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A large French architectural form mirror, 19th century, with twin pointed arch pediments above a hand painted faux marble frieze, the central rectangular mirror flanked by arched mirrors framed by pilasters with scroll corbels and rosettes, further flanked by large feather scrolls, 242cn wide, 110cm high

Xanti (Alexander) SchawinskyExplosion Öl und Tempera auf Leinwand 61,2 x 43,3 cm Rückseitig schwarz signiert, datiert und betitelt 'Schawinsky "explosion" 1926'. - Mit einzelnen unauffälligen Retuschen.Mit einer Foto-Expertise von Xanti Schawinsky, Oggebbio, vom 27. März 1975ProvenienzAtelier des Künstlers New York/Oggebbio (bis 1975); Vom Vorbesitzer bei der Galleria Blu, Milano, 1975 erworben; Privatsammlung ItalienAusstellungenStuttgart 1968 (Kunstgebäude am Schloßplatz), 50 Jahre Bauhaus, Kat. Nr. 237, mit ganzseitiger Farbabb. S. 295 (mit rückseitigen Keilrahmenetiketten)Ein gewisser Witz ist durch den Bildtitel „Explosion“ initiiert und der dem gegenüber wenig explosiven Wirkung der vielmehr watteweich sacht und lautlos schwebenden geometrischen Körper, welche einander in ihrer luziden, bzw. opaken Darstellung sanft zu durchdringen scheinen. Ein Oben und Unten, die Relation der Objekte im dunklen Verlauf des Bildraums zueinander, ist durch die zusammengedrängten, vom unteren Rand überschnittenen, stark farbigen Objekte gegeben. Diese wirken wie kleine individualisierte Charaktere, auf einer Theaterbühne zurückgelassen; der Betrachter schwebt förmlich mit in den ‚outer space'.Themen wie Zeit, Raum und Geschwindigkeit spielen im Werk Xanti Schawinskys immer eine Rolle. Mitte der 1920er Jahre tritt er in Oskar Schlemmers Theaterklasse am Weimarer Bauhaus ein; sein erstes Stück „Circus“ wird 1925 aufgeführt. Im Jahr unseres Gemäldes, 1926, entstehen verwandte Werke mit abstrahierten, stark farbigen Architekturformen. Schawinsky ist fester und aktiver Teil der ‚Bauhaus-Bande' und u.a. mit Walter Gropius, Herbert Bayer und Josef Albers befreundet. In den 1930er Jahren geht er nach Italien, wo ihm sein Aufenthalt in Mailand Aufträge von Olivetti, Cinzano und San Pellegrino sowie Bekanntschaften mit Fontana, Melotti und den Futuristen beschert. 1936 folgt er der Einladung von Josef Albers an das Black Mountain College in die USA.Dass unsere „Explosion“ in der wichtigen Ausstellung „50 Jahre Bauhaus“ 1968 in Stuttgart ausgestellt wird, verweist auf die Bedeutung des Gemäldes. Xanti (Alexander) SchawinskyExplosion Oil and tempera on canvas 61.2 x 43.3 cm Verso signed, dated, and titled 'Schawinsky "explosion" 1926' in black. - Occasional inconspicuous retouches.With a photo-certificate by Xanti Schawinsky, Oggebbio, dated 27 March 1975ProvenanceArtist's studio, New York/Oggebbio (until 1975); acquired by the previous owner at Galleria Blu, Milano, in 1975; Private collection, ItalyExhibitionsStuttgart 1968 (Kunstgebäude am Schloßplatz), 50 Jahre Bauhaus, cat. no. 237, with full-page colour illus. p. 295 (stretcher labels verso)A certain witticism is initiated through the juxtaposition of the picture's title “Explosion” with the scarcely explosive effect of what is actually the cottony softness of the gently and silently floating geometric bodies, which seem to tenderly pass through one another in their alternatively translucent and opaque fomulations. An up and down, the relationship of the objects within the dark progression of the pictorial space, is provided by the compressed, boldly coloured objects cut off by the lower edge of the painting. These look like little individualised characters left behind on a theatrical stage; viewers positively seem to float along with the rest in “outer space”.Themes like time, space and velocity always play a role in Xanti Schawinsky's work. In the mid-1920s, he joined Oskar Schlemmer's theatre class at the Bauhaus in Weimar; his first piece, “Circus”, was presented in 1925. In the year our picture was painted, 1926, he created related works featuring abstract and boldly colourful architectural forms. Schawinsky was an established and active part of the “Bauhaus Group” and friends with Walter Gropius, Herbert Bayer and Josef Albers, among others. In the 1930s, he went to Italy, where a stay in Milan brought him commissions from Olivetti, Cinzano and San Pellegrino and he made the acquaintance of Fontana, Melotti and the Futurists. In 1936 he accepted Josef Albers's invitation to come to Black Mountain College in the US.The importance of our “Explosion” is demonstrated by the fact it was exhibited at the important show “50 Years of Bauhaus”, presented in Stuttgart in 1968.

