155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

THE FACE/RAVE/ MAGAZINE ARCHIVE. Large collection of music publications/magazines to include: 18 issues of The Face, two Rave magazines 1966, a large quantity of magazines to include NME, 1960s 'Meet' issues (Billy J Kramer), an ABBA magazine, Interview/Pop magazines, a The Who - Tommy hard backed book.

1960S POSTER DESIGNS. Approx 18 circa late 1960s/early 1970s designs from the archive of acclaimed designer David Arnott, who provided concert posters (many of which sold here) for T.Rex, Genesis and others. Condition varies, typically VF. Includes two bag designs.

ROCK AND ROLL/FOLK LPS. Approx 76 LPs with decent runs of collectable artists. Expect: Bob Dylan, Asia, Fairport Convention, Joan Baez, Marc Bolan, The Who, Skids, Edgar Winter, Boomtown Rats, Strawbs, Fleetwood Mac and more. Condition generally from VG to Ex.

JACK RUBY OWNED TWO PIECE SUIT. A jacket and suit pants, once owned by Jack Ruby, who famously shot and killed the man who shot John F Kennedy; Lee Harvey Oswald . To comprise: a 'Vincenzo Custom Design' jacket (43R) and a pair of Sears, Roebuck and Co trousers (42R, 36W). Sold with two notarised, signed letters of provenance by Earl Ruby, dated 1999.

JAMES BOND - THE SPY WHO LOVED ME. A 1962 Jonathan Cape/Glidrose Productions first edition copy of 'The Spy Who Loved Me', very good condition, unclipped dust jacket showing light age wear and some darkening to the verso, clean pages, binding intact.

WW1 Bronze Memorial Plaque, awarded to “SELWYN BAILEY”. Good overall condition. CWGC shows a Selwyn Gladstone Bailey, who served with the 16th Battalion Royal Warwickshire regiment and was killed on 4th September 1916.

Selection of Ships Relics of Battle of Jutland Interest, the relics are all instruments and pieces of ship, many of which have been badly damaged from bomb blast. One ships light still is filled with sea water. These relics were all discovered on the sea bed by a team of Dutch commercial divers who were exploring an area of the North Sea near to where the battle of Jutland took place in 1916. The relics were all found in a large concentrated area of the sea bed and were obviously from a ship which had exploded and parts of the ship had scattered, they were picked up by the divers as souvenirs before being sold in the 1990’s to a UK collector. Please note these items were removed from the sea bed and not removed from a wreck of a ship.

WW2 British Paperwork Grouping to Japanese Prisoner of War, the grouping relates to Harold Walter Reginald Bargery RASC, who was taken prisoner of war when Singapore fell to the Japanese. Many interesting period documents including cards sent from Japanese Prisoner of War camp etc. Also accompanied by a small printed Japanese rising sun flag, which can only assume to have been taken as a souvenir after release from captivity and a WW1 bronze memorial plaque awarded to “HAROLD WALTER BARGERY”. T/215625 H W R Bargery was a Driver serving in the Royal Army Service Corps, he was taken prisoner of war when Singapore fell to the Imperial Japanese forces in February 1942. He was from Beckenham, Kent and enlisted at Croydon. 4829 Private H W Bargery served with the 15th Battalion (Prince of Wales Own Civil Service Rifles) London Regiment, he was killed 7th October 1916 and is buried at Warlencourt British Cemetery, Pas de Calais, France.

WW2 British Paperwork Grouping to Japanese Prisoner of War, the grouping relates to Signalman John Richard Meldrum Royal Signals who was taken prisoner of war by the Imperial Japanese forces when Singapore fell in February 1942. Large amount of letters, documents, paybooks, etc. All remain in generally good condition

BOARD GAME. DR WHO... DODGE THE DALEKS, BY CODEG, BOXED, 1960'S

A rare French double-tube contra-barometer, Lebleu-Turpin, Estaires, late 19th century, the rectangular paper scale inscribed BAROMETRE above visible U-shaped syphon tube with mercury bulb to top left opposing oil-filled section with amplified scale annotated with weather observations in French, The centre applied with a standard mercury syphon tube with conforming weather observations to scale at the top next to a large Centigrade and Reaumur scale spirit thermometer with annotations in French for maximum and minimum temperatures reached in Paris and other French cities over decorative multi-knopped bulb, the lower section printed with text CONTROLEUR et THERMOMETRE, Centigrade et Reaumur, par LEBLEU-TURPIN, dit LESECQ, Fabricant de BAROMETRES, LA GORGUE, (Nord), Estaires Imp. Cordier, set behind glass within an ebonised cavetto moulded frame transfer decorated with fine gilt scrolling foliage, 96,5cm (38ins) high The development of the double-tube barometer is generally attributed to Robert Hooke who in 1668 demonstrated instrument to the Royal Society. The intention of the design is to facilitate amplification of the movement in the level by introducing a second column of flued in a narrower bore extension of the open end of the mercury syphon.

Vintage Tinplate Toy Trains - ‘Bing for Bassett-Lowke Gauge 0’ six items in good to excellent condition(Before the Great War, ‘Gebruder Bing’ of Nuremberg - the largest toy-making company in the world - had an excellent working relationship with Bassett-Lowke; due to good personal relationships, the partnership continued after 1918 although Made in Germany was not a good selling point.  From the Bassett-Lowke catalogue: The following series of models are included in our list for those who require an inexpensive yet reliable clockwork model. They are of foreign manufacture from the designs of Mr Henry Greenly and can be thoroughly recommended as excellent value), 1928 ‘Bing for Bassett-Lowke’ Great Western Railway Clockwork coupled clockwork locomotive with automatic reversing and brake (No 47500 on cab; four-wheel tender: Great Western with garter arms). In working order.1928 ‘Bing for Bassett-Lowke’ Great Western Railway 4-coupled clockwork locomotive with automatic reversing and brake” (No 4420 on cab; ca 1912 four-wheel Bing tender: Great Western with garter arms. In working order. With an additional mechanism for ‘spares or repairs.’1930 ‘Bing for Bassett-Lowke’ Great Western Railway Open Goods Wagon (Boxed)-

A QUANTITY OF MOUNTED BRITISH REGIMENTAL / UNIT CAP BADGES, collected over many years by an Army Veteran who served with the 'Black Watch' in WWII and Palestine, then later as a member of the Derbyshire Police Force for many years, eighty nine badges from various Regiments and Units, Kings Own Malta Regiment, North Irish Horse, South Horse, Westmorland and Cumberland Yeomanry, etc

