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German WWII era Cross of Honour of the German Mother instituted on December 16th, 1938, who recognised women who had given birth and successfully raised large number of Aryan children, this one in silver relates to a mother who had 6 or 7 children, it would have been considered a high honour. Blue and white enamel cross with the German words Der Deutsche Mutter, on a blue and white ribbon. This lot includes a WWII German War Merit Cross with Swords 2nd Class with ribbon. (2)

Sporting memorabilia including gold and silver medals to veteran athlete Bill Land who enjoyed a long and distinguished career as an athlete in the 1930's. He was 6ft 3" and combined with a competitive spirit he became a formidable figure in many different fields of athletics and sport. He excelled at long jump, high jump, discus and represented the country in many international competitions including the 1934 Empire Games. He joined the Royal Engineers at 16 and his sporting prowess was soon noticed and encouraged. He served for 15 years in the 59th Field Company and won a military cross for acts of exemplary gallantry in organising the evacuation of the wounded under intense artillery and mortar fire and is mentioned in dispatches. This lot is being sold as a collection of this exceptional and talented individual. The sporting memorabilia includes a 15ct gold England vs Italy medallion, 1st for High Jump dated 1931, 38 gms. Seven 9ct gold Army Athletic Association medallions including four medallions 1st for High Jump medallions dated 1931,1932,1934 and 35 respectively, one 9ct gold medallion for Javelin 1935 and one 9ct gold Discus medallion dated 1935, housed in the original boxes. The lot continues with seven 25mm 9ct yellow gold and enamel medallions won at the Kent County Championships including 1st place Throwing the Discus dated 1934 and 1935; High Jump 1935; High Jump 1931 and 1934 and Throwing the Javelin 1934 and 1935 and two small 9ct gold medallions including a Junior Championship Kent County medallion, a small shield-form medallion for High Jump 1932 and a Magister 9ct gold and enamel lapel pin 210 gms. The lot continues with silver medallions including four 50mm silver medallions for Javelin and Discus 1935 x 2 and 1936 x 2 boxed; 43mm Oxford University Athletics Club 1932 1st for High Jump medallion, 44mm silver medallion named W.A. Land Sergeant Boy, two white metal Army Athletic Association medallions for Javelin and Putting the Weight, three white metal Inter-Services Athletics Championships, three Hong Kong Area Meeting silver medallions 1933 and 1936, Hong Kong Area seven-a-side football 1938-89. Several silver and enamel Kent County Championship medallions approx 295 gms. This lot includes a thirty-five bronze athletics medallions including Gt Britain vs Finland 1935 medallion, Gt Britain vs France 1935 and a  number of Inter-Services bronze medallions, Army Athletic Association medallions, Oxford University Athletic Club and spurious bronze medallions for baseball, cricket and a Wembley Torchlight Tattoo 1925 medallion. The remainder of this lot details letters, photographs, newspaper clippings, athletic records, official programmes, various Athletics Association dinner invitations and menus, a number of letters from the Amateur Athletic Association, a selection letter from the International Board of the Amateur Athletic Association for Olympic Games Berlin and a number of certificates, cloth badges relating to the Athletics Association and his pocket watch engraved "Cpl. W.A. Land from 2nd Bat The Queen's Own Royal West Kent Regiment, as a Token of Appreciation for Coaching the Athletic Team May 1936" and a number of silver plated trophy cups and one silver for British Games Inter Counties Athletic Championship. Lastly this lot includes his medal miniatures with the military cross and a letter from The War Office dated July 1947 stating his being awarded the military cross and mentioned in the London Gazette dated 12/7/1945 for gallantry in the field, his permanent pass issued in 1934 which exempted him from uniform likely to allow him to wear his training clothes whilst off base and a document of experience in the Corps of Royal Engineers. 

Victorian silver Defence of Lucknow (1857-1858) medal, awarded to Lieutenant A.R Loughnan 13th Regiment N.I, with Defence of Lucknow bar. According to The Leader political weekly newspaper No.408 January 16th 1858, an account was given by Brigadier Inglis which reads as follows: A strong column advanced at the same time to attack Innes's post, and came on to within 10 yards of the palisades, affording to Lieutenant Loughman, 13th N.I, who commanded the position, and his brave garrison, composed of gentleman of the uncovenanted service , a few of her Majesty's 32nd Foot, and of the 13th N.I an opportunity of distinguishing themselves, which they were not slow to avail themselves of, and the enemy were driven back with great slaughter, Brigadier Inglis concludes by honourably mentioning the names of several officers and others who specially distinguished themselves. A general order of the Governor-General in Council announces the following recognition of the services of the Lucknow garrison:- Every officer and solider, European and native who has formed part of the garrison of the Residency between the 29th of June and the 25th of September last, shall receive six months' batta (monetary payment). This lot includes an embroidered handkerchief for The Kings Royal Rifle Corps 1919-1920 India.  Provenance: Belonging to a Gloucestershire lady. 

Winifred Eugene BALLARD (1885-1921) (under the tutelage of Augustus John and William Orpen) Three life studies Charcoal drawings from the Chelsea Art School (1903-1907), each sheet measures 62 x 48cm.Note:This collection of competent life drawing studies by Winifred Ballard interestingly illustrate the liberal, progressive nature of Augustus John and William Orpen's short lived Chelsea Art School. Situated in Flood Street in Chelsea and run between 1903 and 1907, the school admitted female pupils who were encouraged to draw from life models, albeit with chaperones, but this was something that previously, societal restrictions had simply not permitted women to do.A whole ten years later in 1913 when Laura Knight exhibited her groundbreaking 'Self Portrait with Model' which depicted herself painting a nude, times were still extremely repressive for women and the response was highly critical. Winifred was 18 years old when she first attended the school. The influence of Augustus John's tutelage (for he did most of the teaching, and by all accounts Orpen was very hands-off) is very apparent in her confident lines and mark-making, and when studying her drawings, we can almost feel the presence of John standing behind his student, guiding and advising her. Winifred Eugenie BALLARD Born Chester 1885. Daughter of Edward George Ballard, mineralogist, Governor Inspector of Mines in Cornwall circa 1914, living at Trelights near Port Issac. Previously lived in Holland Park, London when Winifred was under the tutelage of Augustus John and William Orpen at Chelsea art school between 1903 and 1907. Married Richard Varley 1919 in Chester Cathedral, moved to Hollow Barn Cottage, Kingston Ridge, died in 1921, Kingston Lewes, Sussex.

John OPIE (1761-1807) Death of Clytemnestra Oil on canvas, 40 x 33cm. Frame size 56 x 48cm.Note:-Wax seal of Ford/Booth family on reverse. John Opie had intended to marry Elizabeth Booth but the union was prevented by her father and her sister’s husband, who was a Ford. This work was probably owned by her sister. The collection of respected John Opie expert Viv Hendra

§ Humphrey Ocean RA (1951-), a painted Producers' Workshop Studio Door, 1980s, decorated with Jonathan Rowlands' Teddy Bear logo above a line of musical notation, monogrammed HO to the bear's satchel 198 x 75 x 5cm During the 1980s, music producer, Jonathan Rowlands, had a small 24-track basement Studio in Chelsea, but clients often struggled to find the entrance as it was located in an alleyway off the Fulham Road. In a bid to assist with its location, Rowlands decided to have his Teddy Bear logo painted on the door and he asked Ian Drury, who was in the studio at the time, if he knew of any artists who might be able to oblige. Drury had taught at Lewisham Artwork College and recommended Ocean, a former student who had also played bass in his band.

§ Zdzislaw Ruszkowski (1907-1991) Landscape from Ireland signed 'Ruszkowski' (lower right) oil on canvas 76 x 50cm Provenance: Sale; Christie's South Kensington, Thursday 11 May 2004, lot 93 Born on July 12, 1907, in Tomaszow, Poland, Zdzislaw Ruszkowski displayed an early affinity for art, no doubt influenced by his father - a painter, who took delight in bringing his son with him on painting expeditions. His formative years were marked by a deep curiosity and passion for painting, leading him to pursue formal education in the field of fine arts. Ruszkowski's academic journey took him to the Cracow Art Academy, where he honed his skills under the guidance of renowned Polish artists. In 1935, he travelled to Paris, where his work would take on a different character and became more explicitly influenced by masters including Titian, Van Gogh, Cezanne and Rembrandt – stylistically disparate, though linked by their dexterous handling of light and colour. It was during this period that Ruszkowski began to develop his unique artistic approach, characterized by a fusion of classical techniques with modern sensibilities.In 1939, interrupted by the outbreak of war, Ruszkowski joined the Polish army in France. Travelling across Europe by foot, Ruszkowski ultimately found himself in Scotland, where he met and married his wife, Jennifer McCormack. Following the war, Ruszkowski and his wife divided their time between London, Cornwall and his studio in Lyme Regis. Whilst he is, perhaps, not a well-known name today, during his lifetime Ruszkowski was able to support his family through his work as an artist, exhibiting alongside the London Group and being represented by galleries including the Leicester Galleries, Roland, Browse & Delbanco and Jablonsky Gallery.Ruszkowski's body of work is a testament to his mastery of various artistic genres. He was a versatile artist, equally adept at portraiture, landscape and still life painting. His signature style combined meticulous attention to detail with a profound emotional depth. Ruszkowski's use of colour and light was particularly noteworthy, as he skilfully captured the nuances of the human form, the grandeur of nature and the subtleties of everyday objects.