Sebastiaan VrancxDie Speisung der Hungrigen Öl auf Holz, auf Holz aufgezogen (parkettiert). 64,5 x 48,5 cm.GutachtenDer Auktionskatalog von Sotheby-Maak van Way, Amsterdam 1977, erwähnt die Kopie eines Gutachtens von Dr. Eduard Plietzsch von 1947 sowie ein Gutachten von Dr. Walther Bernt von 1963.ProvenienzGalerie Julius Böhler, München. – Sammlung Dr. Lutz, Berlin. – Dr. Hans Wetzlar, Amsterdam. – Auktion seines Nachlasses, Sotheby-Mak van Waay, Amsterdam, 9.6.1977, Lot 69. – Dort erworben.AusstellungenKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14.12.1968-2.1.1969, Nr. 32 (Abb. Kat. Tafel 7).LiteraturFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon 22, 1964, S. 322- 334, Abb. S. 322. – Suyin Scheid, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 264 -266, Nr. 104, mit Abb.Das vorliegende Gemälde illustriert mit der „Speisung der Hungrigen“ das erste der sieben christlichen Werke der Barmherzigkeit. Sechs dieser Werke beruhen auf einem im Matthäusevangelium überlieferten Jesuswort (Mt 25,34-46), während das siebte eine Ergänzung aus dem apokryphen Buch Tobit darstellt (Tob. 1,17). Bühnenartig sind im Vordergrund unserer Holztafel mehrere Bettler wiedergegeben, links beginnend mit einem zerlumpten Jungen zwischen den hohen Postamenten zweier Säulen. Daneben führt eine junge Frau ihren blinden Vater und schließlich erhalten eine Mutter und ihre Kinder von einem reich gekleideten Paar vor dem Eingang eines prächtigen Palasts Brote überreicht.Eingefügt ist diese Darstellung in eine prachtvolle, makellose Renaissancearchitektur, die in scharfem Kontrast zu den ärmlichen Figuren des Vordergrunds steht. Zwischen der in starker perspektivischer Verkürzung dargestellten Palastfassade am rechten Bildrand und den von einem klassischen Gebälk zusammengefassten Säulen auf der linken Seite geht der Blick zunächst auf eine weiträumige Platzanlage. Dort springt vor allem ein dreigeschossiger Palast mit offenen Arkadengängen im Erdgeschoss ins Auge. Leicht versetzt zur Mittelachse wird der Blick auf der rechten Seite weiter in den Hintergrund gezogen und trifft schließlich auf die Fassade einer Kuppelkirche und einen Glockenturm als „point de vue“.Unsere Tafel gehört zu einem Zyklus von Einzeldarstellungen aller Werke der Barmherzigkeit, die Vrancx und seine Werkstatt mehrfach ausgeführt haben dürften und stets mit einem klassischen Architekturhintergrund verbunden waren. Weitere, gleich große Tafeln befinden sich u.a. im Museum in Springfield, Massachusetts, und in der Stichting Nederlands Kunstbezit. Ein 1608 datiertes Gemälde von Vrancx in der Sammlung des Niedersächsischen Landesmuseums Hannover zeigt hingegen alle sieben Werke der Barmherzigkeit auf einer Tafel.Sebastiaan Vrancx war in seiner Geburtsstadt Antwerpen Schüler von Adam van Noordt, bei dem auch Rubens und Jacob Jordaens in die Lehre gingen. Nach einem Rom-Aufenthalt von 1596 bis 1600/01 ließ sich Vrancx wieder in Antwerpen nieder, wo er in die Lukasgilde aufgenommen und 1612 zu deren Dekan gewählt wurde. Darüber hinaus bekleidete er zahlreiche weitere Ämter in Schützengilden, Rhetorikgesellschaften etc., die ihn zu einer wichtigen Figur im künstlerischen und sozialen Umfeld Antwerpens machten.Als einer der ersten Künstler spezialisierte sich Vrancx auf die Wiedergabe von Überfällen, Schlachten und Reitergefechten, als deren Wegbereiter in der Malerei der südlichen Niederlanden er gilt. Darüber hinaus schuf er Ansichten von Gartenfesten und galanten Gesellschaften sowie reine Landschaftsgemälde. Zugleich war der äußerst vielseitige Künstler als Figurenmaler geschätzt und fügte u.a. in Werke von Jan Brueghel d. Ä. und Joos de Momper Staffagefiguren ein. Karel van Mander rühmte den damals erst 31-jährigen Vrancx in seinem 1604 erschienenen „Het schilder-boeck“ insbesondere für seine Darstellung von Landschaften, Pferden und Figuren („eer aerdigh in Landtschap, Peerdekens, en beeldekens“). Sebastiaan VrancxThe Feeding of the Hungry Oil on panel, mounted on another panel and parquetted. 64.5 x 48.5 cm.CertificateThe auction catalogue of Sotheby-Maak van Way, Amsterdam 1977, mentions a now lost copy of an expertise by Dr Eduard Plietzsch from 1947 and an expertise by Dr Walther Bernt from 1963.ProvenanceWith Julius Böhler, Munich;Dr Lutz, Berlin;Dr Hans Wetzlar, Amsterdam;His deceased sale, Sotheby-Mak van Waay, Amsterdam, 9 June 1977, lot 69.ExhibitionsKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14 December 1968-26 January 1969, no. 32 (reproduced in the catalogue plate 7).LiteratureFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon, XXII (1964), pp. 322-34, reproduced;Suyin Scheid, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 264 -266, no. 104, reproduced.The present painting illustrates the Feeding of the Hungry, the first of Seven Christian Works of Mercy. Six of these works are based on the teachings of Jesus handed down in the Gospel of St. Matthew (Mt 25:34-46), while the seventh is a supplement from the apocryphal book of Tobit (Tob. 1:17). In the foreground of this panel, several beggars are depicted as if on a stage, beginning on the left with a raggedly dressed boy between the high bases of two columns. Next to him, we see a young woman leading her blind father and finally a mother with her children being presented loaves of bread by a richly dressed couple in front of the entrance to a magnificent palace.The scene is placed in a setting of magnificent, immaculate Renaissance architecture, which contrasts sharply with the poor figures in the foreground. Between the strongly foreshortened palace facade on the right-hand side of the picture and columns on the left, joined by a classical entablature, the view looks onto a spacious square. There, the eye is drawn to a three-storey palace with open arcades on the first floor. To one side of this central axis, our view is guided towards the background on the right, upon the facade of a domed church and a bell tower as a point de vue.This panel belongs to a cycle of individual depictions of all the works of mercy, which Vrancx and his workshop may have executed several times and which always included a classical architectural background. Other panels of the same size can be found in the museum in Springfield, Massachusetts, and in the Stichting Nederlands Kunstbezit, among others. In contrast, a painting by Vrancx dated 1608 in the collection of the Niedersächsisches Landesmuseum in Hanover shows all seven works of mercy on one panel.In his home town of Antwerp Sebastiaan Vrancx was a student of Adam van Noordt, who also taught Peter Paul Rubens and Jacob Jordaens. After a stay in Rome from 1596 to 1600/1, Vrancx settled again in Antwerp, where he was accepted into the Guild of St. Luke and elected Dean of the Guild in 1612. In addition, he held numerous other offices with the rifle guilds, rhetoric societies, etc., which made him an important figure in Antwerp's artistic and social life.Vrancx was one of the first artists to specialise in depicting raids, battles and cavalry fights, and he is regarded as one of the pioneers of these genres in the southern Netherlands. He also painted views of garden parties and eleFull description on lot-tissimo.com