A FAMILY GROUP OF MEDALS AND EPHEMERA, to include a WWI 1914-15 Star trio of medals named to 2625 Pte J.L. STENNING, 19th London Regiment Cpl on British War/Victory medal, together with a short typed information sheet regarding Stenning who joined the 19th London's and posted to the 'Toffs' Company, a telegram much later written with the date Nov 11th 1918, also a framed 'Mentioned in Dispatches' certificate dated 16th March 1919 for J.L. Stenning and a Post War General Service medal, Bar Palestine 1945-48 named to Pilot Officer K.J. Stenning, R.A.F. the son of J.L. Stenning, he flew missions in Palestine with regards to supply drops, etc, also present are some old photos in a folder and a number of 'Valentines' Aircraft recognition postcards

Clara Ivanovna Kalinicheva (Russian 1933-1999) Landscape with a Red Cat Signed, titled and inscribed to verso Oil on board, executed in the 1960s 35.6 x 73.5cmProvenance: Acquired from the artist's family in 2010; A Private Collection of Soviet, Russian and Azerbaijani ArtLiterature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 248, 250-251 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century.Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Evgeny Spiridonovich Logvinenko (Russian b.1944) Sunrise on the Black Sea Signed and dated 1983, and further signed, dated, titled and inscribed to verso Oil on board 22.5 x 35.4cm Unframed Together with Boris Nikolaevich Bezikovich (Russian 1917-1980), Edge of a Forest, signed, dated 1948, titled and inscribed to verso, oil on canvas, 11.8 x 29.3cm, unframed and unstretched (2) Provenance: Each acquired from Moscow private collections by the present owner, 2007 and 2009; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 239-241. 270-271 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Ivan Yegorovich Bazanov (Russian b. 1946) Narrow Street Flickering; Memorial House of the Painter E.V. Nagaievskaya Two, each signed and further signed, titled, dated 2002 and 2003, and inscribed to verso Each oil on canvas 22 x 14cm; 15 x 20cm The latter unframed (2) Provenance: Both acquired from a Moscow private collection by the current owner, 2009; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 233-237 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Evgeny Davidovich Redko (Russian 1924-2004) Autumn Evening Signed, titled, dated 1980s and inscribed to verso Oil on board 34.7 x 46.7cm Provenance: Acquired by the present owner from the artist's family, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 354-355 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Evgeny Davidovich Redko (Russian 1924-2004) Wide Space Signed, dated 1980s, titled and inscribed to verso Oil on board 28.5 x 37.9cm Provenance: Acquired by the present owner from the artist's family, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 340-341 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Evgeny Davidovich Redko (Russian 1924-2004) The School Girl; Work in Spring; Fog in Winter Three, each signed and titled to verso Each oil on card Largest 36 x 48cm; Smallest 11.7 x 11.7cm Two unframed (3) Provenance: All acquired from the artist's family by the current owner, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 344-345, 349 (all illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Kim Nikolaevich Britov (Russian 1925-2010) Spring Twilight Signed, and further signed, dated 2007, titled and inscribed to verso Oil on canvas board 33 x 45.8cm Provenance: Acquired directly from the artist's estate by the current owner, 2010; A Private Collection of Soviet, Russian and Azerbaijani Art A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Igor Nikolaevich Avramenko (Russian b.1964) Sunset on the Caspian Sea; Street scene Each signed with initials Mixed media 40.7 x 46.8cm; 49.9 x 39.8cm Both unframed Together with A. Makhonin (Russian 20th Century), Still life with lilacs in a vase, signed and dated 1953, oil on card, 36.7 x 32.8cm, unframed (3) Provenance: Avramenkos with Seasons of the Year Gallery, Moscow, 2008, where acquired by the current owner; Makhonin acquired from a Moscow private collection; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 226-227, 230-231, 274-275 (all illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Evgeny Fiodorovich Karasiov (Russian 1926-1997) On the Volga Signed, dated 1957, and titled to verso Oil on card 13 x 18.6cm Together with Dmitriy Gavrilovich Leskin (Russian 1928-2008), Academicheskaya Dacha, signed and indistinctly titled and inscribed to verso, oil on cardboard, 10.2 x 15.4cm (2) Provenance: Karasiov acquired by the current owner from Seasons of the Year Gallery, Moscow, 2005; Leskin acquired by the current owner from a private collection; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 252, 258-259, 264, 266-267 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Phikret Mamedovich Kashimov (Azerbaijani b.1948) Moon Song Signed with monogram, and further signed, inscribed and dated 1991 to verso Oil on canvas 96 x 172cm Unframed and unstretched Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Sergei Nikolaievich Andriyaka (Russian b. 1943) Fir trees in the snow; Autumn trees Two, both signed, one dated 2010, the other 2004 Both watercolour 68.2 x 51.2cm; 74.6 x 53.2cm (2) Provenance: Both acquired from the artist by the current owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 216-217, 220-221 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Sergei Nikolaievich Andriyaka (Russian b. 1943) Flooded forest; Landscape with buildings amongst trees; Landscape with a path running alongside a forest Three, each signed and variously dated 2008, 2004, and 2007, and extensively inscribed to backing boards Each watercolour 11.2 x 16.6cm; 11 x 17.4cm; 10 x 17.8cm (3) Provenance: Each acquired directly from the artist by the present owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 214-215, 218 (each illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Sergei Petrovich Tkachev (Russian b.1922) Pasture Signed, and further signed, dated 1980, titled and inscribed to verso Oil on board 48 x 59.7cm Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Yuri Krotov (Russian b.1964) In the Garden Signed, and further signed and titled to verso Oil on canvas 73 x 50cm Unframed Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Natta Konysheva (Russian b.1935) Sergei's Birthday; The Circus Two, the latter signed, and each signed, titled and dated 1999 and 2000 to verso The former oil on canvas, the latter oil on board 46.3 x 84.6cm; 39.3 x 58.9cm (2) Provenance: Each acquired directly from the artist's estate by the present owner, c. 2010; A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Emin Mamedov (Russian 20th Century) Still life with a vase Inscribed to verso Oil on canvas 90.5 x 70cm Unframed Together with Breezhatyk (Russian 20th Century), Mother and Child, signed and dated 98, oil on canvas, 80.2 x 50.3cm, unframed (2) Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Pavel Alexandrovich Radimov (Russian 1887-1967) Village landscape Oil on cardboard Inscribed and numbered 025624 to verso 27.8 x 44.7cm Unframed Provenance: Acquired from the artist's family by the current owner c.2007-2008; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 329-331 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Leonid Vasilievich Markov (Russian 1926-1988) Still life with a vase of roses Signed and titled to verso Oil on board 41.8 x 23.4cm Unframed Provenance: Acquired from the artist's family by the current owner, 2010; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 276-277 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