Alexandre Benois (1870-1960) La Dame de Pique - The Queen of Spadesink, watercolour and gouache34 x54cmThe painting was acquired by the present vendors mother who collected Russian works. It was acquired sixty years ago and has always been insured as a Benois by both Phillips and Bonhams. We sodl a collecion of works by Pavel Fyodorovich Tchelitchew from the same vendor a number of years ago. Generally, the paint layer appears stable. Pin holes across the composition, notable in the corners, down the sides and along the centre. Most notably in the centre of the composition in the chest of the statue. Paper has some minor warping. Some surface dirt to the glaze and with some thunderflies trapped beneath glass. Framed dimensions 53.5 x 72.5cm

§ Markey Robinson (1918-1999) Figures by the shore signed 'Markey' (lower left) oil on board 27 x 70cm As a child, Robinson was markedly different from his peers – he had a ravenous appetite for art, preferring to stay indoors drawing or reading about art rather than playing outside with the other neighbourhood children. His teachers at Perth Street Elementary School were quick to comment on his artistic capabilities, recommending that the family pay for Robinson to receive private art classes. However, due to financial constraints, this was not possible. After a short period of study at Belfast College of Art, Robinson, still lacking the fiscal resources to initiate his career as an artist, worked a number of ‘menial’ jobs including dish-washer, pearl-diver and, for a time, as a reasonably successful featherweight boxer, fighting under the name ‘Boyo Marko’. At twenty, Robinson began an apprenticeship as a welder. For a period during the early 1940s, Robinson also worked as a merchant seaman and was known to have travelled extensively. In the Americas he sought inspiration from the Incas and the Aztecs, and in Europe from the works of Matisse, Derain and Picasso. Unlike many of his contemporaries, Robinson’s time at sea freed him from parochial shackles and allowed him to develop a truly international pictorial language.Robinson’s work was first exhibited in 1942 at the Ulster Academy of Arts exhibition. This was followed by several successful exhibitions in Ireland and by the end of the 1940s he had established himself as a commercially viable artist. Despite the best efforts of critics, who condemned his work as ‘repetitive’ and appearing ‘unfinished’, Robinson’s work resonated with the public and his unique style attracted collectors and art enthusiasts alike. He became known as one of Ireland's most beloved and successful self-taught artists.Characterised by bold outlines, volumetric shapes and a carefully modulated palette, the work of Markey Robinson has often been described as ‘primitive’ or ‘naïve’, though these descriptors belie the complexity of both the man and his work. Whilst the distinctive visual lexicon that Robison developed throughout his career is simple and direct, his subjects, be they peripheral figures such as clowns or faceless villagers in atmospheric landscapes, are reflective of Robinson’s own experiences growing up in an impoverished family on the fringes of society. Robinson's contribution to the art world is significant not only for his unique style, but also for his ability to capture the spirit and essence of Irish life. Evoking a sense of nostalgia, celebrating the rich cultural heritage and everyday experiences of the Irish people, his works remain popular today.

Kurt Schwitters (1887-1948) a collection of archival ephemera, to include a dedicated copy of Jack Bilbo's The Moderns; Past - Present - Future (Modern Art Gallery Ltd., London, 1945), inscribed 'This is Cicero / the Roman Hitler, / who would destroy Cartago [sic], / as Hitler would destroy the / democratic civilisation. / Kurt Schwitters / to Christine and George / the 9. of january 1946 / Jumbo and Wantee.' in relation to his sculptural work Cicero; together with a number of newspaper clippings and exhibition guides, including Marlborough Galleries, 1963, and Tate Gallery, 1985 Included within the present lot is a dedicated copy of Jack Bilbo’s publication, The Moderns; Past - Present – Future. In just a few short sentences, Schwitters reveals two significant aspects of his life and work - his political fervour and his relationship with Edith ‘Wantee’ Thomas. Despite Schwitters’ association with Dadaism and Surrealism, both of which were rooted in the trauma and conflict of World War I, Schwitters has seldom been described as a political artist. His note in Bilbo’s publication, however, which explicitly draws comparisons between his sculptural work Cicero and the actions of Hitler, demonstrates the socio-political concerns that had surely gripped him.

§ Philip Core (1951-1989) Portrait of Adrian Ffooks, 4th/7th regiment signed and dated 1987 to the reverse oil on board 75 x 45cm Provenance: Gifted to the present owner by the sitter as a wedding gift in 1987 Bearing the distinctive "K squared" insignia, the present lot was gifted to Kit and Kate Hesketh-Harvey upon their wedding in 1987 as a token of gratitude from both the sitter and the artist, who had been introduced to one another by the couple.Earlier in the year, Kit, in collaboration with James Ivory, penned the screenplay for the groundbreaking adaptation of E. M. Forster's Maurice, a poignant gay love story featuring James Wilby and Hugh Grant. During filming, Kit Hesketh-Harvey enlisted the assistance of his friend, Captain Adrian Ffooks, as a stunt double for key riding scenes. Ffooks, who had served in the 4th/7th Royal Dragoon Guards during the 1970s and rode at the Badminton Horse Trials in 1976, was well-equipped for this role. Maurice faced significant challenges during its production, set against the backdrop of the AIDS pandemic and prevailing anti-gay sentiments. In recent times, however, Maurice has become an iconic gay film, earning critical acclaim upon its 2017 re-release. Jim Ivory's unwavering pride in the film underscores its timeless appeal, transcending societal prejudice.Believed to have been in a relationship, both Philip Core and Captain Ffooks tragically passed away. The details of their deaths, possibly due to AIDS, remain unclear. Framed, but not glazed. Board is a little loose in frame and would benefit from some nails in the reverse to hold the board in plane. There are four very small losses to the paint at the outer borders where the nails used to secure the work have abraded the paint layer. At some point in the work's history, the male appendage has been painted out of the sitter's hand and repainted below, this has likely been done by the artist. The paint layer appears to be stable and in good order overall.

200 7" Singles in Metal Case, artists include The Cramps, Who, Thin Lizzy, Fleetwood Mac, Joe Cocker, Troggs, Eagles, Elton John, Animals, George Harrison, Them, Yardbirds, Doobie Bros, Jeff Beck, Lindisfarne and Foreigner, all generally good plus to very good.

LP's and 7" Singles, twenty five albums including Beatles - 1966 - 1970 (blue vinyl), Help (PMC 1255, Matrix XEX 549-2), Oldies, Sgt, Peppers (2), David Bowie - Man Who Sold The World, Aladdin Sane, and others by Deep Purple, Sparks, Spandau Ballet, Joan Baez, Carole King, etc, approximately eighty singles from, The Beatles, Hawkwind, Free, Alex Harvey, Michael Schenker, David Bowie, Dusty Springfield, Hollies, etc, generally good to good plus.

1960's Interest 7" Singles, over 200 releases by artists including, Beatles, Byrds, Dave Clarke Five, Scott McKenzie, The Who, Humble Pie, Fleetwood Mac, Ben E King, Manfred Mann, and The Kinks.

David Bowie LP Collection, they are Diamond Dogs, Space Oddity, Rise and Fall of Ziggy Stardust, Man Who Sold The Word Aladin Sane, Ziggy Stardust The Motion Picture, Lets Dance and Merry Christmas Mr Lawrence, all generally good plus to very good.

Rock Interest LP's, twenty five albums including, Blue Oyster Cult - Tyranny and Multilation, King Crimson - Starless and Bible Black, Rolling Stones - Dirty Work, U2 - War, Cult - Love, Rainbow - Difficult to Cure, and others by The Who, Dire Straits, Bon Jovi, Simply Minds, Mils Lafgren, Peter Gabriel, Queen, and The Cars, all generally good plus to very good.

Rocke Interest LP's, thirty six albums to include Humble Pie-Eat, It, Roger Glover - Elements, Pink Floyd - Dark Side of the Moon, Groundhogs - Who Will Save The World, and more from Rolling Stones, Led Zeppelin, Jeff Beck, Bad Company ZZ Top, ELP, Rainbow, Deep Purple, Steve Hackett, Alice Cooper and Bruce SpringsteenGenerally all good+ - very good

A TRAY CONTAINING 12 NEW BOXED POP MUSIC RELATED MUGS TO INCLUDE THE WHO x 2, MADONNA, KINGS OF LEON, COLDPLAY, AEROSMITH, U2, Lil WAYNE, JOHN LENNON, BLACK EYED PEAS AND JOHN & YOKO

1966 England World Cup Team: a fully squad-signed gloss black and white press photograph, the (undedicated) signatures collected by the vendor in the run-up to the team winning the football World Cup on June 30th 1966, all signed verso and comprising the signatures of each player, the coaches, and the manager, Alf Ramsay, shown in the image as follows: From left to right, back row: Harold Shepherdson, Les Cocker, Roger Hunt, Ron Flowers, Peter Bonetti, Ron Springett, Gordon Banks, Bobby Moore, Jimmy Greaves, Alf Ramsey. Middle row: Jimmy Armfield, Ian Callaghan, Gerry Byrne, George Eastham, Geoff Hurst, Jackie Charlton, Alan Ball, Nobby Stiles. Front row: Norman Hunter, George Cohen, Terry Payne, Ray Wilson, Bobby Charlton, Martin Peters, John Connelly. The Daily Mirror took the original photograph, and this copy was given by one of their reporters to the vendor, who was working behind the bar as a teenager, at the Bank of England Sports Ground in Roehampton, where the team trained beforehand and during the tournament. He gathered the signatures from the squad personally, during their time there.Collected by the vendor and retained, stored carefully away from direct sunlight. The following site provides further images of the team's time at Roehampton: https://flashbak.com/england-prepare-for-the-1966-world-cup-final-with-golf-cricket-and-laughter-1817/No tears or holes. Crease to top left corner. Slight foxing evident, commensurate with age

Vintage BBC TV Dr Who and The Daleks Jigsaw Puzzle 1965: Scarce Jigsaw 17 x 11 inches over 185 pieces complete with original box - which is missing one end flap, a Tower Press Batman c1966 320-piece jigsaw (missing 3 pieces) also in its original box (2)

"Nurse" Childrens Rag Doll c1916- Multicoloured printed cotton cloth front and back for making up this rag doll- Printed by Sunshine Sieve & Co who were at the Crescent Works, Chapel Street, Salford, Manchester- Size 14.5" x 18"

South Africa - The Absent-Minded Beggar, Boer War Souvenir Charity Item 1899 - "The Absent-Minded Beggar by Rudyard Kipling" with centre illustration of "A gentleman in kharki" words of the song and poem. On reverse portrait of Rudyard Kipling. Has text stating "The whole proceeds from the sale of this poem will be devoted by the Daily Mail in the name of Rudyard Kipling to the benefit of the wives and children of the reservists". Who were fighting in South Africa. Large printing in green and brown in three folds. Folds out to size 23" x 12" (3)

William Sydney Graham (19 November 1918 - 9 January 1986 - Hand Written Poems (2) both handwritten on the reverse of blank Menus - features 'For The Copper Kettle Wall' and The Soldier Campion' with subtle differences to the originals, according to the Scottish Poetry Library, dated 14th and 15th January 1956, possibly presentation or reading at a dinner….interesting items nonetheless - Graham, a Scottish poet, who was often associated with Dylan Thomas and the neo-romantic group of poets.