Südniederländischer Meister des späten 15. JahrhundertsDarbringung im Tempel Öl auf Holz. 33,5 x 19,5 cm.ProvenienzHenry Wagner. – Auktion Christie’s, London, 16.1.1925, Lot 59 (als Schule von Gerard David). – Sir Thomas Barlow. – Auktion Sotheby’s, London, 20.7.1955, Lot 57. – H. J. Hellema, Laren.AusstellungenManchester, Whitworth Art Gallery, Juni 1947, Nr. 3. – Flemish Art 1300-1700, London, Royal Academy, 5.12.1952-6.3.1953, Nr. 49 (zusammen mit der "Verkündigung", als Jan Provost). – Schaffhausen, Museum zu Allerheiligen, 1955, Nr. 76. – Laren, Singer Museum, Juli 1961, Nr. 104. – Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, Inv.-Nr. 1101 (Leihgabe).LiteraturMax J. Friedländer: Die Altniederländische Malerei, Bd. IX, Berlin 1931, S. 145, Nr. 127 (nur die anderen drei Tafeln). – Max J. Friedländer: Early Netherlandish Painting. Bd. IXb, Leiden 1972, S. 111, Nr. 127, Abb. Tafel 149. – Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine 79, 1941, S. 156-160. – Monika Brieskorn, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 63-5, Nr. 25, mit Abb. (als Jan Provoost). – Ron Spronk, in: Friso Lammertse (Hg.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam 1994, S. 217-219, unter Nr. 45, S. 218, Abb. b.Diese feine kleine Tafel illustriert die biblische Darstellung der sogenannten Darbringung im Tempel. Die Szene aus dem Evangelium des Heiligen Lukas enthält theologisch zwei ineinander verwobenen Riten des christlich-jüdischen Glaubens, die Beschneidung Christi und gleichzeitig die Reinigung Mariens.Im Vordergrund sind die Protagonisten zu erkennen, Maria und Christus, und rechts daneben der Priester Simeon mit bischöflicher Pluviale und Mitra. Auf der linken Seite ist der Heilige Joseph zu identifizieren. Hinter ihm stehen eine weibliche Gestalt mit zeitgenössischer burgundischer Haube und ein Mann mit Turban-artiger Kopfbedeckung. Im Hintergrund sind an der Kirchenwand Fragmente eines Polyptychons angebracht: ein Bild von Moses mit den Gesetzestafeln, der als Sinnbild für den Alten Bund zu verstehen ist. Ihm wird typologisch Christus als Begründer des Neuen Bundes zugeordnet. In mariologischer Ausdeutung verweist die Moses-Darstellung auf das jüdische Gesetz der mütterlichen Reinigung, dem sich Maria unterworfen hat.Der Maler platziert die biblische Szene in das Seitenschiff einer gotischen Kirche und fasst die Darstellung in eine gemalte architektonische Goldrahmung ein. Anhand dieses gemalten Rahmens wurde die Verbindung unseres Gemäldes mit drei weiteren Tafeln erkannt, die Max Friedländer 1931 publiziert hat (op. cit.). Diese drei Bilder zeigen weitere Szenen aus dem Leben Mariens: Die “Verkündigung” (heute Museum Boijmans Van Beuningen, Rotterdam), die “Geburt Christi” und “Christus erscheint seiner Mutter” - die beiden letzteren befinden sich heute in nicht bekannten Privatsammlungen. Als viertes konnte schließlich das hier vorliegende Bild hinzugefügt und als Bestandteil eines mehrteiligen Marienaltars identifiziert werden. Friedländer schrieb die Bilder dem jungen Jan Provost zu. Auch Grete Ring schloss sich dieser Zuschreibung an (op. cit.). Zur Zeit von Friedländers erster Publikation befand sich die “Verkündigung” noch in einer Berliner Privatsammlung. Nachdem sie vom Rotterdamer Museum erworben wurde, ist die Zuschreibung an Provost überprüft und verworfen worden. Heute wird das Werk einem namentlich nicht bekannten südniederländischen Meister des späten 15. Jahrhunderts zugeordnet, der dementsprechend auch der Maler der vorliegenden Tafel ist. South Netherlandish School late 15th CenturyThe Presentation of Christ in the Temple Oil on panel. 33.5 x 19.5 cm.ProvenanceHenry Wagner;Anonymous sale, Christie’s, London, 16 January 1925, lot 59 (as School of Gerard David);Sir Thomas Barlow;Anonymous sale, Sotheby’s, London, 20 July 1955, lot 57;H. J. Hellema, Laren.ExhibitionsManchester, Whitworth Art Gallery, June 1947, no. 3;Flemish Art 1300-1700, London, Royal Academy, 5 December 1952 - 6 March 1953, no. 49 (with the Annunciation, as Jan Provost);Schaffhausen, Museum zu Allerheiligen, 1955, no. 76;Laren, Singer Museum, July 1961, no. 104;Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, inv. no. 1101 (on loan).LiteratureMax J. Friedländer: Die Altniederländische Malerei, vol. IX, Berlin 1931, p. 145, no. 127 (only the other three panels);Max J. Friedländer: Early Netherlandish Painting, vol. IXb, Leiden 1972, p. 111, no. 127, reproduced plate 149;Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine, LXXIX (1941), pp. 156-160;Monika Brieskorn, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 63-5, no. 25, reproduced (as Jan Provost);Ron Spronk, in: Friso Lammertse (ed.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boijmans van Beuningen, Rotterdam 1994, pp. 217-9, no. 45, pl. 218, fig. b.This small and finely painted panel depicts the Biblical scene known as the Presentation of Jesus at the Temple. The ritual, which is described in the Gospel of Luke, combines two theologically linked rites in Christian and Jewish faith, namely the circumcision of Christ and the purification of the Virgin Mary.The main protagonists of the scene, Mary and Christ, are depicted in the foreground and beside them we see the priest Simeon in a bishop's cope and mitre. Saint Joseph is depicted on the left. Behind him is a figure dressed in a contemporary Burgundian bonnet and a man in a turban-like head covering. In the background we see fragments of a polyptych on the wall of the church, of which one panel depicts Moses with the tablets of the law, which can be regarded as a symbol of the old covenant. Thus, the figure of Christ as the founder of the new covenant forms a typological parallel to this. In the mariological interpretation, the scene signifies the Jewish law of the purification of new mothers that the Virgin complied with.The painter has depicted the Biblical scene taking place in the side aisle of a Gothic church, and surrounds it with a gold architectural motif. This painted surround is what allowed this panel to be linked to three other paintings published by Max Friedländer in 1931 (op. Cit.). The three works also depict scenes from the life of the Virgin Mary: The Annunciation - today in the Museum Boijmans Van Beuningen, Rotterdam -, the Nativity, and Christ appearing to his mother, the latter two are housed in private collections. The present work was identified as a fourth panel from this series and would originally have formed part of a multi-panel altarpiece dedicated to the Virgin Mary.Friedländer attributed this work to the young Jan Provost, and Grete Ring also later agreed with this ascription (op. cit.). At the time of Friedländer's publication, the Annunciation was still housed in a private collection in Berlin. However, following its acquisition by the museum in Rotterdam, the attribution to Provost was re-examined and abandoned. The piece is now attributed to an anonymous southern Dutch master of the late 15th century, who is thus also considered to be the author of the present work.