A 17th century silver parcel gilt chalice or communion cup two indistinctly struck marks to underside of foot, one possibly crowned, contemporary engraved name to edge of foot, 'P. D. VEULES', the shallow, un-gilded cupped bowl on a gilt base, with double reel mount to an unusual stem with triple caryatids on monopodium feet, the lower reel mount with floral top, on a domed base with repoussé work decoration of three sea monsters, over an egg and dart lower border, 5 1/8in. (13cm.) high, the bowl 5 1/8in. (13cm.) diameter. * A Philip de Veulle is recorded residing in St Clements in Jersey in the 17th century, son of Clement de Veulle, one of the chief inhabitants of the parish. His marriage in 1636 was to Marie Le Febvre, granddaughter of Jean Girard, who was a wealthy goldsmith from Montrouge, near Paris, who had taken refuge first in Guernsey in 1572 and then intermittently in Jersey during the Huguenot persecutions from 1605-1651. His daughter Marie married Amyce de Carteret, Seigneur of Trinity in 1637

A Russian icon - The Tikhvinskaya Mother of God probably 20th century, showing The Mother of God holding in one arm the Christ child, who is making the sign of blessing, the figures on a gilt background with trellis decoration, within a geometric and floral decorated border and spandrels, 12¼ x 10 3/8in. (28.5 x 23cm.).

* Gillray (James). Sans-Culottes Feeding Europe with the Bread of Liberty, published H. Humphrey, Jany. 12th. 1793, hand coloured etching, slight overall toning, 305 x 365 mm, mounted, framed and glazed, together with A Burgess of Warwick Lane, published H. Humphrey, July 3rd. 1795, etching with contemporary hand colouring, 245 x 155 mm, mounted, framed and glazed (Qty: 2)NOTESThe first described item shows five vignettes, with a central group of John Bull, caught between Sheridan and Fox, who are forcibly feeding him with the bread of liberty. Both of the politicians are depicted as ragged and bare-legged sans-culottes, wearing bonnets-rouges. Each forces a small loaf inscribed 'Liberty', on the point of a dagger, into John's gaping mouth and at the same time picking his pockets. In the background, standing on a barren plain, are a gibbet with a hangman's noose and the ruins of Temple Bar. The other groups show French sans-culottes despoiling 'Holland', 'Savoy', 'Germany' & 'Prussia', and 'Italy'.

Churchill (Winston Spencer). The Story of the Malakand Field Force, an episode of frontier war, 1st edition, 1st issue, Longmans, Green, & Co., 1898, half-tone frontispiece, 2 folding maps, 4 sketch maps, 32pp publisher's catalogue dated 12/97 at rear, no errata slip tipped in (so indicating first issue), scattered minor spotting, pages uncut and largely unopened, contemporary ink inscription to front free endpaper verso, 'E.R. Kersley from Jack Churchill', partly offset into marginal browning of half-title facing, armorial bookplate of Trevor Rostron to front pastedown, original green cloth gilt, a little rubbed and minor soiling, 8vo (Qty: 1)NOTESWoods A1a. Provenance: Given to Captain Edward Reginald Kersley DSO (1883-1976) of the Royal Welsh Fusiliers by the younger brother of Winston Churchill, Major John Strange 'Jack' Spencer Churchill (1880-1947). The inscription is not in Jack's hand and would appear to be in the hand of Kersley who along with his own brother and the Churchill brothers attended Harrow School. In the Harrovian War Supplement (September 1918) it is noted that Kersley received his Bar to DSO for when 'he took command of his battalion at short notice, and organised and launched an attack which was completely successful, capturing the final objective. He showed great initiative and skill throughout'. Jack Churchill, who had served in the South African Light Horse alongside his war correspondent brother in the second Boer war in 1899-1900, also fought in World War I, where he was again mentioned in Dispatches. He served on the staff of Field Marshal Lord French, General Sir Ian Hamilton and Field Marshal Lord Birdwood, being awarded the DSO in 1918.

Churchill (Winston Spencer). The River War. An Historical Account of the Reconquest of the Soudan, edited by Col. F. Rhodes, 2 volumes, 1st edition, 1st impression, Longmans, Green, & Co., 1899, second state, with missing inverted comma inserted after the word 'Gazette' on page 459 of volume 2, 7 photogravure portraits (including frontispieces), 34 maps (20 folding), illustrations in the text, lacks half-title to volume 1 and impression from large ink library stamp erased from title, a few minor scattered marks and occasional light browning, original gilt-decorated blue cloth, rubbed and evidence of library labels removal from foot of spines, 8vo (Qty: 2)NOTESWoods A2a.Chang and Eng Bunker (1811-1874) were celebrated Siamese-American conjoined twin whose fame led to the expression 'Siamese twins' becoming synonymous for conjoined twins in general. They were widely exhibited as curiosities and were 'two of the nineteenth century's most studied human beings'.The brothers were born with Chinese ancestry in today's Thailand and were brought to the United States in 1829. Physicians inspected them as they became known to American and European audiences in 'freak shows'. Newspapers and the public were initially sympathetic to them, and within three years they left the control of their managers, who they thought were cheating them, and toured on their own. In early exhibitions, they appeared exotic and displayed their athleticism.After a decade of international touring and financial success, the twins quit touring and settled near Mount Airy, North Carolina. They became American citizens, bought slaves, married local sisters, and fathered 21 children (11 by Eng, and 10 by Chang), several of whom accompanied them when they resumed touring. Chang's and Eng's respective families lived in separate houses, where the twins took alternating three-day stays. After the Civil War, they lost part of their wealth and their slaves. Eng died hours after Chang at the age of 62. An autopsy revealed that their livers were fused in the ligament connecting their sternums. 