1980-1990-2000s - Large DC Comic Collection, a good selection in need of sorting with noted tiles of Mr Hero, Supermen of America, who will be the new Superboy, Magot, Martian Manhunt and much more - most in protective sleeves and have card inserts - with duplicates-worth viewing, #400 in 2 boxes

Tait S Seamanship 1902- Sub titled "For the use of Candidates who are preparing themselves for Board of Trade Certificates"- An informative 147 page booklet about rigging, rules, stowage, signalling, ships business with various diagrams etc- In card cover with illustrated front cover, size 5" x 7"

Sicily 1811 important ms documents relating to the Kingdom of Sicily at the time of Napoleon, being transcripts of British Government internal correspondence regarding Britain's relations with what was then an independent Kingdom, including interviews with the King and Queen of Sicily and their relationship with Napoleon (who was in exile in St Helena), as well as other subjects including the British attitude towards privateers. Together with a further volume containing a few drafts of diplomatic correspondence. Both volumes have been, at some subsequent time, probably in the late 19th c been used as ledgers and have somewhat crudely written notes in pencil. However the original documents are unblemished and perfectly legible throughout. These documents provide a valuable insight into British diplomacy during a particularly dangerous period of European politics

1964 Vintage Louis Marx Toys BBC TV Dr Who - The Mysterious Daleks, battery operated with amazing robot action, all complete black Dalek figure - in original box with 2 insert cards, the box has a split to one edge, otherwise G

WWII - Escape from The German Invasion of Greece - remarkable typescript prepared by Lt Col W J McDonnel, Royal Engineers, being a detailed account of his escape together with a party of 40 officers and other ranks, from the Island of Kos, in advance of the German invasion of the island in 1943. Folio 18pp in good condition. Together with a printed return of all personnel on active service from Ludlow in 1940, ten printed forms with ms insertions being returns of officers in the Royal Engineers, and two WWII vintage large scale maps - one of Palestine and the other of the coast of Egypt. McDonnel, an experienced airfield engineer, describes being ordered from Jerusalem to the island on September 19th1943 in order to prepare a landing strip near the town of Kos for use by Dakota aircraft in night landing operations. When he got there, he was told there was no Army plant on the island, no Royal Engineers and the only military assistance he could be given would be a small working party but could be assisted by the Italian forces. He then goes into detail describing aerial actions, bombing, and the eventual successful invasion by the Germans of the island, prompting a desperate attempt to escape. What is quite remarkable is that a large contingent of the British forces gave themselves up to the Germans in order for their fellow officers and men to have a better chance to escape - which they did by constructing a raft with the help of local Greek patriots with a daring plan to raft to the safety of Turkey. However, they had a fortuitous encounter with an officer of the SBS who told them that a Naval caique was due to rendezvous with him - and they escaped that way. This remarkable document will yield much new information on a theatre of WWII which is often overlooked. The German invasion led to one of the worse of their many war crimes. On 3 October 1943, 1000, German troops invaded Kos and 3000 Italian and 2000 British troops surrendered the following day. On 5 October 1943, the Germans executed near Linopotis, more than 100 (106 or 110 according to records and witnesses) Italian officers, who were unwilling to cooperate

Ephemera - 19th c Letters box file containing a considerable qty of letters mostly from late 19th c comprising family correspondence etc, and including a 1908 diary, and later correspondence. The collection includes a large correspondence between a wife travelling back from the Far East writing to her husband who is based there and reporting on her long journey home by sea, and then when she has arrived back in the UK, reporting on day to day activities etc.

Commission Signed by Queen Victoria Appointing a Lieutenant Colonel in the 94th Foot 1854 Certificate- Mede out to Robert Newton Phillips who served mostly in India in the Mahratta and Sikh Wars- Later became a General- Has large hand signature of the Queen at top, also signed by Newcastle the Secretary of War- Printed on vellum with manuscript annotations, wafer seal and signatures- Size 15.75" x 11.75"

The Land and The Book by W M Thomson 1861- A fulsome 718 page book with 12 colour plates plus many illustrations within the text, and fold out map- Very extensively detailing the manners, customs & scenery in Palestine at that time by the Author who lived some 21 years there- In cloth board cover with fine gold tooling, size 5.5" x 8"

IMPORTANT ET RARE COUVERCLE IMPÉRIAL EN LAQUE ROUGE SCULPTÉMarque et époque Qianlong (1736-1795), datée 1775A VERY RARE LARGE IMPERIAL CARVED CINNABAR LACQUER COVERQianlong period, dated 1775 Of tall rectangular shape, exquisitely carved on all sides and top through thick layers of lacquer with powerful five-clawed dragons: the front with two sinuous ascending five-clawed dragons chasing flaming pearls against a dense ground of swirling clouds, flanking a central cartouche bearing the inscription Long Xiang. Qianlong yiwei zhong zhuang. Xia han(Dragon Fragance. Boxed in the yiwei year of the Qianlong period, 1775), the back similarly carved but with a pair of powerful five-clawed descending dragons flanking a central flaming pearl, above cresting waves and amidst dense ruyi-shaped clouds, the sides with a single forward looking dragon amidst dense ruyi-shaped clouds, above a gilt-metal handle finely cast in with stylised dragon heads, the cover with similarly featuring a single forward-facing five-clawed dragon, the sinuous body winding itself around a flaming pearl, the face with a menacing expression, the interior lacquered black. 41.8cm x 49.8cm x 35.7cm (16 1/2in x 19 5/8in x 14in)Footnotes:清乾隆 1775年 御製剔紅龍香御墨匣蓋Provenance:Collection of Friedrich Adolf Wellenkamp (1863-1951), acquired in China between 1918 and 1924 during his time as a military adviser, thence by descent to his granddaughter, acquired from her collection 來源： Friedrich Adolf Wellenkamp（1863-1951）珍藏，於1918年至1924年任軍事顧問期間得自中國，後傳至其孫女現藏家得自上述來源This magnificent box cover demonstrates the superior skills of the lacquer artists who worked in the Imperial workshops making objects for Imperial use in the halls and temples of the palaces. Not many pieces of carved cinnabar lacquer made in the Qianlong period match the exquisite quality of this cover. In fact, the pair to this cover, complete with its box and contents, is in the collection of the National Palace Museum, Taipei, illustrated in Lin Qi,'Qianlong shiqi gongting yu mo baozhuang chutan', in Gugong bowuyuan yuankan, 2014.3 (173), pp.113-121, fig.6 (Fig.1). The identical large box contains sets of imperial ink sticks neatly arranged in cases imitating books and titled long xiang. The identical inscription on the carved cinnabar lacquer box also mentions that the ink sticks were arranged in this box in 1775, the same year mentioned on the present lot. Great care was taken to wrap these precious ink sticks, just like other scholarly utensils including ink stones, brushes and even precious paper that were reserved for the use of the emperor himself, as examples from the Palace Museum collection show, see The Imperial Packing Art of the Qing Dynasty, Beijing, 2000, nos. 48-56.For further information on this lot please visit Bonhams.com

IMPORTANTE STATUETTE DE SHANCAI TONGZI EN BRONZE DORÉDynastie MingA RARE LARGE GILT-BRONZE FIGURE OF SHANCAI TONGZIMing Dynasty Modelled as a young boy leaning forward with his head slightly turned upwards, holding his hands in adoration in front of his chest, palms together in the gesture of a firm and sincere heart, with precious bangles adorning his upper arms, wrist and ankles, wearing a short cape over a long robe, and aprons secured around his chest with a belt, long sashes enveloping his arms and body, the hems finely incised with scrolling lotus, clouds and geometric patterns, smiling, his face with a joyful expression, three tufts of hair rising from his head and a single earring hanging from his left ear. 48.5cm (19 1/8in.) high.Footnotes:明 銅鎏金善財童子立像Provenance:Collection of Wilhelm Sacklowski, Berlin, acquired in Beijing between 1922 and 1932, thence by descent in the family, acquired in 1993 from the family來源：柏林Wilhelm Sacklowski先生珍藏，於1922至1932年間得自北京，後經家族流傳，至1993年傳至現藏家This charming figure of Sudhana, known as Shancai in Chinese, a young Indian boy who went on a pilgrimage seeking enlightenment and studying under 53 masters, was associated with the image of Guanyin from the mid-Ming dynasty. In visual representations of the Guanyin, the figure of Sudhana would appear next to the figure of Longnu, the Dragon King's daughter. These two youths are considered Guanyin's acolytes, and while there is no scriptural basis for this grouping, the two figures often appear together, Sudhana standing to the right of Guanyin, and the figure of Longnu on the left. See a related gilt-bronze example of Sudhana, published in Selected Gems of Cultural Relics - Newly Collected in the Palace Museum in the last Fifty Years, Beijing, 2005, pp.130-131, no.168. Compare with a larger gilt-bronze figure of Sudhana, dated to the 17th century, sold in Sotheby's Paris, 10 June 2015, lot 204.For further information on this lot please visit Bonhams.com

ÉCRAN DE TABLE EN HUANGHUALI COMPRENANT UN PANNEAU EN PIERRE DE SONGHUA SCULPTÉEXVIIIe/XIXe siècleA SMALL HUANGHUALI TABLE SCREEN WITH A SONGHUA PANEL 18th/19th centurythe two-toned stone panel carved on one side using the purple matrix of the stone with a hu-shaped vase and ding vessel next to a poem, the reverse carved with a three-line poem in archaic seal script, the stand made of huanghuali. 30.8cm (12 1/8in) high. (2).Footnotes:十八/十九世紀 黃花梨嵌松花石硯屏Provenance: Nagel, 17 May 2008, lot 567 來源： 納高拍賣行，2008年5月17日，編號567Compare with a small Songhua stone table screen illustrated in Sidney L. Moss Ltd., Escape from the Dusty World - Chinese Paintings and Literati Works of Art, London, 1999, no.83. Paul Moss notes that there are two varieties of Songhua stone, the purple and green variety from Liaoning province, and the purer green Songhua from Jilin province. The Qing expansion to the north gave access to the quarries of both Songhua stone varieties. Objects made of Songhua stone were rare and were reserved virtually exclusively for imperial use. They comprise inkstones but also a small number of table screens such as the present example, see Jane Chi Jo-hsin, A Special Exhibition of Songhua Inkstones, Taipei, 1993, who illustrates 89 inkstones and two desk screens in both types of Songhua stone from the Imperial collections. See also The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, vol.II, Hong Kong, 2002, nos. 18, 19, 180, 182, and 183.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

