, the model is attributed to Hendler, who was employed as a sculptor at the manufactory from 1780 – 84. Cf. cat. Weißes Gold aus Fürstenberg, Münster-Braunschweig 1988, no. 342. Cf. also Wolff Metternich/Meinz, Die Porzellanmanufaktur Fürstenberg, vol. I, Munich-Berlin undated, p. 245 ff.

Öl auf Leinwand. 49 x 58 cm.Signiert unten links: Carl Steffeck.Bereits als Gymnasialschüler besuchte Carl Steffeck die Berliner Kunstakademie, in der er mit 19 Jahren offiziell für die Meisterklasse von Franz Krüger aufgenommen wurde. Wahrscheinlich geht die lebenslange Präferenz Steffecks für die Pferdedarstellung auf diese frühe Begegnung mit Krüger zurück. Nach zwei Akademie-Jahren zog es ihn schon zur Weiterbildung nach Paris. Hier hinterließen vor allem die Werke von Horace Vernet einen bleibenden Einfluss auf Steffeck, der selbst zeitlebens ein leidenschaftlicher Reiter war.Carl Steffek hatte nicht nur bedeutende Mentoren wie Krüger und Horace Vernet. Er wurde selbst 1859 zum Professor an die Berliner Akademie berufen, wo Max Liebermann und Hans von Mareés zu seinen Schülern zählten, zwei herausragende Maler der deutschen Malerei des späten 19. Jahrhunderts. Liebermann berichtete später, dass Steffeck seine kleinen Reiterbildnisse meist nur in einer einzigen Sitzung malte, so dass der Porträtierte das Bild noch nass mit nach Hause nehmen konnte.Unser mittelgroßes und sorgfältig ausgeführtes Bild dürfte wohl kaum in wenigen Stunden gemalt worden sein. Es zeigt den Rittmeister von Wartenberg auf einem Schimmel im Gelände seines preußischen Rittergutes östlich von Frankfurt an der Oder im heutigen Polen. Oil on canvas (relined). 49 x 58 cm..Carl Steffeck attended the Berlin Art Academy whilst he was still in school, and was there officially accepted in Franz Krüger's master class at the age of 19. Steffeck's lifelong preference for horse painting probably goes back to this early teachings under Krüger. After two years at the academy, he travelled to Paris for further training. There, the works of Horace Vernet in particular left a lasting influence on Steffeck, who himself was a passionate rider throughout his life.Carl Steffek not only benefitted from important mentors such as Krüger and Horace Vernet, he was himself appointed professor at the Berlin Academy in 1859. There, his pupils included Max Liebermann and Hans von Mareés, two outstanding representatives of late 19th century German painting. Liebermann later reported that Steffeck usually painted his small equestrian portraits in a single sitting, so that the patron could take the picture home while it was still wet.This meticulously executed medium-sized work likely took more than a single sitting to paint. It shows Rittmeister von Wartenberg on a white horse in the grounds of his Prussian estate, which was located east of Frankfurt an der Oder in present-day Poland.

Eisenguss, bräunliche Patinierung. Reliefiertes Brustbild in Uniform im Profil nach links. Harzverfüllung hinten. D 9,1 cm.Preußische Gießerei, das Modell von Leonhard Posch, 1820.ProvenienzSammlung C. Lith.LiteraturVgl. Forschler-Tarrasch, Leonhard Posch 1750 1831 Porträtmodelleur und Bildhauer, Berlin 2002, Nr. 359. Die Autorin identifiziert den Dargestellten als den ältesten Sohn des Fürsten Anton Heinrich, der von 1797 bis 1870 lebte.Brown patinated cast iron. Relief bust depicting the prince in uniform facing left. With a resin filling on the reverse. With a resin filling on the reverse. D 9.1 cm.Prussian iron foundry, the model by Leonhard Posch, 1820.ProvenanceThe C. Lith collection.LiteratureCf. Forschler-Tarrasch, Leonhard Posch 1750 1831 Porträtmodelleur und Bildhauer, Berlin 2002, no. 359. The author identified the subject as the eldest son of Prince Anton Heinrich, who lived from 1797 to 1870.