Churchill (Winston Spencer). London to Ladysmith via Pretoria, 1st edition, 1st issue, Longmans, Green, & Co., 1900, 3 folding maps including colour frontispiece, single leaf publisher's advertisement and 32-page publisher's catalogue at end (dated 10/99), some heavy spotting to early leaves and text block edges, large armorial bookplate of Viscount Bangor to front pastedown, original pictorial light brown cloth, spine titled and decorated in gilt and red, minor soiling, 8vo (Qty: 1)NOTESWoods A4a. Provenance: The bookplate is most likely that of Maxwell Ward, 6th Viscount Bangor (1868-1950) who succeeded to the title of Viscount Bangor after his father's death in 1911, commissioned into the Royal Artillery in 1887, and promoted to major in 1906.

Moffett (Thomas). Insectorum sive minimorum animalium theatrum: olim ab Edoardo Wottono, Conrado Gesnero, Thomaque Pennio inchoatum, 1st edition, London: ex Officina typographica Thom. Cotes. Et venales extant apud Benjam. Allen, 1634, numerous woodcuts throughout the text, light browning, damp-staining to initial quire A, title-page slightly marked, reinforced in gutter, a few shallow chips along fore and bottom edges, interlinear spill-burn to T5, repaired closed tear in Y1 extending into bottom 4 lines of text, marginal tear to 2B1, 2D6 creased at lower outer corner, small marginal chip to 2E3, final page with early ink annotation 'Finis' and related staining to lower inner corner, a few other marks, contemporary mottled calf, rebacked, folio (29.9 x 19 cm) (Qty: 1)NOTESBritish Bee Books 25; ESTC S102912; Freeman 2624; Lisney 3; Nissen ZBI 2852; STC 17993. 'The first book about insects published in Britain' (Salmon et al., The Aurelian Legacy , p. 95), one of three variant imprints; Lisney identifies the present variant, with 'apud Benjam. Allen', as the first issue. 'Among those who sent [Moffet] specimens or illustrations was John White , the Virginian pioneer' (ODNB).

Edgar (Thomas, editor). The Lawes Resolutions of Womens Rights: or, the Lawes Provision for Woemen. A Methodicall Collection of such Statutes and Customes, with the Cases, Opinoins, Arguments and Points of Learning in the Law, as doe properly concerne Women, 1st edition, London: printed by the assignes of John More, and are to be sold by John Grove, 1632, text mainly in black letter, initial blank (A1) present), worm-track to first 10 leaves, touching text in signature a3, reducing thereafter to a variable stipple in lower outer corners, the text never affected, early ink-stain to p. 379 partially obscuring one word recto, contemporary sprinkled sheep, rubbed and scuffed, a few sections of wear, 4to (18.8 x 13.6 cm) (Qty: 1)NOTESProvenance: Private Collection, Shropshire. ESTC S100217; STC 7437; Sweet & Maxwell I p. 500.24. Thought to have been written in the late 16th century, the work is habitually described as the first book in English exclusively on the legal rights of women. ‘[B]y the standards of the day, and within the deeply male world of the common law, the author was surprisingly moderate and open-minded in his vision of women and their entitlements’ (Stretton, Women Waging Law in Elizabethan England, p. 47). 'T. E., who signs the epistle to the reader and may be T. Edgar, is only the editor and does not know who the author is. The preface is signed by I. L. and indicates that the work "was long since collected" and the author is dead' (STC); it has been plausibly attributed to Sir John Dodderidge (1555-1628).

Jones (John, of Neyath, Brecon). Judges Judged out of their own Mouthes. Or the Question Resolved by Magna Charta, &c. Who have been Englands Enemies, Kings Seducers and Peoples Destroyers, from Hen. 3. To Hen. 8. and before and since. Stated by Sr. Edward Coke..., Expostulated, and Put to the Vote of the People, by J. Jones, Gent..., 1st edition, W. Bently, 1649, title border of typographical ornaments, woodcut of a sun on a shield with motto to title verso, small tear without loss at foot of E1, bound with The Peace of Justice, or, The Authoritie of a Justice of Peace..., 1st edition, Printed by W. Bently, for W. Shears, 1650, woodcut of a sun on a shield with motto to initial blank recto, title border of typographical ornaments, final blank present, bound with The New Returna Brevium, Or the Law Returned from Westminster and Restored in Briefe to its Native, Antient, and Proper Habitation..., 1st edition, Printed by William Du-gard, 1650, initial blank present, title trimmed close at foremargin with loss rule, bound with Jurors Judges of Law and Fact: Or, certain Observations of certain differences in Points of Law between a certain Reverend Judg, called Andr. Horn, and an uncertain Author of a certain Paper..., 1st edition, Printed by W.D. For T.B. & G.M..., [1650], initial and final blanks present, A9 & A10 trimmed close at foremargins with a few letters shaved and loss of final two letters of catchword on A10r, bound with The Crie of Blood: or, A True Answer to those Thirteen Fals Reasons of the Filicers, Attournies, &c Practising at Westminster, for the Maintenance of the Capias and Arrest of Men’s Bodies for Debt..., 1st edition, William Du-gard, for Thomas Matthews, 1651, initial leaf before title with recto blank and verso with author’s printed defence of Mr Peter from R. Vaughan, some occasional spotting and light marginal browning throughout volume, recent endpapers, contemporary blind-ruled sheep, rubbed, 12mo (120 x 67 mm) (Qty: 1)NOTESProvenance: Private Collection, Shropshire. Wing C4938; J973; J972; J970; J964A.

[Evelyn, Mary]. Mundus Muliebris: or, the Ladies Dressing-Room unlock'd, and her Toilette spread. In Burlesque. Together with the Fop-Dictionary, compiled for the Use of the Fair Sex. The Second Edition. To which is added a most rare and incomparable Receipt, to make Pig, or Puppidog-Water for the Face, London: for R. Bentley, 1690, somewhat spotted and browned, short nick to upper inner corner of title-page, modern calf, 4to (20.2 x 14.2 cm) (Qty: 1)NOTESProvenance: From the estate of John Lawson (1932-2019). ESTC R31459; Keynes 101; Wing E3523. One of two editions described as the second edition on the title-page. 'In this edition the separate dated title page line 2 has a colon following "fop-dictionary" and the "C" of leaf C is under the space between "well" and "understood"' (ESTC). Written at least in large part by John Evelyn's daughter Mary, who died young of smallpox in 1685, Mundus muliebris is 'a brief satire in tetrameter couplets on fashionable women's clothing, accoutrements, and behaviour' (ODNB), and the Francophile affectations of Restoration manners.