An Important Nanban two-panel folding screen Depicting a procession of Portuguese Tempera and gold leaf on paperEdo Period, first half of the 17th centuryLiterature:Francesco Morena, “Japan The Land of Enchantment – Line and Colour”. Catálogo da exposição no Palácio Pitti, pp. 268-271. Exhibitions: “Japan The Land of Enchantment – Line and Colour”, Palácio Pitti, 2012171,5x186,4 cm The Portuguese ProcessionThe scene on this two-panel folding screen (byobu) depicts five standing figures, four adults and one boy holding a dog on a lead and walking ahead of the procession. The first figure on the left is carrying a chair; the second is holding a large parasol shading the one in front of him who is preceded by another who is looking at him intently.With the exception of the man holding the parasol whose features and complexion are typical of South East Asia, all the other figures are clearly Portuguese and wear loose breeches (bombachas), fitted shirts, and cone-shaped hats. They also have some common facial features: big noses, large bulging eyes, unruly beards, and thick mustaches.This is the most common iconography of the Portuguese in Japanese art. The theme of the European (Nanban, literally "Southern Barbarians") entered the Japanese artistic repertoire at the beginning of the Momoyama period (1573- 1615), and from then on was widely used to decorate different types of objects, from paintings to lacquers, from mirrors to netsuke. Although there were no Portuguese living in Japan after 1639, Japanese artists continued to depict them throughout the Edo period (1615-1868) as they represented distant, mysterious peoples and satisfied Japanese curiosities and desires for the exotic. Taken together, this art with subjects with Western influences is known as Nanban and the term is also used to identify Japanese goods made specifically for export to Europe.Painted screens (Nanban byobu) comprise a very interesting area of Nanban art from both the historical and artistic standpoints. Considering the large number of known examples, they are an important phenomenon in thehistory of Japanese art. Currently, we know of at least ninety including many pairs, single screens, and fragments (A Catalogue Raisonné of the Nanban Screens, Tokyo 2008). Generally these screens with portrayals of Europeansare attributed to the Kano school, since signatures of members of this familyof painters appear on Nanban paintings, while others are stylistically similar to the manner of these artists. However, Nanban screens are so diverse that it would be reckless to say that they all belong to the Kano school.From the iconographic standpoint, there are some recurrent details we seein several screens. It is as if the painters did not only get their inspiration maybe from observing the Portuguese while they were still allowed to live freely in Japan, and not only knew of some sources such as the engravings by Jan Huygen van Linschoten (1563-1611) in his Itineraria (Amsterdam 1596; A. Curvelo in Encomendas: Os Portugueses no Japao da Idade Moderna - Namban Commissions: The Portuguese in Modern Age Japan, Lisbon 2010, nos. 47-48), but were evidently influenced by earlier paintings of the same subjects. The Portuguese ship, for example, can be seen in many of these paintings as it departs from a distant port, or as it is about to land on the Japanese coast. The Japanese painters were highly skilled in narrative renderings and they succeeded in depicting events that followed the arrival of the Portuguese within the available surface space. One of these is the scene showing the procession's entry into the Japanese city, almost always welcomed by the missionaries who already lived there. This type of procession was usually headed by the most important member of the group followed by the others, each of whom carried something. The "Western style" chair was almost a constant: the dignitary would use it to restor to participate in a meeting. Often the group was preceded by a boy holding a dog on a lead, and the porters included dark-complexioned Asian servants.The scene on the screen here fits entirely with the above description. It differs only in that it is focused on the head of the procession; that lacks a setting (originally, it could have a setting coated now); that the figures are big, much bigger than those usually depicted on Nanban screens in which there are more figures and much more complex scenes.Even though these scenes are quite common on Nanban screens, some - with the procession - are much more similar to the one shown here, specifically, the scene on the right screen on the pair in the Atami MOA (no. 41 in the 2008 catalogue), the scene on the two surviving panels in a private collection (no. 42) and the one in the Osaka Municipal Museum (no. 43, also a fragment). On the basis of the grouping done by the curators of the 2008 catalogue these three screens along with other fifteen (nos. 36-53), comprise a homogeneous core in terms of iconography. The prototype has been identified as the pairin the Imperial Collection (no. 7). On the right screen of this pair there is a similar scene but without the dignitary's interlocutor; the man carrying the parasol is also Portuguese and not a Moor; the man behind is carrying a box rather than a chair. Furthermore, the figures are shown in three-quarter views. Notwithstanding these differences, there are stylistic similarities between thepair of screens in the Imperial Collection and the painting discussed here, in the rendering of the figures which are bigger than those in other known examples, and in the painted details, especially the decorations on the clothing (Light and Shadows in Nanban Art. The Mystery of the Western Kings on Horseback, Tokyo 2011, no. 7). Therefore, it is plausible that the anonymous author of the screen displayed here looked to a detail on one of these for his own piece. The proposed dating for all the screens in this group, including the prototype is similar, i.e. the first half of the seventeenth century.Most of the Nanban screens have six panels which offered the artist a very large surface and hence a full composition. However, there are other two-panels screens with scenes of foreigners (cat. I1.3). Generally, Nanban paintings present complex scenes in detailed settings with many figures and descriptive elements. Our screen with its special characteristics, therefore, is an exception. In this regard, we can mention the screen in the Museu do Oriente in Lisbon (cat. II.1), in which the gold ground is clearly prevalent, creating the impression that the figures are floating in space. [...] read more here: https://veritas.art/en/lot/an-important-nanban-two-panel-folding-screen-344191846/In “Japan The Land of Enchantment – Line and Colour”Catálogo da exposição no Palácio Pitti, 2012. Reproduzido com autorização do autor Catalogue of the exhibition at the Pitti Palace, 2012. Reproduction authorized by the author.FRANCESCO MORENAAsian Art Expert

Apollo 15 moonwalker Dave Scott and CMP Alfred Worden signed Space cover NASA Astronauts. 2001 30th Anniversary Apollo 15. postmarked cover. Superb illustration on front of scenes from the mission. Also illustrated on back with crew names and mission information. David Randolph Scott (born June 6, 1932) is an American retired test pilot and NASA astronaut who was the seventh person to walk on the Moon. Selected as part of the third group of astronauts in 1963, Scott flew to space three times and commanded Apollo 15, the fourth lunar landing; he is one of four surviving Moon walkers and the last surviving crew member of Apollo 15. Before becoming an astronaut, Scott graduated from the United States Military Academy at West Point and joined the Air Force. After serving as a fighter pilot in Europe, he graduated from the Air Force Experimental Test Pilot School (Class 62C) and the Aerospace Research Pilot School (Class IV). Scott retired from the Air Force in 1975 with the rank of colonel, and more than 5,600 hours of logged flying time. As an astronaut, Scott made his first flight into space as a pilot of the Gemini 8 mission, along with Neil Armstrong, in March 1966, spending just under eleven hours in low Earth orbit. He would have been the second American astronaut to walk in space had Gemini 8 not made an emergency abort. Scott then spent ten days in orbit in March 1969 as Command Module Pilot of Apollo 9, a mission that extensively tested the Apollo spacecraft, along with Commander James McDivitt and Lunar Module Pilot Rusty Schweickart. After backing up Apollo 12, Scott made his third and final flight into space as commander of the Apollo 15 mission, the fourth crewed lunar landing and the first J mission. Scott and James Irwin remained on the Moon for three days. Following their return to Earth, Scott and his crewmates fell from favour with NASA after it was disclosed that they had carried four hundred unauthorized postal covers to the Moon. After serving as director of NASA's Dryden Flight Research Centre in California, Scott retired from the agency in 1977. Since then, he has worked on a number of space-related projects and served as a consultant for several films about the space program, including Apollo 13. Alfred Merrill Worden (February 7, 1932 - March 18, 2020) was an American test pilot, engineer and NASA astronaut who was the command module pilot for the Apollo 15 lunar mission in 1971. One of only 24 people to have flown to the Moon, he orbited it 74 times in the command module (CM) Endeavour. Worden was born in Michigan in 1932; he spent his early years living on farms and attended the University of Michigan for one year, before securing an appointment to the United States Military Academy at West Point, New York. Graduating in 1955, he elected to be commissioned in the United States Air Force, though he had no piloting experience. He proved adept at flying fighter planes, and honed his skills, becoming a test pilot before his selection as a Group 5 astronaut in 1966. He served on the support crew for Apollo 9 and the backup crew for Apollo 12 before his selection for the Apollo 15 crew in 1970, with David Scott as commander and James Irwin as lunar module pilot. After Apollo 15 reached lunar orbit, and his crewmates departed to land on the Moon, Worden spent three days alone in the CM, becoming in the process the individual who travelled the farthest from any other human being, a distinction he still holds. He took many photographs of the Moon and operated a suite of scientific instruments that probed the Moon. During Apollo 15's return flight to Earth, Worden performed an extravehicular activity (EVA), or spacewalk, to retrieve film cassettes from cameras on the exterior of the spacecraft. It was the first "deep space" EVA in history, and as of 2022 remains the one that has taken place farthest from Earth. After their return, the crew became involved in a controversy over postal covers they had taken to the Moon; they were reprimanded by NASA and did not fly in space again. Worden remained at NASA until 1975 at the Ames Research Centre, then entered the private sector. He engaged in a variety of business activities, and had a longtime involvement with the Astronaut Scholarship Foundation, serving as chair of its board of directors from 2005 until 2011. He made many public appearances, promoting a renewed space program and education in the sciences, before his death in 2020. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