PANORAMA OF LONDON - [Frederick BIRNIE (fl. 1787-92) after Robert BARKER (1739-1806) & Henry Aston BARKER (1774-1856). Panorama of the Thames from the Albion Mills near Blackfriars Bridge. London: 1792-3]. Very large hand-coloured aquatint panorama engraved by Frederick Birnie after Robert and Henry Aston Barker, on Whatman-type wove paper, on six sheets, joined, overall dimensions 430 x 3,310mm., the border with a hand-painted grey Greek key-pattern motif, framed and glazed. VERY LARGE AQUATINT VIEW BASED ON THE WORLD'S FIRST PUBLIC PANORAMA. It was the British painter Robert Barker who first coined, and patented, the term "Panorama" from the Greek "Pan" ("All") and "horama" ("View"). The original panorama for public display, on which this series of aquatints was based, formed a near-360-degree view of London, and was enlarged from Robert Barker's son's original drawings made in 1790 and 1791 on the roof of the Albion Mills (shortly before they burnt down) onto a canvas measuring 1,479 square feet. Having initially been on view in a temporary structure, it was later installed in the world's first purpose-built viewing rotunda, designed by George Mitchell, in Cranbourne Street, Leicester Square, in 1793, where it caused a sensation. Viewers flocked to pay 3 shillings to stand on a central platform under a skylight to get the full immersive experience, perhaps analogous nowadays to that of the first IMAX cinema. The panorama later toured Europe. Seizing an opportunity, Frederick Birnie published his set of six aquatints while the panorama was still on show, for which a prospectus had been issued titled: "Proposals for publishing six elegant aquatinta prints, which, if joined, will represent the City of London and the entire surrounding country." When the six sheets are joined, as here, they form a magisterial view across London, some 11 feet across, with St. Paul's rising above the wharves and rooftops at its centre, and the skyline of towers and spires which Canaletto would have recognised. The architectural details are fascinating enough; but much is added to the scene by the teeming activity of the street in the foreground and Blackfriars Bridge, where elegant carriages, tradespeople and stray dogs share the street; the scene is further enlivened by the many and varied boats and barges on the Thames. Included with the lot is a sturdy wooden custom-made protective case for transportation. Abbey Life 460.