Ireland. A Relation of the Bloody Massacre in Ireland; Acted by the Instigation of the Jesuits, Priests, and Friars, who were Promoters of those Horrible Murders, Prodigeous Cruelties, Barbarous Villanies, and Inhuman Practices Executed by the Irish Papists upon the English Protestants: With an Account of the Spanish Inquistition, London: Rowland Reynolds, 1689, 7,[1]pp., drop-title, imprint from colophon at foot of page 7, 5 woodcut illustrations to two pages, some repair to margins, 20th century half calf, red morocco title label to spine, marbled paper to boards, slim 4to (Wing R817), together with [ Defoe, Daniel] , The Scots Nation and Union Vindicated; from the Reflections cast on them, in an Infamous Libel, Entitl'd, The Publick Spirit of the Whigs, &c. In which the most Scandalous Paragraphs contain'd therein are fairly Quoted, and fully answer'd, London: A. Bell, 1714, 28pp., some browning, modern boards, slim 4to (Qty: 2)NOTESProvenance: From the estate of John Lawson (1932-2019).

Bembo (Pietro). Historiae Venetae Libri XII, Venice: [Gualtiero Scoto for Sons of Aldus, 1551], large woodcut device of Gualtiero Scoto to title, contemporary inscription in Greek in brown ink at foot of title, Aldine woodcut device to verso of final leaf, woodcut initials, engraved bookplate of the Royal Library at Cambridge, containing the motto 'Munificentia Regia 1715', additionally inscribed in brown ink to the head of this bookplate by William Cole 'Had this Duplicate fro ye Royal public Library. Wm: Cole-1745', pages 82 and 83 with early marginal annotation referring to Christopher Columbus and Pope Alexander, 18th century full calf, spine lettered in gilt, a little rubbed and some light wear to joints, with upper joint partly cracked, folio (Qty: 1)NOTESProvenance: 1) John Moore (1646-1714), Bishop of Ely, one of the greatest book-collectors of his day, whose library was purchased by King George I, and subsquently presented to the University of Cambridge as a mark of gratitude for support given to the Hanoverian succession. This copy sold as a duplicate in 1745, and purchased by 2) William Cole (1714-1782), Cambridgeshire clergyman and antiquary who compiled an extensive collection of manuscript histories concerning Cambridgeshire and Buckinghamshire, all 100 volumes of which were given to the British Museum. 3) Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Adams B597; Censimento 16 CNCE 5037; Renouard 152/17. First edition of Bembo's history of Venice, with the woodcut device of Gualtiero Scoto depicting Mercury and Athena on the title. The work covers the period between 1487 and 1513. Published posthumously, this work was a joint edition between Aldus' heirs and the Venetian publisher Gualtiero Scoto. Book six contains a detailed overview of Columbus' discovery of the New World.

Livius (Titus), Delle historie de Romani dall'edificatione della citta libri XXXV, 2 volumes, Venice: Stefano Coma, 1567, signatures *4 +-5+4 6+2 A-3Y4 3Z6 a-4x4, +4 y-2b4 2c-4r8 4s6 (4s6=blank), woodcut initials and headpieces, later English sprinkled calf, rebacked, wear to extremities, 4to (19.4 x 13.2 cm) (Qty: 2)NOTESProvenance: 1) Thomas Howard, 14th earl of Arundel (1585-1646), art collector and politician (ownership inscription 'T. Arundell' to title-pages). 2) Royal Society, London (early ink-stamps to title-pages), probably from the bequest of Henry Howard, 6th earl of Norfolk (1628-1684), who was persuaded to donate his 'magnificent library' (ODNB) by John Evelyn. 3) '1873 sold by the Society to B. Quaritch who resold' (pencilled note to front free endpaper'. 4) Thomas Alfred Walker (1862-1935), historian of Peterhouse, Cambridge (bookplate). 5) Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. 'Arundel's role as a bibliophile and the range of his scholarly interests are hard to appreciate today because his library has been dispersed—most of the manuscripts are in the British Library, while the books have been scattered among public and private collections, where many now lie untraced—but it is clear that he possessed one of the greatest libraries in the British Isles, probably totalling over 3000 volumes' (ODNB). Vernacular Italian edition of Livy's Ab Urbe Condita, not in Adams or STC Italian.

Sforza (Muzio). Hymnorum libri tres. In universos Sanctos, quos hodierni Breviarii Calendarium continet, 1st edition: Rome: Luigi Zannetti, 1593, 12 historiated woodcut headpieces, blank leaf *4 discarded, slight browning, small worm-track in fore margins, repaired in quires *-A, marginal repair to K6 verso, damp-staining in gutter towards rear, a few others marks, later (17th-century?) vellum, darkened, spine-label chipped, 8vo (15.1 x 9.3 cm) (Qty: 1)NOTESProvenance: 1) 'M. Pinelli sale 2 March 1789 1 Feb 1780, probably John Munro, 13 Dec 1830' (20th-century pencil inscription to front pastedown); 'Dec 1818 [Monro's] sale by Sotheby, same copy b[ough]t by Dr Monro for 1. 6 at the Pinelli sale' (19th-century ink inscription to front free endpaper). The enormous collection of Venetian bibliophile Maffeo Pinelli (1736-1785) was sold in London across two sales in 1789-90 lasting nearly a hundred days, and was an especially important event in the development of the Bodleian's holdings of continental and Italian literature. 2) Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Adams S1046; STC Italian p. 624. OCLC traces three copies world-wide. Sforza (1542-1597) was a poet from Monopoli, near Bari, who was associated with the Accademia Olympica, founded in Vicenza in 1555.

Barton (John). The Latine Grammar composed in the English Tongue; wherein the Excrescencies of the ordinary Grammar are cut off, and the Deficiencies thereof (so generally complained against) supplied; for the more easie, speedy and certain direction of all those, that have a desire to attain unto the understanding of that usefull and necessary Language, 1st edition, London: printed by A. Miller for Tho. Underhill, 1652, [8], 66 [26 of 28] pp., signatures A4 B-F8 G6 (-G1, index leaf, absent), quires E-F held by bottom cord only, no endpapers, contemporary blind-ruled sheep, rubbed, small perforation in front board, 8vo (14 x 9.4 cm) (Qty: 1)NOTESESTC R172280; Wing B989aA. Very rare: ESTC traces two copies only world-wide (Birmingham Central Libraries and Canterbury Cathedral). 'The oldest known Birmingham book' (Harman & Showell, Showell's Dictionary of Birmingham , unpaginated). John Barton was master of King Edward's School in Birmingham from 1639 to 1645, having been recruited by the school tenants who were 'outraged that so few of [Barton's predecessor] Billingsley's pupils were being sent up to the universities' (ODNB); he is described on the title-page as 'not long since Master of the Free School of Birmingham in Warwickshire'.