Apollo 15 moonwalker Dave Scott and CMP Alfred Worden signed Space cover NASA Astronauts. 2001 30th Anniversary Apollo 15. postmarked cover. Superb illustration on front of scenes from the mission. Also illustrated on back with crew names and mission information. David Randolph Scott (born June 6, 1932) is an American retired test pilot and NASA astronaut who was the seventh person to walk on the Moon. Selected as part of the third group of astronauts in 1963, Scott flew to space three times and commanded Apollo 15, the fourth lunar landing; he is one of four surviving Moon walkers and the last surviving crew member of Apollo 15. Before becoming an astronaut, Scott graduated from the United States Military Academy at West Point and joined the Air Force. After serving as a fighter pilot in Europe, he graduated from the Air Force Experimental Test Pilot School (Class 62C) and the Aerospace Research Pilot School (Class IV). Scott retired from the Air Force in 1975 with the rank of colonel, and more than 5,600 hours of logged flying time. As an astronaut, Scott made his first flight into space as a pilot of the Gemini 8 mission, along with Neil Armstrong, in March 1966, spending just under eleven hours in low Earth orbit. He would have been the second American astronaut to walk in space had Gemini 8 not made an emergency abort. Scott then spent ten days in orbit in March 1969 as Command Module Pilot of Apollo 9, a mission that extensively tested the Apollo spacecraft, along with Commander James McDivitt and Lunar Module Pilot Rusty Schweickart. After backing up Apollo 12, Scott made his third and final flight into space as commander of the Apollo 15 mission, the fourth crewed lunar landing and the first J mission. Scott and James Irwin remained on the Moon for three days. Following their return to Earth, Scott and his crewmates fell from favour with NASA after it was disclosed that they had carried four hundred unauthorized postal covers to the Moon. After serving as director of NASA's Dryden Flight Research Centre in California, Scott retired from the agency in 1977. Since then, he has worked on a number of space-related projects and served as a consultant for several films about the space program, including Apollo 13. Alfred Merrill Worden (February 7, 1932 - March 18, 2020) was an American test pilot, engineer and NASA astronaut who was the command module pilot for the Apollo 15 lunar mission in 1971. One of only 24 people to have flown to the Moon, he orbited it 74 times in the command module (CM) Endeavour. Worden was born in Michigan in 1932; he spent his early years living on farms and attended the University of Michigan for one year, before securing an appointment to the United States Military Academy at West Point, New York. Graduating in 1955, he elected to be commissioned in the United States Air Force, though he had no piloting experience. He proved adept at flying fighter planes, and honed his skills, becoming a test pilot before his selection as a Group 5 astronaut in 1966. He served on the support crew for Apollo 9 and the backup crew for Apollo 12 before his selection for the Apollo 15 crew in 1970, with David Scott as commander and James Irwin as lunar module pilot. After Apollo 15 reached lunar orbit, and his crewmates departed to land on the Moon, Worden spent three days alone in the CM, becoming in the process the individual who travelled the farthest from any other human being, a distinction he still holds. He took many photographs of the Moon and operated a suite of scientific instruments that probed the Moon. During Apollo 15's return flight to Earth, Worden performed an extravehicular activity (EVA), or spacewalk, to retrieve film cassettes from cameras on the exterior of the spacecraft. It was the first "deep space" EVA in history, and as of 2022 remains the one that has taken place farthest from Earth. After their return, the crew became involved in a controversy over postal covers they had taken to the Moon; they were reprimanded by NASA and did not fly in space again. Worden remained at NASA until 1975 at the Ames Research Centre, then entered the private sector. He engaged in a variety of business activities, and had a longtime involvement with the Astronaut Scholarship Foundation, serving as chair of its board of directors from 2005 until 2011. He made many public appearances, promoting a renewed space program and education in the sciences, before his death in 2020. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

The Graduate (1967) . Original British poster. . Unframed: 30 x 40 in. (76 x 102 cm). . Linen backed. . This classic Dustin Hoffman, Anne Bancroft and Katharine Ross film, with its memorable soundtrack performed by Simon and Garfunkel was directed by Mike Nichols, who won an Academy Award for Best Director.. . Excellent condition, colours remaining very bright, minor restoration to folds.. . Material of piece: Paper, backed on linen

The Thomas Crown Affair (1968) . Original US poster . . Unframed: 41 x 27 in. (104 x 69 cm). . Linen backed. . This film was directed and produced by Norman Jewison, and stars Steve McQueen and Faye Dunaway. There is great on-screen chemistry between McQueen and Dunaway. McQueen plays the charming business man Thomas Crown, who thinks that he has accomplished the perfect multi-million dollar robbery, until he meets Vicki Anderson (insurance investigator), played by Dunaway, who has been employed to investigate the robbery. Here he has certainly met his match. The film won the Academy Award for Best Original Song for 'The Windmills of Your Mind' by Michel Legrand (music), Marilyn Bergman and Alan Bergman (lyrics). . . Excellent condition, colours remaining very bright, very minor restoration to folds.. . Material of piece: Paper, backed on linen. . LITERATURE:. . Film Posters of the 60s, Aurum Press Limited, 1997, p. 14

Belle de Jour (1967) . Original US lobby card number 6, signed by Catherine Deneuve, first US release 1968 . . Unframed: 11 x 14 in. (28 x 36 cm). Framed: 15 1/2 x 18 1/2 in. (39.8 x 47 cm). . Conservation framed with UV plexiglass. . It is rare for anyone to have an original lobby card signed, as the majority of signatures are on pieces of paper, photographs and video/DVD sleeves.. . This film was directed by Luis Buñuel, and stars Catherine Deneuve in one of her most famous roles. Deneuve plays a young woman who spends her midweek afternoons as a high-class prostitute while her husband is at work.. . Excellent condition, colours remaining very bright. There is a small surface crease in the brown area to the right-hand side of Catherine Deneuve's face and a small crease in one of the corners.. . Material of piece: Paper. Material of frame: Obeche wood, card mount and UV plexiglass

Dr. Who and the Daleks (1965) . Original British front of house still. . Unframed: 8 x 10 in. (20 x 25 cm). Framed: 13 5/8 x 16 in. (34.6 x 40.6 cm). . Conservation framed with UV plexiglass. . This is the best card from the British set of eight front of house cards, and does not surface very often.. . This first Dr. Who feature film stars Peter Cushing as the Doctor, and was directed by Gordon Fleming. The daleks still remain the publics most popular enemy.. . Excellent condition, colours remaining very bright. There are a few surface creases down the far right-hand side and one in the lower part on the right hand side, a couple of inches before the border.. . Material of piece: Paper. Material of frame: Obeche wood, card mount and UV plexiglass

Anatomy of a Murder (1959) . Original US poster . Saul Bass (1920-1996). . Unframed: 41 x 27 in. (104 x 69 cm). . Linen backed. . This is one of the most celebrated and collected Saul Bass posters.. . This film was directed by Otto Preminger, and stars James Stewart. It was one of the first mainstream Hollywood films to address sex and rape in graphic terms. It includes one of Saul Bass's most celebrated title sequences, an innovative musical score by Duke Ellington (who plays a character called Pie-Eye in the film), and is one of the finest pure trial films ever made. . . Excellent condition, colours remaining very bright, very minor restoration to folds.. . Material of piece: Paper, backed on linen. . LITERATURE:. . Saul Bass, A Life in Film & Design, Laurence King Publishing Ltd., 2011, p. 130 and Film Posters of the 50s, Aurum Press Limited, 2000, p. 61

Back to the Future (1985) . Original US poster . Artist: Drew Struzan (b.1947). . Unframed: 41 x 27 in. (104 x 69 cm). . Linen backed. . This is steadily becoming one of the most desirable posters of the decade.. . This science fiction film was directed by Robert Zemeckis and written by Zemeckis and Bob Gale. It stars Michael J. Fox, as teenager Marty McFly, who accidentally travels back in time from 1985 to 1955. Christopher Lloyd plays the eccentric scientist Dr. Emmett 'Doc' Brown, a friend and the inventor of the time-traveling modified DeLorean, who helps Marty reconstruct history and return to 1985. . . Excellent condition, colours remaining very bright, very minor restoration to folds.. . Material of piece: Paper, backed on linen. . LITERATURE:. . Cinema Posters of the 20th Century, Suntory Museum, Osaka, 2001, p. 71 and Science Fiction Poster Art, Aurum Press Limited, 2003, p. 167

After C. Cajander (19th Century)Portrait of Georg August Wallin charcoal and white chalk36.5 x 27cm (14 3/8 x 10 5/8in).Footnotes:Georg August Wallin, the Finnish Orientalist, first travelled to the Middle East in 1843 and continued exploring the area as well as Egypt until 1849. His interest in the area began at university in Helsinki where he studied Oriental languages and literature, an education which was supplemented by a move to St Petersburg in 1840 to further study the language and culture of the Orient under the guidance of Sheikh Muhammad Ayyad al-Tantawi.Wallin received great acclaim for the written accounts of his travels including being presented with the prestigious Founder's Medal by the Royal Geographical Society for his significant contribution to oriental research in 1851. D.G. Hogarth, paying tribute to Wallin in his Penetration of Arabia writes: 'One recognises in him, perhaps for the first time in the history of Arabian discovery, a scientific explorer of the best modern type, thoroughly prepared, and determined to leave nothing for the man who might come after him. His assumption of an eastern character seems to have been perfect; but his observation of the scenery and society about him was in no way inspired by it; and the minute accuracy of his report, as attested by the comparison of the narratives of later travellers, argues that he took most copious notes without let or hindrance, save only in the fanatic company of the Persian pilgrims to the Holy Cities.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Edward Lear (British, 1812-1888)View of Janina watercolour and pastel29 x 45.5cm (11 7/16 x 17 15/16in).Footnotes:ProvenanceWith J. Leger & Son, London, 1959 (as Janina, Turkey). Private collection, UK.Ioannina (or Janina) which lies on Lake Pamvotis is part of modern day Greece, the major city of the province of Epirus. When Lear visited in 1848 it formed part of Albania but the area had been surrendered to the Ottomans in 1430 and remained under their rule until the early 20th century. One of the most recognisable landmarks of the town is the minaret and dome of the Fethiye Mosque which houses the tomb of Ali Pasha (1740-1822), ruler of the Pashlik of Ioannina. When in his 80s, his views and actions brought growing disapproval from the Ottomans who arrested him in 1822 at the St Panteleimon monastery on Lake Pamvotis, and killed him (see lot 11 for a portrait of Ali Pasha). The mosque and minaret, silhouetted on a promontory that extends into the lake, are at the very centre of Lear's composition in this watercolour.In 1848 Lear embarked on an impromptu sketching tour of Albania and Greece which took him from Salonica in the north, westwards to Corfu and down to Mount Olympus. He travelled very much off the beaten track with his manservant Giorgio, staying mostly at simple roadside khans where he regularly shared his quarters with farm animals. In luckier moments he enjoyed the hospitality of Turkish pashas or Greek dragomen. In his diary for 5 November 1848 he describes his dramatic approach to Ioannina: '..amid rolling thunder and flashing lightning did I gallop on, across the treeless level, till the sky cleared suddenly, and ... I saw from a slight eminence the lake of Yannina [sic] unexpectedly spread below me......There lay the peninsula stretching far into the dark grey water, with its mosque, its cypress tufts, and fortress walls; there was the city stretching far and wide along the water's edge; there was the fatal island, the closing scene of the history of the once all-powerful Ali.' He stayed in unaccustomed luxury at the British Consulate, remarking 'After the khans and horrors of upper Albania, the spacious and clean rooms at the Vice-Consulate were delightful to repose in; and newspapers, letters, joined with all kinds of comfort, suddenly and amply atoned for all by-gone toils and disagreeables.'A similar view by Lear, taken from a point closer to the town, is in the Derby Collection at Knowsley.For further information on this lot please visit Bonhams.com