A LATE 19TH CENTURY BRASS CASED MANTEL CLOCK, OF ARCHITECTURAL FORM, with cast foliate decoration and flanking columns, the Parrot Freres movement striking on a gong 28 cm high

A GEORGE III THIRTY HOUR LONGCASE CLOCK WITH 25cm BRASS AND SILVERED DIAL SIGNED 'JOHN GREAVES, BIRMINGHAM', the oak case with inlaid architectural motif to the door, 205cm high

Late 19th/early 20th century small photograph frame with pierced architectural surround, two Victorian portrait photos (3)

A Tunbridgeware white wood watch stand,early 19th century, in the form of a castle entrance guarded by two cylindrical crenellated towers, painted in gilt with an entrance door and arched windows,20.5cm wide14.5cm highUnique to South East England, and particularly Tunbridge Wells, is the manufacture of painted, sycamore and birch architectural models, concealing various functions, usually for the ladies of Regency England. This rare form appears as a watch tower, where a pocket watch is placed in the holder overnight.Condition report: Minor rubbing.Evidence of repair and overpainting.  See images.

A 19th century Louis XVI style ormolu and Sevres style porcelain clock garniture, the mantel clock of architectural form with urn surmount and porcelain panels painted with Cupid, lovers and a trophy, signed L. Levy, S. Marti eight day countwheel movement, height 14.5in. with a pair of matching five light candelabra, height 16.5in.CONDITION: Overall looks to be in honest untouched condition, a little dusty with a slightly matted finish to the ormolu, some scattered dirt spots mainly to the upwards facing surfaces, porcelain all looks good with original gilding intact, slight rubbing beneath the naming on the dial, movement intact, comes with pendulum and old key but not tested for timekeeping, candelabra may once have had sconces and are slightly wobbly at the joints but otherwise look good.

John Fladgate of London. A George III ebonised pear wood repeating bracket clock, with plain architectural case and brass pineapple finials, the 6 inch arched brass dial with strike / silent, false pendulum and date aperture, twin fusee movement signed John Fladgate, with foliate scroll engraved backplate, height 16.5in.CONDITION: Overall case in honest untouched condition, with a dark ebonised tone but for some reddish tones showing through raised rubbed areas, brass work looks good, front door has working lock, dial with a few oxidisation spots.

Follower of Giovanni Ghisolfi (Italian, 1623-1683)oil on canvasArchitectural caprice48.5 x 35.5in.CONDITION: Oil on canvas relined many years ago, canvas remains tight but with some slight undulation, paint rather dirty with a fine craquelure running throughout and scattered small surface dents, scuffs and scratches, not signed, housed in a painted wood frame, no labels verso.

A 19th century French ormolu and enamelled porcelain clock garniture, the eight day clock with arched architectural case flanked by a pair of urns, all decorated with scenes of medieval figures including Joan of Arc, Japy Freres movement, clock height 13.75in. urns 11.5in. overall on both plinths 17in.CONDITION: Somewhat neglected state, the ormolu is very dirty and rubbed particularly on one side of the top of the clock case, numerous small dirt and oxidisations spots throughout, arched top of the case looks to have two small foliate motifs (one from each side), dial dirty but otherwise looks good, hands rubbed but original, side panels equally in good order with just a little light rubbing to the gilding, movement looks dirty and neglected but thought to be complete, comes with pendulum but no key, one urn is a little wobbly at the joints, very dirty but otherwise good, the other urn with panel of knights on horseback has cracks running above their heads and a small chip, the left hand arm needs re-attaching at the bottom. All pieces sit on original gilt plinths and further ebonised plinths which at one time would have had glass domes.

18th century Italian Schooloil on canvasArchitectural caprice with figures beside a ruined arch, houses beyond14.5 x 17.5in.CONDITION: Oil on canvas relined many years ago, canvas remains tight, paint and varnish rather dirty with a fine craquelure throughout which just starting to lift in places, housed in an old and and rather tatty gilt gesso frame.

A Regency mahogany collector's cabinet, with architectural cornice and two glazed doors over two panelled doors enclosing an arrangement of thirty two glass topped drawers with turned bone handles, W.2ft 6in. D.1ft 4in. H.6ft 7in.CONDITION: Overall in honest untouched condition but with a number of small losses, beading to the edge of the cornice is chipped and missing in one 4 inch area at the front, moulding to the lower left side of the top is missing, a few short cracks and some lifting of the varnish to the sides, top doors are slightly lighter in tone than elsewhere, original lock present but no key, door enclose two slender adjustable shelves, lower section of good rich colour, in both the top and bottom the sides are made of stained pine and show old splits, dents and wear from use, lower front doors slightly warped out of shape, comes with original lock and working key, the two banks of drawers have lost many of their divisions and therefore do not all run smoothly, stands upon what look to be the original turned feet.