Heydon (Christopher). The New Astrology; or, the Art of predicting or foretelling future events, by the Aspects, Positions, and Influences, of the Heavenly Bodies..., 2nd edition, London: G. Kearsley, 1786, folding engraved frontispiece (slightly browned to fold and few light tears mostly at head & foot), with frontispiece explanation leaf present, light toning and occasional dust-soiling, early notes and diagrams to endpapers with ownership inscription 'John Bramley His Book 1806', contemporary sheep, joints cracked, worn at head & foot of spine, 12mo in 6s, together with [Swift, Jonathan] , Travels into several Remote Nations of the World. By Captain Lemuel Gulliver, volume 2 only (comprising parts III & IV), second edition, London: Benjamin Motte, 1726, 3 engraved maps, some browning, light dust-soiling & spotting, armorial bookplate of John Natt to upper pastedown, cloth hinge repairs, contemporary mottled calf, old reback preserving original spine, joints cracked and some wear, 8vo (Teerink 290, the AA edition), plus [Brown, Joseph] , The Tryal of Thomas Duke of Norfolk by his Peers, for high treason against the Queen ... 1571 ... for attempting to marry Mary Queen of Scots without the consent and approbation of the said Queen Elizabeth..., London: J. Morphew, 1709, light dust-soiling, spotting mostly at rear, contemporary calf, joints cracked, slight loss of leather to lower panel of spine, 8vo, and [Aram, Eugene] , The Genuine Account of the Trial of Eugene Aram, for the Murder of Daniel Clark, Late of Knaresbrough, in the County of York. Who was convicted at York Assizes, August 5, 1759, before the Honorable William Noel..., 9th edition, Knaresbrough: Hargrove & Sons, 1808, some dust-soiling and marks mostly at front & rear, near contemporary half calf, spine rubbed, 12mo in 6s, plus other 18th & 19th century antiquarian (Qty: 28)

[Parsons, Robert]. The Jesuit's Memorial, for the Intended Reformation of England, Under Their First Popish Prince. Published from the copy that was presented to the Late King James II. With an introduction and some versions, by Edward Gee, printed for Richard Chiswel, 1690, [8], lvi, [16], 262, [2] pp., half-title reattached to title, ink underscoring and marginalia to verso of A3, final publisher's advert leaf present, some dust-soiling few marks and spotting, endpapers renewed, contemporary calf, rebacked, 8vo (Wing P569), together with [Benjamin, Keach] , Sion in Distress: or, The Groans of the Protestant Church for many Ages past: Under the Cruel Tyranny of Popish persecution and Merciless Torments..., To which is added, Sion's Relief and Joyful Triumph over all her Enemies, London: Printed, and are to be sold by most Booksellers, 1692, engraved frontispiece (partially detached at gutter and early manuscript note to verso), ownership inscription to title, 2 leaves of publishers adverts at rear, dust-soiling and toning, contemporary sheep,. spine rubbed and corners worn, 12mo, plus (Brachet de la Milletière, Théophile) , The Victory of Truth for the Peace of the Church, to the King of Great Britain ... With an answer thereunto..., by the Right Reverend John Bramhall, D.D. and Lord Bishop of London-Derry, 2 parts in one, The Hague, 1653, final leaf torn to lower half and repaired (with no text loss), light dust-soiling, 19th century calf, slightly cracked to joints, small 8vo, and [ Jarrige, Pierre] , A Further Discovery of the Mystery of Jesuitisme. In a Collection of severall Pieces, Representing the Humours, Designs and Practises of those who call themselves the Society of Jesus, London: G. Sawbridge, 1658, half-title, ink scribbled out signature to title, stain to leaves K11 & K12, sewing weak and some leaves sprung and loosening, contemporary calf, torn at head & foot of spine, 12mo, and Johnson (Samuel) , A Second Five Year's Struggle against Popery and Tyranny: being a Collection of Papers, Published by Samuel Johnson during his last Imprisonment of five Years and ten Days, London: Printed for the Author, and are to be sold by Richard Baldwin in the Old Baily, 1689, contemporary calf, spine rubbed and worn at head & foot, 8vo, and The Mystery of Jesuitism... [by Blaise Pascal], London: Printed, and are to be sold by John Vallange, Bookseller in Edinburgh, 1695, and The Nullity of the Romish faith. Or A Blow at the Root of the Romish Church..., by Mathew Poole, Oxford: Printed by H.H. for Ric. Davis, 1667 (Qty: 7)

* Baden-Powell (Robert, 1857-1941). Two typed letters signed, 'Robert Baden Powell', Boy Scouts Association printed letterhead, 9 & 28 February 1920, both to Mr Chadwick, the first thanking him for 'the outline of your ideas on citizenship which you were kind enough to send me. This was of the very greatest use to me in making out my report', concluding that he will be interested to see the programme for Chadwick's Scout Play on February 12th and wishing him huge success, the second letter saying that he would like to send Chadwick's 'practical suggestions with my own ideas for Citizenship training, to the Sub Committee of the British Association who have asked me for suggestions', concluding that he has pointed out to the Committee 'that it is practical experiments which will be of value to them in their enquiry', the first letter a little dust-soiled, both a little toned at extremities and with pin holes to upper left corners, minor creasing, each one page, 4to (Qty: 2)