Leander Russ (Austrian, 1809-1864)Portrait of Mehmet Ali Pasha, 1833 signed 'Leander Russ' (in pencil lower left); indistinctly inscribed and dated '--- --- 1833' (in pencil lower right) and inscribed 'His Highness Mehmet Ali/Viceroy of Egypt, Syria, Arabia &c' (along the lower edge)watercolour13.5 x 11.5cm (5 5/16 x 4 1/2in).Footnotes:ProvenancePrivate collection, UK.Russ travelled to the Middle East in 1833, accompanying the diplomat Anton von Prokesch-Osten who worked on the signing of a peace between Mehmet Ali Pasha and the Ottoman Sultan Mahmud II.Mehmet Ali Pasha founded the dynasty that ruled Egypt from the beginning of the 19th century to the middle of the 20th. He first arrived in Egypt in 1801, as second in command of an Albanian regiment sent by the Ottoman government to expel the French from Egypt. As a testament to his great political intelligence he achieved the position of Viceroy in Egypt to the Ottoman Sultan, with the rank of pasha, by 1805. From this position he began the restructuring of Egyptian society, implementing far reaching administrative and economic reforms and in doing so encouraged the emergence of the modern Egyptian State.For further information on this lot please visit Bonhams.com

Jean-Léon Gérôme (French, 1824-1904)The lute player signed and dated 'J.L. GEROME/1858' (centre left)oil on canvas 41 x 29cm (16 1/8 x 11 7/16in).Footnotes:ProvenancePossibly, Gustave Arosa, Paris (by 1858; acquired from the artist).Georges Muller, Paris (by 1938).Private collection, Paris.Private collection, Greece (by 1966, as The Mandolinist); thence by descent.LiteraturePossibly, Catalogue de Paris, 1883, unpaginated sheet between pp. 20-21 (as Un Arnaut and belonging to Gustave Arosa, Paris, by 1858).We are grateful to Dr Emily M. Weeks for her assistance in cataloguing this work, which will be included in her revision of the artist's catalogue raisonné by Gerald M. Ackerman.Jean-Léon Gérôme made his first trip to Egypt in 1856 and works featuring the Arnauts entered his oeuvre almost immediately. Like Bashi-Bazouks, Arnauts were irregulars in the Ottoman army, normally coming from Albania and the Balkans and were deployed across the Empire, including in Cairo. After Egypt gained independence from Turkey, there were evidently many of them in the city who earned a living by various jobs: as guards, animal keepers, and models for foreign painters.The present work is a remarkably direct and engaging portrait, there is no story behind the scene which represents a purely ethnographic portrait and is a brilliant example of Gérôme's attention to detail in this genre. The Arnauts are instantly recognisable by their white pleated skirts to which Gérôme pays close attention here. The expert handling of the multitudinous pleats sees them fall naturally over the figure's folded legs, the bright white of the fabric becomes a source of light in the composition, the contract between light and shadow being exquisitely portrayed. Similar attention is paid to the red silk sleeves and the deep, warm colours of the headdress which echo the bronzed skin of the figure's bare chest and face. These fabrics are a prominent source of colour in composition, bringing the figure out of the background and emphasising the importance Gérôme places on the figure. Gérôme depicted Arnauts in all types of setting, relaxing and smoking, playing music and dancing, going about their duties, and enjoying off-duty. Here however, the figure is portrayed in a modest, plain interior, with just subtle changes in tone giving shape to the room. The focus is exclusively on the confident, assertive pose. He is accompanied with the basic accoutrement which may be expected of a soldier, an instrument, pipe and rifle. Gérôme still gives due attention to the objects, delicately painting the silver butt of the pistol, the glinting brass of the hookah and the blue highlights of the lute. The result of Gérôme's loving attention to detail and masterful handling is a powerful yet intimate portrait of a subject which, in 1858, he was just becoming familiar with.For further information on this lot please visit Bonhams.com

Barocker Gustav-Adolf-Teller. In Form geschnittene Reliefmarke des Gießers sowie Monogramm "SM" des Formstechers. 17./18. Jh. ÖHAM, Paulus d. J Ø 20 cm. 265 g. Fein ausgeführter Nürnberger Reliefzinnteller. Im Spiegel der Schwedenkönig ("G.A.R.S." bezeichnet) auf steigendem Pferd vor einer Stadt. Auf reich reliefierter Fahne 6 weitere Reiterbilder in Kartuschen (z.B. Kurfürst von Sachsen, Herzog zu Sachsen-Weimar usw.). Haarriss am Fahnenansatz mit Lötspuren verso, jünger angelötete Hängeöse.Die Form für diesen Teller wurde um 1635/40 vom Zinngießer Paulus Öham gefertigt, der 1634 Meister in Nürnberg wurde.Literatur : Hintze, Bd. 2, Nr. 279.Aufrufzeit 26. | Okt 2023 | voraussichtlich 12:09 Uhr (CET) Baroque Gustav Adolf plate. In mold cut relief mark of the caster as well as monogram "SM" of the molder. 17th/18th c. ÖHAM, Paulus d. J .Ø 20 cm. 265 g. Finely executed Nürnberger relief pewter plate. In the mirror the Swedish King ("G.A.R.S." inscribed) on a rising horse in front of a city. On richly relieved flag 6 other equestrian images in cartouches (eg, Elector of Saxony, Duke of Saxony-Weimar, etc.). Hairline crack at the base of the flag with lötspuren verso, jünger angelötete Hängeöse..The mold for this plate was made around 1635/40 by the pewter maker Paulus Öham, who became a master in Nürnberg in 1634.Literature : Hintze, vol. 2, no. 279.Call time 26 | Oct 2023 | expected 12:09 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Schweizer Gold-Armbanduhr. Juvenia. Werk-Nr. 835, Gehäuse-Nr. 699046. 750er Gelbgold (18 kt). Länge: 16 cm, Breite: 1,5 cm. 41 Gramm. Zifferblatt, Gehäuse und Werk signiert. Ankerwerk, 17 Steine, Handaufzug. Silbernes Zifferblatt, Milanaiseband mit Ornamentdekor. Im Kurzzeit-Test funktionstüchtig. 1860 gründete Jacques Didisheim in Saint-Imier die Uhrenfabrik. Auf Jacques folgte sein Sohn Bernard, der Juvenia zu einer erfolgreichen Manufaktur in La-Chaux-de-Fonds machte * Partnerauktion Bergmann. Aufrufzeit 25. | Okt 2023 | voraussichtlich 13:57 Uhr (CET)Swiss gold wrist watch. Juvenia. Movement no. 835, case no. 699046. 750 yellow gold (18 kt). Length: 16 cm, width: 1.5 cm. 41 grams. Dial, case and movement signed. Anchor movement, 17 jewels, manual winding. Silver dial, milanese bracelet with ornament decoration. Functioning in short time test. In 1860, Jacques Didisheim founded the watch factory in Saint-Imier. Jacques was followed by his son Bernard, who made Juvenia a successful manufacture in La-Chaux-de-Fonds * Partner auction Bergmann. Call time 25 | Oct 2023 | expected 13:57 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