A 19th Swedish grained pine extending box bed, combined cupboard, with moulded cornice and front rail, architectural shaped back and tapered feet, the left side with a shallow cupboard over a drawer, W.6ft 4in. D.2ft 2in. H.6ft 11in.CONDITION: Overall in honest untouched condition, with the original paint work now a little scuffed and scratched and rubbed away at the raised extremities such as the top of the front panel and sides of the legs, the right hand side is designed to sit against a wall and is not painted.

Sir John Ruskin (1819-1901)watercolour, pencil, heightened with gouache on blue paperArchitectural study of a castle, possibly Thun, Switzerland bearing two indistinct inscriptionsAbbott Hall Art Gallery 'showing only' label for 25-7-69 - 3-9-69 verso9.5 x 8.25inCONDITION: Watercolour on light blue toned paper which looks rather flat and may well be laid down, a few tiny dirt specks but essentially very good clean condition, recent mount in glazed oak frame by The Framing Centre of Plymouth, original Exhibition label from Abbott Hall Gallery Kendall dated 1969.

Dwerryhouse & Carter of London. A Regency brass inset mahogany mantel clock, with architectural case and painted Roman dial, unsigned twin fusee movement, height 19.5in.CONDITION: Overall a little dusty but otherwise looks to be honest and untouched, mid to light brown mahogany tone, darker at the top and with some ebonised details, top finial slightly bent out of place, two slim cracks running in to each side of the dial through the main case, dial looks a little rubbed, hands probably original, two sections of brass stringing missing from the lower part of the front of the case, side handles and pierced brass grills with a dull bronze finish, silk lining to side panels very tired, key missing for the lock that holds the bezel in position but still fits tightly, no key for the back door which has very minor losses around the edges, movement looks to be in good condition, complete but not tested for timekeeping, comes with an adjustable pendulum but no keys.

Goodrich of London. A George III ormolu mounted mahogany repeating chiming bracket clock, in architectural case with urn finials and painted Roman dial with chime / silent and subsidiary date aperture, movement with foliate scroll engraved brass backplate and chiming on eight bells, height 21in.CONDITION: Overall in honest untouched condition, case was probably re-polished some years ago but now is slightly matted in the varnish although does still retain a good rich mahogany tone, ormolu mounts all oxidised to some extent, front door has working lock operated by a later key which also works the back door, top right pierced spandrel through the door has a small section of veneer missing, signs of patching to the veneer around the lock and in the lower right corner of the door, dial looks later and rather crudely painted with rubbing to the paint work but ormolu surround in good order, losses to the veneer to the left of the arch of the dial, both sides have signs of old fine now stable splits, back door has later strips of timber holding the glass in place and the lock is rather wobbly, may well in fact be a later replacement, movement complete and going but not tested for timekeeping.

Folio containing a quantity of various unframed pen and watercolour architectural garden gazebo studies and other unframed drawings and pictures

Stil von Jiao Bingzhen (tätig ca. 1689-1726) CHINA, Qing-Dynastie 108 x 49,5 cm Spielende Kinder im Garten, Hängerolle, Tusche und Farben auf Papier. Signatur des Künstlers: "Gemalt von Jiao Bingzhen". Ein Doppelsiegel des Künstlers: "Bing", "Zhen". Provenienz: Aus der Sammlung von Friedrich und Ruth Boss, zwischen 1911 und 1938 in China gesammelt - Berieben, etwas rest., kleine Fehlstellen und Altersschäden, Montierung besch. und rest. Style of Jiao Bingzhen (active ca. 1689-1726), Children playing in the Garden, China, Qing dynasty, hanging scroll, 108 x 49,5 cm, ink and colors on paper. Signature by the artist: "Painted by Jiao Bingzhen". One double seal of the artist: "Bing", "Zhen" - Property from the collection of Friedrich and Ruth Boss, assembled in China between 1911 and 1938 - Jiao Bingzhen was from Jining in Shandong province. He was a court painter during the Kangxi period (1662-1722) specializing in figures and architectural painting. His genre paintings were especially new. The children and landscape elements in this scroll are painted very fine in the style of the eighteenth century - Wear, minor damages and losses, mounting partly damaged and repaired

Each pierced and carved with figures before an architectural setting beneath a large pine tree, all reserved on a pierced geometric ground, framed, age wear, gilt loss 97cm by 43cm (2)

Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage, C-Print auf barytiertem Agfa-Papier. 23,7 x 29,3 cm. Rückseitig mit Bleistift betitelt und beziffert, mit Photographenstempel sowie von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgLiteraturLudwig Windstosser. Fotografie der Nachkriegsmoderne, Ausst.kat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, Abb. 71.Die hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage chromogenic print on Agfa baryta paper. 23.7 x 29.3 cm. Titled and numbered in pencil, photographer's stamp as well as annotated in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgLiteratureLudwig Windstosser. Fotografie der Nachkriegsmoderne, exhib.cat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, ill. 71.Windstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserOhne Titel Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,6 x 22,8 cm. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserUntitled Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.6 x 22.8 cm. Photographer's stamp and inscribed in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Enrico VerzaschiRoma Album mit 50 Albuminabzügen. Von 25,5 x 27,6 cm bis 28,7 x 38,3 cm, Hoch- und Querformate. Die Abzüge zum Teil mit einkopierter Bezifferung. Einzeln auf Kartonseiten aufgezogen. In Ledereinband mit goldgeprägtem Dekor und TitelLiteraturBonetti 2008, S. 169 - 174 mit Abbn. (Kat. 210 - 259)Enrico Verzaschi war seit 1860 als Photograph tätig und übernahm 1870 das Atelier seines Kollegen Gioacchino Altobelli (vgl. Lot 827), der nach Francesca Bonetti auch Autor einiger Aufnahmen in dem hier vorliegenden Album ist. Aufwändig gebunden, war es für eine wohlhabende Klientel gedacht. Die Motive folgen der Choreographie, wie sie in derlei Erinnerungsalben üblich war: Den bekanntesten Baudenkmälern der Antike, der Renaissance und des Barock folgen Aufnahmen der Campagna Romana und zuletzt Bilder der Skulpturen aus den Vatikanischen und Kapitolinischen Sammlungen sowie Reproduktionen der Meisterwerke etwa von Michelangelo und Raffael. Enrico VerzaschiRoma Album containing 50 albumen prints. From 25.5 x 27.6 cm to 28.7 x 38.3 cm, portrait and landscape formats. Some of the prints numbered in the negative. Individually flush-mounted to album pages. In leather binding with gold embossed ornament and title.LiteratureBonetti 2008, ill. pp. 169 - 174 (cat. 210 - 259)Enrico Verzaschi had been working as a photographer since 1860 when in 1870 he took over the studio of his colleague Gioacchino Altobelli (see lot 827), who, after Francesca Bonetti, is also the author of some of the photographs in this album. Lavishly bound, it was intended for a wealthy clientele. The motifs follow the choreography that was typical in such commemorative albums: The most famous architectural monuments of Antiquity, the Renaissance and the Baroque are followed by photographs of the Campagna Romana and, finally, pictures of the sculptures from the Vatican and Capitoline collections as well as reproductions of masterpieces by artists such as Michelangelo and Raphael.

Ludwig WindstosserThomasbirne Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,3 x 22,7 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserThomasbirne Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.3 x 22.7 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserKöln Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,4 x 23,2 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserKöln Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.4 x 23.2 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserStahlarbeiter im Ruhrgebiet Vintage, C-Print auf barytiertem Agfa-Papier. 29,4 x 23 cm. Rückseitig mit Bleistift betitelt, beziffert und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgLiteraturLudwig Windstosser. Fotografie der Nachkriegsmoderne, Ausst.kat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, Abb. 42.Die hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserStahlarbeiter im Ruhrgebiet Vintage chromogenic print on Agfa baryta paper. 29.4 x 23 cm. Titled and numbered in pencil as well as photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgLiteratureLudwig Windstosser. Fotografie der Nachkriegsmoderne, exhib.cat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, ill. 42.Windstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserZechenturm Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,5 x 23,4 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserZechenturm Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.5 x 23.4 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserNiederrhein bei Duisburg Vintage, Gelatinesilberabzug hochglänzend auf Leonar-Papier. 29,5 x 23,3 cm. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift beziffert.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserNiederrhein bei Duisburg Vintage ferrotyped gelatin silver print on Leonar paper. 29.5 x 23.3 cm. Photographer's stamp and numbered in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Fourteen initials with interlace or architectural decoration, from an illuminated choirbook, on parchment [Italy (perhaps Rome), late fifteenth century]Fourteen square cuttings, each containing a single illuminated initial, their bodies in dark green and soft pink acanthus leaves or architectural features, enclosing white or grey floral and interlace designs (sometimes enclosing red panels) on blue grounds, each initial with burnished gold frame, and with foliage curling out of this onto page with gold bezants and stylised flowers, remnants of text at edges with music on a 4-line red stave (rastrum 84mm.), some faces picked out in penwork details at edges of capitals, one cutting repaired at one side with a strip of parchment from same manuscript, another with losses to margin at top showing through mount, a few spots, else outstanding condition, sizes varying between 175 by 142mm. and 110 and 95mm.; mounted togetherThe finely shaded monochrome elements and delicate architectural features of these initials are eye catching and identify their parent manuscript as part of the elaborate style of choirbook illumination that began in the late fifteenth century, apparently carrying over parts of the style of illumination developed for grand humanist manuscripts into liturgical works. Examples abound in Rome (with La Miniatura Italiana tra Gotico e Rinascimento, 1985, figs. 13 & 14, giving examples), but the style was also found as far away as Lucca (see ibid., figs. 15 and 12, reproducing antiphoners 11 and 619 of Lucca Cathedral). 