Porzellan, farbiger Aufglasurdekor, Silberkontur. Modell 1054, Antikglatt. Zentral das Eiserne Kreuz. Um die inneren Ränder eine feine Eichenlaubkante, umwunden von purpurnen Bändern. Blaumarke Zepter, Pressnummern 14 und 25, Ritzzeichen. Salatschüssel H 4,4, D 21 cm, ovale Platte B 44 cm.Berlin, KPM, Ende 18. Jh., die Bemalung mit dem Eisernen Kreuz wohl kurz nach 1813.Der preußische Verdienstorden, das Eiserne Kreuz, wurde am 10. März 1813 von König Friedrich Wilhelm III. gestiftet und an zahlreiche Militärs und Zivilisten verliehen, die direkt oder indirekt an den Befreiungskriegen beteilig waren. Hier wurde das Eiserne Kreuz auf ein früher produziertes Service aufgebracht in der Art der Feldherrenservice für die preußischen Prinzen. ProvenienzSammlung Renate und Tono Dreßen.LiteraturVgl. Kat. Berliner Porzellan 1763 - 1850, Münster 2006, Nr. 140, das Tafelservice "mit Guirlanden-Rosette und kleinen Kalitten nebst grünem Eichenlaubkrantz um Bord", das 1793 für Kronprinz Friedrich Wilhelm produziert wurde und den identischen Randdekor aufweist.Model no. 1054. The wells decorated with the Iron Cross, the borders with fine oak wreaths entwined by purple ribbons. Blue sceptre mark, pressnummers 14 and 25, incised marks. H of salad bowl 4.4 cm, D 21 cm, W of oval dish 44 cm.The porcelain late 18th C., the Iron Cross motif presumably added shortly after 1813.The Prussian military order of the Iron Cross was established on 10th March 1813 by King Friedrich Wilhelm III and awarded to numerous soldiers and civilians who had served directly or indirectly in the German campaign against Napoleon. In this example, the motif has been added to an earlier piece of porcelain in the style of the generals' services made for the princes of Prussia.ProvenanceCollection of Renate and Tono Dreßen.LiteratureCf. cat. Berliner Porzellan 1763 - 1850, Münster 2006, no. 140, the dinner service with “garland rosettes and small insects alongside a green oak wreath border” produced in 1793 for Crown Prince Friedrich Wilhelm displays identical motifs along the rim.

Bronze, patiniert. Auf der Plinthe graviert "CvUECHTRITZ". Verlust und falsche Ergänzung am Zügel. H 81, L 82, 5 cm.Cuno von Uechtritz-Steinkirch (1856 - 1908).Der in Breslau geborene Bildhauer Cuno von Uechtritz-Steinkirch (1856 - 1908) begann nach einer Italienreise seine Bildhauerausbildung in Dresden bei Carl Friedrich Echtermeier. Danach ging er nach Paris und Wien, bevor er sich 1887 in Berlin niederließ. Mit dem Entwurf für die allegorische Figurengruppe "Die Krone als Hort des Friedens" zog er 1897 die Aufmerksamkeit des Kaisers er auf sich, der das Monument in Marmor in Auftrag gab. Seine berühmte Darstellung Friedrichs II. zu Pferd wurde in unterschiedlichen Größen produziert. Das hier gezeigte Exemplar ist ein beeindruckendes Zimmerdenkmal.Patinated bronze. Losses and erroneous additions to the reins. H 81, L 82.5 cm.Cuno von Uechtritz-Steinkirch (1856 - 1908).Born in Breslau, the sculptor Cuno von Uechtritz-Steinkirch (1856 - 1908) began his artistic training in Dresden under Carl Friedrich Echtermeier following a trip to Italy. He then lived for a time in Paris and Vienna before settling in Berlin in 1887. His design for the allegorical group "The Crown as a Haven of Peace" attracted the attention of the Emperor in 1897, who commissioned the monument in marble. The artist's famous depiction of Frederick II on horseback was produced in various sizes. The example shown here is an impressive indoor monument.