ZIESENISS, Rudolf( 1883 Köln - 1940) Frauenakt "Die Reue"Bronze schwarz patiniert, roter Marmor-Sockel. Entwurf von 1910. Bezeichnet, Gießermarke "Duesseldf. Broncebildgiesserei G.m.b.H.". H 45 / 49 cm. 10,8 kg. Vollplastische Standfigur der nackten Frau, die etwas in sich zusammengesunken die Hände vor das Gesicht hält. Einige kleine Kratzer, etwas Grünspan.Bildhauer in Düsseldorf, Schüler von H. Volz an der Akademie Karlsruhe, dann Schüler von K. Janssen an der Akademie Düsseldorf.Literatur : Thieme/Becker.Aufrufzeit 26. | Okt 2023 | voraussichtlich 12:59 Uhr (CET) ZIESENISS, Rudolf( 1883 Köln - 1940) Nude woman "The Repentance"Bronze black patina, red marble base. Design from 1910. marked, cast mark "Duesseldf. Broncebildgiesserei G.m.b.H.". H 45 / 49 cm. 10,8 kg. Full sculptural standing figure of the naked woman, who somewhat slumped down hands in front of the face hält. Some small scratches, some Grünspan..Sculptor in Düsseldorf, Schüler of H. Volz at the Academy Karlsruhe, then Schüler of K. Janssen at the Academy Düsseldorf..Literature : Thieme/Becker.Call time 26 | Oct 2023 | expected 12:59 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Prunkvolle, seltene Dielendekoration eines Pfaus mit prächtigem Federrad. Louis-Robert Carrier-Belleuse, Choisy-le-Roi. Stempelmarke mit Zusatz "France". Ende 19. Jh. Am Sockel bezeichnet "Louis Carrier Belleuse". Modell-Nr. 1704 12 99 PIM. Entwurf: Louis-Robert CARRIER-BELLEUSE (1848-1913 Paris).Majolika, farbig staffiert. H 80 cm. 21,4 kg. Monumentale Plastik eines männlichen Pfauen mit aufgefächerten Schwanzfedern, auf Natursockel mit Schale. Federrad teils restauriert, 3 Federn bestoßen.Choisy-le-Roi gehört seit etwa 1804 zu den bedeutenden Zentren der französischen Keramik-Herstellung. Im Jahr 1836 übernahmen Louis Boulenger (1773-1850) und Hippolyte Hautin die Leitung der dortigen Fayence-Manufaktur. Ihre Kinder Adolphe Boulenger (1805-1873) und Alexandrine Hautin (1814-1900) heirateten und bekamen 4 Kinder, darunter Hippolyte Boulenger (1836-1892), der 1863 Eigentümer des Unternehmens wird und es unter dem Namen H. Boulenger & Cie (Hautin Boulenger & Cie) weiterführt. In dieser Zeit beschäftigte die Manufaktur etwa dreihundert Mitarbeiter und erweiterte die Produktion um zahlreiche Majolika-Designs. Hauptkonkurrent war die elsass-lothringische Keramik-Fabrik in Sarreguemines, welches nach Ende des Deutsch-Französischen Krieges von Deutschland annektiert wurde. Da einige Arbeiter aus Sarreguemines die deutsche Zugehörigkeit ablehnten, wechselten sie nach Choisy-le-Roi und brachten ihre technischen und künstlerischen Fähigkeiten in die Produktion mit ein. In der Folgezeit produzierte Boulenger die feinsten Majoliken Frankreichs und verschaffte sich ein großes Renommee auf internationalen Ausstellungen. Hippolyte Boulenger eröffnete 1889 in der Rue Paradis 18 in Paris ein Ladengeschäft, in dem die neuen Entwürfe der Manufaktur ausgestellt wurden. Zu den beeindruckendsten Stücken gehören monumentale Majolika-Vasen mit Hennen, Hähnen und anderen Vögeln, die von Paul Comolera und Louis-Robert Carrier-Belleuse modelliert wurden. Louis-Robert Carrier-Belleuse (1848 Paris - 1913 Paris) war ein französischer Maler, Bildhauer und Keramiker. Zum künstlerischen Leiter der Faiencerie von Choisy-le-Roi wurde er 1889 unter Hippolyte Boulenger. Im selben Jahr erhielt er eine Silbermedaille auf der Weltausstellung in Paris und wurde mit dem Orden der Ehrenlegion gewürdigt. Die längste Zusammenarbeit fand nach dem Tod von Hippolyte Boulenger mit dessen Sohn Paul Boulenger statt. Eine ungewöhnliche Entwicklung in der Karriere von Carrier-Belleuse war die Etablierung seines Rufs als Bildhauer in Mittelamerika. Dies scheint mit einem Auftrag für das Grabmal des liberalen Reformers und Modernisierers von Guatemala, Präsident Justo Rufino Barrios, der im April 1885 starb, begonnen zu haben. 1891 entwarf Carrier-Belleuse das Nationaldenkmal von Costa Rica, ein 1895 enthülltes Bronzedenkmal im Parque Nacional von San José, das an die Nationalkampagne 1856/57 und die Freiheitshelden Costa Ricas erinnert.Literatur : Majolica International Society, Denton, Texas: Choisy-le-Roi. Galerie Origines, Arles: Choisy-le-Roi, H. Boulenger. Rehs Galleries, Inc., New York, NY: Biography - Louis-Robert Carrier-Belleuse (1848 - 1913).Versand nicht verfügbar.Aufrufzeit 26. | Okt 2023 | voraussichtlich 15:02 Uhr (CET) Pompous, rare floorboard decoration of a peacock with prächtige feather wheel. Louis-Robert Carrier-Belleuse, Choisy-le-Roi. Stamp mark with addition "France". Late 19th c. Inscribed "Louis Carrier Belleuse" on the base. Model no. 1704 12 99 PIM. Designed by Louis-Robert CARRIER-BELLEUSE (1848-1913 Paris).Majolica, colorfully painted. H 80 cm. 21.4 kg. Monumental sculpture of a male peacock with unfurled tail feathers, on natural base with shell. Spring wheel partly restored, 3 springs punctured..Choisy-le-Roi belongs ürt since about 1804 to the important centers of French ceramic manufacturing. In 1836, Louis Boulenger (1773-1850) and Hippolyte Hautin took over the management of the local faience factory. Their children Adolphe Boulenger (1805-1873) and Alexandrine Hautin (1814-1900) married and had 4 children, including Hippolyte Boulenger (1836-1892), who became the owner of the company in 1863 and continued it under the name H. Boulenger & Cie (Hautin Boulenger & Cie). During this period, the manufactory employed about three hundred people and expanded its production with numerous majolica designs. The main competitor was the Alsace-Lorraine ceramics factory in Sarreguemines, which was annexed by Germany after the end of the Franco-Prussian War. Since some workers from Sarreguemines refused the German affiliation, they moved to Choisy-le-Roi and brought their technical and artistic skills to the production. Subsequently, Boulenger produced the finest majolica in France and gained a great reputation at international exhibitions. Hippolyte Boulenger opened a store in 1889 at 18 rue Paradis in Paris, where the new designs of the manufacture were exhibited. Among the most impressive pieces are monumental majolica vases with hens, chickens and other birds modeled by Paul Comolera and Louis-Robert Carrier-Belleuse. Louis-Robert Carrier-Belleuse (1848 Paris - 1913 Paris) was a French painter, sculptor and ceramist. He became the artistic director of the Faiencerie of Choisy-le-Roi in 1889 under Hippolyte Boulenger. In the same year he received a silver medal at the Universal Exhibition in Paris and was decorated with the Order of the Legion of Honor. The longest collaboration took place after the death of Hippolyte Boulenger with his son Paul Boulenger. An unusual development in Carrier-Belleuse's career was the establishment of his reputation as a sculptor in Central America. This seems to have begun with a commission for the tomb of the liberal reformer and modernizer of Guatemala, President Justo Rufino Barrios, who died in April 1885. In 1891 Carrier-Belleuse designed the National Monument of Costa Rica, a bronze monument unveiled in 1895 in the Parque Nacional of San José commemorating the 1856/57 national campaign and Costa Rica's freedom heroes..Literature : Majolica International Society, Denton, Texas: Choisy-le-Roi. Origines Gallery, Arles: Choisy-le-Roi, H. Boulenger. Rehs Galleries, Inc, New York, NY: Biography - Louis-Robert Carrier-Belleuse (1848 - 1913)..Shipping not available.Call time 26 | Oct 2023 | expected 15:02 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Art-déco-Tänzerin "Frasquita". Wiener Manufaktur Friedrich Goldscheider. Pressmarke GS 19a mit Zusatz "Made in Germany", ca. 1936-41. Am Sockel geprägt und unterseitig signiert "Dakon". Modell-Nr. 8127 103 19. Entwurf: Stephan DAKON (1904-1992), ca. 1937. Steingut, farbig staffiert. H 39,5 cm. Tänzerin mit Bikini und zum Tanze gehaltenen Rock mit Blumenmuster, auf schwarzem Ovalsockel. Als Vorbild für diese Figur diente wohl die Schauspielerin Lida Baarova (eigentlich Ludmilla Babkova, 1914-2000), die in Deutschland durch ihren Film "Barcarole" (1935) und durch eine Liebesaffäre mit Joseph Goebbels Bekanntheit erlangte. Aufgrund letzterer wurde sie von Adolf Hitler 1938 wieder in die Tschechoslowakei ausgewiesen. Obwohl Baarova dunkles Haar hatte, gestaltete die Manufaktur die Figur mit hellen Haaren, da dies eher dem damaligen "deutschen Zeitgeschmack" zu entsprechen schien. Wohl retuschierter Brandriss am Hals, rechter Knöchel mit feinem Riss, linker Schuh mit Glasurriss, linker Finger mit kleinem Glasurchip. Literatur : Vgl. Dechant, Robert E. / Goldscheider, Filipp: Goldscheider, Firmengeschichte und Werkverzeichnis, S. 483. Aufrufzeit 26. | Okt 2023 | voraussichtlich 15:11 Uhr (CET)Art deco dancer "Frasquita". Viennese manufacture Friedrich Goldscheider. Press mark GS 19a with addition "Made in Germany", ca. 1936-41. Embossed on the base and signed "Dakon" on the bottom. Model no. 8127 103 19. design: Stephan DAKON (1904-1992), c. 1937. Stoneware, colorfully painted. H 39,5 cm. Dancer with bikini and skirt held to dance with floral pattern, on black oval base. The model for this figure was probably the actress Lida Baarova (real name Ludmilla Babkova, 1914-2000), who became famous in Germany for her film "Barcarole" (1935) and for a love affair with Joseph Goebbels. Because of the latter, she was expelled back to Czechoslovakia by Adolf Hitler in 1938. Although Baarova had dark hair, the manufactory designed the figure with light hair, as this seemed more in line with the "German taste of the time". Probably retouched burn crack on the neck, right ankle with fine crack, left shoe with glaze crack, left finger with small glaze chip. Literature : Cf. Dechant, Robert E. / Goldscheider, Filipp: Goldscheider, company history and catalog raisonné, p. 483. Call time 26 | Oct 2023 | probably 15:11 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Originales schwarzes Sakko des Country-Sängers JOHNNY CASH (1932 – 2003). Designed by GEOFFREY BEENE (1924 – 2004). Im Kragen und im Futter Label "Geoffrey Beene", Knöpfe und Futter mit Label-Monogramm. Innen angestecktes Etikett der Reinigung "One-Hour Carriage Tree Cleaners" mit Nr., außen Sotheby's Hängeetikett mit Lot-Nr. 604.Schwarzes Wollkammgarn, hellblaue Futterseide, Messingknöpfe. Schulterbreite 48 cm. Schwarzes einreihiges Jackett mit 2 Knöpfen und fallendem Revers, 2 Pattentaschen und eingearbeiteter Brusttasche sowie 2 Seitenschlitzen hinten. Innen teilgefüttert sowie 2 Taschen. Geoffrey Beene war einer der bekanntesten amerikanischen Modedesigner, der 1963 seine eigene Firma gründete und mehrfach höchste Auszeichnungen erhielt. Dazu der Sotheby's-Auktionskatalog zum Sammlungsverkauf "Property from the estate of Johnny Cash & June Carter Cash" 14. bis 16. September 2004 sowie der Sotheby's-Kaufbeleg zum Jackett und eine Liste der Sotheby's-Verkaufsergebnisse.Literatur : Sotheby's: Property from the estate of Johnny Cash & June Carter Cash, New York, 14. bis 16. September 2004, S. 246, Lot 604.Provenienz : Familienbesitz.Aufrufzeit 26. | Okt 2023 | voraussichtlich 16:09 Uhr (CET)Original black jacket of the country singer JOHNNY CASH (1932 - 2003). Designed by GEOFFREY BEENE (1924 - 2004). In the collar and lining label "Geoffrey Beene", buttons and lining with label monogram. Inside pinned label of dry cleaners "One-Hour Carriage Tree Cleaners" with no., outside Sotheby's hang tag with lot no. 604.Black wool worsted, light blue lining silk, brass buttons. Shoulder width 48 cm.Black single-breasted jacket with 2 buttons and falling lapels, 2 flap pockets and built-in breast pocket and 2 side slits at the back. Inside partially lined and 2 pockets. Geoffrey Beene was one of the most famous American fashion designers, who founded his own company in 1963 and received several höchste awards. In addition, the Sotheby's auction catalog for the collection sale "Property from the estate of Johnny Cash & June Carter Cash" September 14-16, 2004, as well as the Sotheby's purchase receipt for the jacket and a list of Sotheby's sale results.Literature : Sotheby's: Property from the estate of Johnny Cash & June Carter Cash, New York, September 14-16, 2004, p. 246, lot 604.Provenance : Family ownership.Call time 26 | Oct 2023 | expected 16:09 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