* Chang and Eng: Conjoined Twins. A manuscript album leaf signed 'Chang Eng' and dated 27 April 1830, the top of the album leaf with a six-line poetic quotation in pencil overwritten in ink in a typical and unidentified hand, initialled J.W.C. and dated 25 April 1830 beneath, the centre of the leaf with a woodcut vignette trade card with engraved name 'Chang Eng' beneath mounted to centre of album leaf within embossed gold foil border, 6 x 8 cm, autographed by 'Chang Eng' at foot with date and small circular embossed red wax seal featuring their names adjacent, the lower half of the page with words and names of various Chang-Eng family in ink plus others relating to their story, 'Coffin', 'Hunter', 'Hale', 'Rack Choop Georgiana', 'Rosalind Two', a little spotting, verso blank (Qty: 1)NOTESChang and Eng Bunker (1811-1874) were celebrated Siamese-American conjoined twin whose fame led to the expression 'Siamese twins' becoming synonymous for conjoined twins in general. They were widely exhibited as curiosities and were 'two of the nineteenth century's most studied human beings'.The brothers were born with Chinese ancestry in today's Thailand and were brought to the United States in 1829. Physicians inspected them as they became known to American and European audiences in 'freak shows'. Newspapers and the public were initially sympathetic to them, and within three years they left the control of their managers, who they thought were cheating them, and toured on their own. In early exhibitions, they appeared exotic and displayed their athleticism.After a decade of international touring and financial success, the twins quit touring and settled near Mount Airy, North Carolina. They became American citizens, bought slaves, married local sisters, and fathered 21 children (11 by Eng, and 10 by Chang), several of whom accompanied them when they resumed touring. Chang's and Eng's respective families lived in separate houses, where the twins took alternating three-day stays. After the Civil War, they lost part of their wealth and their slaves. Eng died hours after Chang at the age of 62. An autopsy revealed that their livers were fused in the ligament connecting their sternums.

* Lincoln (Abraham, 1809-1865). Document signed 'Abraham Lincoln', Washington, 1 August 1864, a military commission, appointing John T. Bolton Second Lieutenant in the Veteran Reserve Corps, printed on vellum with engraved eagle at head and military apparatus at foot, wafer seal to left margin, manuscript insertions, signed by President Lincoln and the Secretary of War, Edwin M. Stanton, a little soiling and slightly heavier on folds, approximately 48 x 40 cm, together with two similar military commissions on vellum, appointing John T. Bolton to First Lieutenant 'For gallant and meritorious services during the [American Civil] war', 10 May 1866, and Captain, 13 March 1867, both with stamped signatures of President Andrew Johnson and Secretary of War Edwin M. Stanton, the first with circular brown stain at head, plus an earlier commission appointing First Sargeant in Company K of the 28th Regiment of New Jersey Volunteers, 15 September 1862, signed by the commanding officer W.V. Wisewell, printed on paper with manuscript insertions, some overall browning and creasing, approximately 25 x 38 cm, plus (Oldroyd Osborn H) , The Assassination of Abraham Lincoln, Flight, Pursuit, Capture, and Punishment of the Conspirators, with an Introduction by T.M Harris, Washington: O.H. Oldroyd, 1901 , illustrations from photographs, advert leaf and folding map at rear some soiling to first few leaves, frontispiece and title-page slightly creased, original cloth gilt, slightly rubbed, 8vo, plus a typed letter signed from Oldroyd to Captain John T. Bolton, Washington, 28 March 1914, beginning 'Mr H.H. Rumble of your city visited my Collection in this House in which Abraham Lincoln died and informed me that you were on duty at Ford's Theatre on the night of the Assassination', and hoping Bolton might write his recollections of that event to place in the collection, some light browning and creasing, one page, 8vo, the five documents matted in heavy card mounts with an additional printed contents list and contained with the inset book in a bespoke brown half morocco clam shell book box, the spine gilt-titled 'The Assassination of Abraham Lincoln Documents', overall 68 x 54 cm (Qty: 1)NOTESJohn T. Bolton was a respected soldier who was present when Abraham Lincoln was assassinated. It is understood from the family that he had applied for a position in the President's personal security team and that this was being considered at the time of the assassination. Lincoln was shot by John Wilkes Booth, an actor and Confederate sympathiser on 14 April 1865 and died the following day.

* Rossetti (Christina Georgina , 1830-1894). Signed cheque, 'Christina G. Rossetti', 17 May 1894, drawn on a London & Westminster Bank account, pre-printed cheque completed in manuscript in Rossetti's hand and made out to Miss Reid for the sum of £50, small perforated cancellation stamp with a few pin-prick holes touching capital initials 'G' and 'R', the recipient identified as Harriet Reid in Rossetti's hand to cheque verso, 8.5 x 20 cm (Qty: 1)NOTESWith Christina Rossetti confined to her bed for the final months of her life she was nursed by Harriet Reid who acted as her amanuensis. Harriet was with Christina when she died on 29th December 1894 and among those present at the funeral the following week.

* Wellington (Arthur Wellesley, 1st Duke, 1769-1852). Autograph letter signed, Wellington', Fuente Guinaldo , 11 June 1812, in a good clear hand in brown ink on laid paper, to C[harles] Stuart, 2 pages, 4to (Qty: 1)NOTES'I have received your letter of the 8th. When I was in Zealand, I recollect a person by the same of --- ---, who was afterwards taken prisoner in a Danish privateer; and I saw him in London, and I believe was use to him. The particular circumstances I do not recollect; but this I do recollect, that he was in service to us in New Zealand. 'Foreigners of that description are of no use to me; and I shall be very much obliged to the Government if they should allow Mr. --- to pass through the country to the army' Gurwood, Dispatches of Field Marshal the Duke of Wellington , 1838. Volume IX (New Edition), page 232

* Wellington (Arthur Wellesley, 1st Duke, 1769-1852). Autograph letter signed, Wellington', Ferenda, 26 January 1813, in a good clear hand in brown ink on laid paper with Gater 1811 watermark, to Sir Charles Stuart, 3 pages, 32 x 20cm (12.5 x 8ins) folio (Qty: 1)NOTES'I enclose the proceedings of a Court of Inquiry in regard to an affray which lately occurred at Punhete between some inhabitants of the town and a party of British soldiers, in which one of the inhabitants lost his life; in consequence of which I have ordered Lieut Kortwright into arrest; and I beg to know what the Portuguese Government wish be done with him. 'I likewise enclose papers received by Colonel Ross, of the 20th regiment, in consequence of a complaint forwarded by you of the conduct of a detachment of the 20th regiment at Villa Franca. I have ordered that Lieut. ---, of the 20th regiment, may be put in arrest, and I beg to know what the Portuguese Government are desirous should be done with him. 'I likewise enclose the proceedings of a Court of Inquiry on an affray in the town of Ziberia, between the inhabitants and a detachment of the 28th regiment, in consequence of which a child lost its life; and I beg to know what the Portuguese Government are desirous should be done with Serjeant O'Brien, Corporal Geffery and Privates McBrennan, I. Hanning?, I Finnon, John Kernes and ---, who are all in confinement.' Gurwood, Dispatches of Field Marshal the Duke of Wellington , 1838. Volume X, page 37

A reproduction German Third Reich Feldjägerkorps Military Police gorget five-piece, silver washed sheet metal and alloy construction, bearing a separate cast Luftwaffe style eagle without stretched wings clutching a canted swastika, two pebbled buttons and a scrolling banner inscribed 'Feldjägerkorps' finished in yellow radium wash, 16.5cm wide x 10.5cm high overall As Germany’s military fortunes waned, and retreats rather than advances became common on all fronts, the chaotic situations that often ensued stretched the capabilities of the Feldgendarmerie to its limits. A new police force was required to assist in bringing order out of this chaos, and one which would have full authority to do so with any means necessary. In September 1944, the creation of a new force, to be known as the Feldjägerkorps was announced. This force, comprising three Battalions (later increased to Regimental status) was to be formed from front line combat experienced soldiers who had been decorated for gallantry with at least the Iron Cross Second Class (this criteria was not always adhered to), thus giving them the moral as well as legal authority to direct other troops. Their main purpose was to maintain order and discipline immediately behind the front lines, to round up stragglers and to gather any useable men and materials and direct them to the front.