DANCKERTS, Justus(1635 Amsterdam - 1701 Amsterdam) Landkarte des MittelmeerraumesKupferstich. Blatt: 51,5 x 59 cm, auf Karton montiert 56 x 64,5 cm. Detaillierte Landkarte des Mittelmeerraumes, große figürliche Titelkartusche "Accuratissima orientalioris districtus maris Mediterranei tabula", Meilenzeiger. Bugfalte, Blatt griff- und knickspurig, etwas stockfleckig. Aus der niederländischen Kupferstecher- und Verlegerfamilie Danckerts, die zu den bekanntesten niederländischen Herausgebern für Landkarten und Atlanten gehören. Aufrufzeit 26. | Okt 2023 | voraussichtlich 16:45 Uhr (CET) DANCKERTS, Justus(1635 Amsterdam - 1701 Amsterdam) Map of the MediterraneanCopper engraving. Sheet: 51.5 x 59 cm, mounted on cardboard 56 x 64.5 cm. Detailed map of the Mediterranean, large figural title cartouche "Accuratissima orientalioris districtus maris Mediterranei tabula", mileage pointer. crease, sheet grip and crease, some foxing. From the Dutch family of engravers and publishers Danckerts, who are among the most famous Dutch publishers of maps and atlases. Call time 26 | Oct 2023 | expected 16:45 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

ROSSINI, Luigi(1790 Ravenna - 1857 Rom) Ansicht von 2 antiken Ruinen römischer Bauwerke2 Radierungen. Je in der Platte signiert. In der Platte datiert: 1821. Druckplatte: 47 x 39,5 cm. Gerahmt & hinter Glas : Max. 65 x 57 cm. Ansicht der Ruine des Jupitertempels: "Avanzi del Tempio di Giove Statore nel For Romano", in der Platte datiert: 1821, gerahmt & hinter Glas: 65 x 57 cm | Ansicht der Ruine des Concordiatempels: "Avanzi del Tempio della Concordia", in der Platte datiert: 1819, gerahmt & hinter Glas: 65 x 54 cm. Blatt je lichtgebräunt und etwas stockfleckig. Italienischer Künstler, der vor allem durch Radierungen römischer Architektur Bekanntheit erlangte. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:04 Uhr (CET) ROSSINI, Luigi(1790 Ravenna - 1857 Rome) View of 2 ancient ruins of Roman buildings2 etchings. Each signed in the plate. Dated in the plate: 1821. Print plate: 47 x 39.5 cm. Framed & behind glass : Max. 65 x 57 cm. View of the ruins of the Temple of Jupiter: "Avanzi del Tempio di Giove Statore nel For Romano", dated in the plate: 1821, framed & behind glass: 65 x 57 cm |View of the ruins of the Temple of Concordia: "Avanzi del Tempio della Concordia", dated in the plate: 1819, framed & behind glass: 65 x 54 cm. Sheet each light browned and somewhat foxed. Italian artist who became known mainly for etchings of Roman architecture. Call time 26 | Oct 2023 | expected 17:04 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PETERS-EBBECKE, Hela(1885 Schwedt/Oder - 1973 Bonn) Mutter mit NeugeborenemRadierung in Sepia. Bleistiftsignatur. Druckplatte: 24,2 x 30,6 cm. Gerahmt & hinter Glas : 46 x 52 cm. Verso beschriftet "Zum Andenken an meine Dienstzeit bei Herrn Baron von Stetten. Von Schwester Eliesabeth Bosse am 4.8.1938 bekommen.". Etwas stockfleckig, Blatt etwas lichtgebräunt. Deutsche Malerin und Grafikerin, die durch ihre Kinder- und Familienmotive Bekanntheit erlangte. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:22 Uhr (CET) PETERS-EBBECKE, Hela(1885 Schwedt/Oder - 1973 Bonn) Mother with newbornEtching in sepia. Pencil signature. Print plate: 24.2 x 30.6 cm. Framed & behind glass : 46 x 52 cm. Inscribed on verso "In memory of my service with Baron von Stetten. Received from Sister Eliesabeth Bosse on 4.8.1938.". Somewhat foxed, sheet somewhat light browned. German painter and graphic artist, who gained fame for his children and family motifs. Call time 26 | Oct 2023 | probably 17:22 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

O'KLEIN, Boris(1893 Moskau - 1985 Paris ) "Chacun son Tour"Kolorierte Radierung. Bleistiftsignatur. [1938]. Druckplatte: 17 x 44,5 cm. Gerahmt & hinter Glas : 34 x 65 cm. Humorvolles Werk mit Hunden in einer Schlange zum Wasserlassen: "der Reihe nach". Französischer Maler und Grafiker, der besonders für seine humorvollen Werke mit Hunden Bekanntheit erlangte. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:23 Uhr (CET) O'KLEIN, Boris(1893 Moscow - 1985 Paris ) "Chacun son Tour"Colored etching. Pencil signature. [1938]. Print plate: 17 x 44.5 cm. Framed & behind glass : 34 x 65 cm. Humorous work with dogs in a queue to urinate: "in turn". French painter and graphic artist who gained fame especially for his humorous works with dogs. Call time 26 | Oct 2023 | expected 17:23 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 München) Stehender HaseRadierung. Bleistiftsignatur, in der Platte monogrammiert. In der Platte datiert: [19]23. Druckplatte: 28 x 17,6 cm. Gerahmt & hinter Glas : 47 x 35 cm. Blatt knickspurig. Deutscher Maler, Grafiker und Illustrator, der besonders durch seine Tierdarstellungen Bekanntheit erlangte, 1912 - 1917 Meisterschüler von Walther Klemm an der Hochschule für Bildende Kunst Weimar. Ab 1916 als Kurt Meyer-Eberhardt unter Beifügung des Mädchennamens der Mutter. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:26 Uhr (CET) MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 Munich) Standing HareEtching. Pencil signature, monogrammed in the plate. Dated in the plate: [19]23. Print plate: 28 x 17.6 cm. Framed & behind glass : 47 x 35 cm. Sheet creased. German painter, graphic artist and illustrator, who became known especially for his depictions of animals, 1912 - 1917 master student of Walther Klemm at the Weimar Academy of Fine Arts. From 1916 as Kurt Meyer-Eberhardt with the addition of the maiden name of the mother. Call time 26 | Oct 2023 | expected 17:26 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

RIDINGER, Johann Elias(1698 Ulm - 1767 Augsburg) 8 "Jagdbare Tiere"8 Kupferstiche. Gerahmt & hinter Glas : 6x je: 42 x 33 cm, 2x je 41,5 x 33 cm. Charakteristische Darstellung von Nr. 168: Wildschwein, Nr. 169: Damhirsch, Nr. 170: Wolf, Nr. 171: Rehbock, Nr. 175: Hase, Nr. 177: Biber, Nr. 179: Dachs und Nr. 181: Marder in natürlicher Umgebung, mit Abbildung der Fährten, in Georg Thienemanns "Leben und Wirken des unvergleichlichen Thiermalers und Kupferstechers Johann Elias Ridinger [...]", 1856. 1 Glas defekt, Blatt je griffspurig, teils lichtgebräunt, teils beschnitten. Deutscher Maler, Grafiker und Verleger, der vor allem durch seine Tierdarstellungen Bekanntheit erlangte. Literatur : Thienemann (1856). Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:27 Uhr (CET) RIDINGER, Johann Elias(1698 Ulm - 1767 Augsburg) 8 "Huntable Animals"8 engravings. Framed & behind glass : 6x each: 42 x 33 cm, 2x each 41.5 x 33 cm. Characteristic representation of no. 168: wild boar, no. 169: fallow deer, no. 170: wolf, no. 171: roebuck, no. 175: hare, no. 177: beaver, no. 179: badger and no. 181: marten in natural surroundings, with illustration of the tracks, in Georg Thienemann's "Life and Work of the incomparable Thiermalers und Kupferstechers Johann Elias Ridinger [...]", 1856. 1 glass defective, sheet each grip-marked, partly light browned, partly trimmed. German painter, graphic artist and publisher, who became known mainly for his depictions of animals. Literature : Thienemann (1856). Call time 26 | Oct 2023 | expected 17:27 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

ORTELT, Karl(1907 Mühlhausen - 1972 Jena) 2 Zeichnungen in einem Rahmen2 Bleistiftzeichnungen. Je mit Bleistiftsignatur. Blatt je: 29,8 x 21 cm. Gerahmt & hinter Glas : 41 x 51 cm. 2 Zeichnungen mit Damen, die jeweils ihren Hund Gassi führen. Blatt je minimal griffspurig. Deutscher Maler und Grafiker; zählt zu den Künstlern der "verschollenen Generation": „Karl Ortelt, der sein Hauptwerk in Weimar unter den spezifischen Bedingungen einer künstlerischen Existenz in der DDR schuf, stellte den Lebensumständen ein Werk entgegen, in dem die Auseinandersetzung mit existentiellen Fragen des Daseins das Kriterium seines Künstlertums blieb.“ (Zitat aus Einladungstext der Galerie Hebecker in Weimar zur Ausstellung 2017). Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:53 Uhr (CET) ORTELT, Karl(1907 Mühlhausen - 1972 Jena) 2 drawings in a frame2 pencil drawings. Each with pencil signature. Sheet each: 29.8 x 21 cm. Framed & behind glass : 41 x 51 cm. 2 drawings with ladies, each walking their dog. Sheet each minimal grip. German painter and graphic artist; counts among the artists of the "lost generation": "Karl Ortelt, who created his main work in Weimar under the specific conditions of an artistic existence in the GDR, countered the circumstances of life with a work in which the confrontation with existential questions of existence remained the criterion of his artistry." (Quote from invitation text of the Hebecker Gallery in Weimar for the exhibition 2017). Call time 26 | Oct 2023 | expected 17:53 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.