Set of three Red, White and Blue vintage Farnell “Campbell” Bears : Attributed to original British Teddy Bear producer J. K. Farnell. Manufactured 1914-1920 these are also known as Soldier Bears as many were taken to war – given by wives and girlfriends they often feature upturned noses in order to “peer” out of a soldier’s pocket. Fully jointed 3.5” mohair bears with glass eyes, pipe cleaner ears, numbered 386, 387 and 388 with miniature brown leather suitcase. Part of a lot of 398 miniature bears sold by Sotheby's in May 1999 to Leanda Harwood who made 81 red, white and blue sets and added the suitcase, numbered booklets and tags. Originally owned by twins David and Guy Campbell (b. 18th January 1910), bought by their grandmother in Devon where her trophy-adorned house inspired characterful play with these bears.

A 19th century pink Sunderland lustre jug, named and dated inscribed "Mary Corn, Hedley, Aged 15th 1829" above religious verse "Let all who for the promise wait / The holy Ghost receive And Rais'd to our unsinning state With God in eden live; Live till the Lord in Glory come And Wait his Heaven to share; He is now fitting up your home go on wee'l meet you there", with further inscription to opposing side "Time / The loss of Gold is great, the loss of time is more; the loss of Christ is such a loss That no man can restore", against pale ivory ground painted with flowers and pink lustre borders, unmarked 16cm high together with a copper lustre jug decorated in yellow with cottage and a futher building to the opposing side, 16.5cm high (2)

* Medieval deed: Gropecunt Lane, Bristol. Deed of sale and quitclaim for 4 marks (£2 13s 4d) and half a mark (6s 8d) with warranty; circa 1240, vellum deed in Latin written in a very neat court hand, John son of Roger Bat to William de Kent, all his land with the buildings in Gropecunttelana at Bristol ( Bristolla ) (S: land of William Bardolf; E: land of Julian who was the daughter of John the son of Jacob; from the street in front (29 feet) to the town wall behind, where it is 30 feet broad), paying a yearly quitrent of 12 pence to Julian who was the daughter of John the son of Jacob as John the grantor has been accustomed to pay of the consideration, 4 marks (£2 13s 4d) paid to John and and half a mark (6s 8d) to Julian; Witnesses: James le Warre, Thomas Long, Richard Ailard, Simon the clerk, William de Bellomonte, Gilbert de Marleberge, Roger Tarleys, Richard de Pesia, William Bardolf, William Ruffo, tanner, Nicholas the chaplain, Robert Hod, some dust-soiling but ink dark and clear, 88 x 190 mm, with partially restored armorial seal on vellum tag, [S’IOHANNIS FILII] ROGERIBAT[T], charge indistinct, 3 cm diameter, mounted to a wooden board with six small pins, three related 20th-century manuscript paper labels pasted to board, framed and glazed, overall 32 x 32 cm (Qty: 1)NOTESThe first-named witness was James le Warre, Mayor of Bristol, 1236; William de Bellemonte, Prepositor of Bristol, 1240; Robert Hod would have been known to his friends as Robin Hood. A very rare early documentation of the place name 'Gropecunt Lane', the compounded street name found in about twenty English towns and cities during the Middle Ages, and believed to be a reference to organised prostitution centred on those areas. The earliest reference documented is to a Gropecuntelane in Oxford, c. 1230, now Grove Passage and Magpie Lane. All the original names have since changed or been bowdlerised to the more innocuous Grape Lane or similar, or have been completely lost; the latest documentation of Gropecuntlane traced being in Newcastle, 1588. The Gropecunt Lane in Bristol referred to in this deed later became Hallier's Lane and after the Battle of Trafalgar was given the name Nelson Street, which is still current. The street runs through the Broadmead district of the city centre and is home to the Central Police Station. The English chronicler, topographer and antiquary William Worcestre (c. 1415-c. 1482) references Gropecountlane in Bristol in his manuscript of 1480 (Corpus Christi College, Cambridge, MS. 210), and this undated deed, from the reign of King Henry III, proves it was in use much earlier than Worcestre records. One suggestion for the street name's origin made by Richard Coates (2011) is that as the name is concentrated in major ecclesiastical centres that would have been likely destinations of Oxford-educated clerics the name may have originated as academic slang. The etymology of cunt is a matter of debate, but in common usage does not appear to have been taboo in the medieval period, even being used in an openly bawdy context several times by Chaucer in his Canterbury Tales (c. 1390). The word only becomes taboo towards the end of the eighteenth century, and was then not generally admissible in print until the end of the twentieth century.

Philosophy Manuscript. Compendium Philosophiae , unpublished manuscript by Velly , circa early 18th century, 351 pp., written in Latin in brown ink in a neat but sometimes minuscule hand with some calligraphic headings, some spotting, ownership inscription of Auguste Boutin , Professeur au College de Vire , dated April 1887, to front free endpaper verso, and provenance note from Velly , 'Pharmacien à Vire' written beneath, contemporary mottled calf, gilt-decorated spine with leather label titled 'Logica', heavily rubbed, cracked on joints and some wear to extremities, 4to (22 x 16.5 cm) (Qty: 1)NOTESA pencil note at the front suggests that this seemingly unpublished work on logic may have been by the Jesuit priest and author of The History of France , Paul-Francois Velly (1690-1759). However, the ink note above suggests Velly was a pharmacist at Vire, a town in Normandy. The inscription appears to be in the same hand as that of the later owner, the mathematician Auguste Boutin who was a professor at the College of Vire.