Ɵ Pierre Albert de Launay, Remarques sommaires faites sur la maison d'Aerssen, in French, Latin and Dutch, a de luxe manuscript produced for Cornelis van Aerssen van Sommelsdijck, the first governor of Surinam, on paper [Northern Netherlands (North Brabant), dated 26 August 1684, and probably also 1688 and immediately after]57 leaves (plus 2 endleaves at front and 4 at back), complete, single column of 25 lines in a professional hand (some sections italic), titles in simple capitals, major initials in gold with gold foliage on blue grounds, frontispiece with large architectural inscription within female figures who hold the rod of Asclepius and the scales of justice, and cornucopia, arms of van Aerssen at head (with three helms and an ornamental collar) and another somewhat oxidised crowned coat-of-arms at foot (most probably those of St. André Montbrun, over which the family from Cornelis van Aerssen van Sommelsdijck onwards held a marquisate), one large two-page map in pen and colour wash, eight pages of coats-of-arms in colour, nine fine drawings of seals and a tomb in pen and colour wash, one double-page opening of coloured and illuminated arms arranged in genealogical tree, seal covered with paper on last page, a few loose leaves neatly rejoined to volume, a few spots and stains, but overall in excellent condition and on heavy paper, 436 by 282mm.; bound in contemporary green patterned silk over pasteboards, gilt edges (some wear to edges, and old repair to binding), prints of Cornelis van Aerssen (1545-1627), and his father Francois van Aerssen (1572-1641), both by "A. Schouman", loosely inserted in volume (but note these members of this family not associated with content of this book), along with a Dutch newspaper article (Algemeen Handelsblad, 3 August 1963) on Cornelius van Aerssen van Sommelsdijck (1637-88) A fine seventeenth-century manuscript principally produced for an important member of the Dutch nobility, who served as first governor of Surinam in the Dutch Guianas; in outstanding condition and still in its contemporary green silk covered binding Provenance: 1. Produced on commission for Pierre Albert de Launay (d. 1694), the Brabant Herald of Arms, for presentation to Cornelis van Aerssen van Sommelsdijck (1637-88): details recorded in inscription in cartouche on frontispiece, and with the completion date, de Launay's official seal on p. 96 and signatures at end of some sections. Cornelis van Aerssen van Sommelsdijck, lord of Sommelsdijk, Bommel, de Plaat and Spijk (in Zuid-Holland and Gelderland), was a prominent member of one of the wealthiest families of the 'Golden Age' of Netherlandish history. He was fundamental in the founding of the Surinam Society (a private trade company), and was elected by the West-India Company and the city of Amsterdam as the first governor of the colony of Surinam (founded 1667, gaining independence in 1975) in the Dutch Guianas. He left Europe in 1683 for Paramaribo. He is remembered as an authoritarian but efficient governor, and was killed by a band of mutinous Dutch soldiers in 1688, during an argument over alleged poor food and wages. As this volume specifically addresses him at the opening of the text as "Corneille D'Aerssen ... Seigneur en partie de Surinam, Gouverneur & Capitaine General de toute de Colonie" and its closing address is dated 1684, it may have been commissioned as a gift to honour his appointment as governor. However, the arms at the head of the frontispiece are those of his son, François (1669-1740), and the armorial genealogy on pp. 75-76 also terminates in the arms of this figure. The research for the volume may have taken some years, and it was perhaps not complete or bound when Cornelius was murdered, and it was finished for Cornelius' son. François had accompanied his father to Surinam, returning briefly to Europe in 1687, before travelling back to settle his father's affairs there. He then took up a post as director of the Society of Surinam.2. Still in the library of the Baron van Aerssen in 1838, when on 15 December that year it was shown to a meeting of the Belgian royal historical commission (see Compte-Rendu des séances de la Commission Royale d'histoire, VII, 1844, pp. 299-300).3. Janna Carla van der Veen-Hondius (1929-2001) of Duinbeek house in Oostkapelle, Zeeland: her printed armorial bookplate affixed to front endleaf.4. Sold in Christie's, 15 July 2015, lot 35 (but there misidentified as produced for the wrong Cornelis van Aerssen) for £5625. Text:This gargantuan codex is a triumph of seventeenth-century manuscript production. It celebrates the descent of the van Aerssen family to Cornelis van Aerssen van Sommelsdijck and his son François, collecting together relevant accounts and documents from a wide variety of sources. After an address by de Launay, the volume includes "Remarques sommaires sur la maison d'Aerssen" (p. 1); a genealogical table showing the links of the family to the house of Moers/Meurs and their dynastic founder Wallerand de Limbourgh (p. 5), followed by a tract on the same (p. 15); a hand drawn and coloured map of the Duchy of Guelders showing the holdings of the family (pp. 22-23), after the work of Nicolaes van Geelkercken, and probably copied from Joannes Janssonius (1639); extracts from an account of the nobility of Guelders in Henricus Aquilius' printed Compendio Chronici Geldrici (Cologne, 1566; here p. 25); followed by charters apparently copied from originals in the archives of the towns of Venlo and Nijmegen and the Cistercian abbey at Kamp/Campen, with skilfully drawn and hand-coloured depictions of their seals, parts of an armorial from the time of "Comte Reinault de Gueldres" dated 1330, with over 140 coats-of-arms in colour, and extracts from a martyrology of Kamp Abbey, and a drawing of the late fifteenth-century tomb of Theodore d'Aerssen and Marguerite de Carpen from the church in that monastery; an armorial tree of descent of the van Aerssen family down to François (1669-1740), the reigning head of the family in the 1680s (pp. 75-76); followed by further documents and a final address by de Launay (p. 93), dated at its end. 

Zwei gotische Architekturfragmente, deutsch oder Frankreich, 15. Jhdt. Zwei unterschiedliche Blattkapitelle aus Sandstein, ein Exemplar unvollständig, eine der vier Ecken abgebrochen. Unterschiedliche Patina und Verwitterungsspuren. In den Sockeln eingebleite Montagestangen. Höhe 16 und 30 cm. Zustand: II - Two German or French Gothic architectural fragments, 15th century Zwei unterschiedliche Blattkapitelle aus Sandstein, ein Exemplar unvollständig, eine der vier Ecken abgebrochen. Unterschiedliche Patina und Verwitterungsspuren. In den Sockeln eingebleite Montagestangen. Höhe 16 und 30 cm. Condition: II -

Collection of wooden items to include turned bobbin, carved wooden box and turned wooden architectural objet d'art with metal cogs

A trio of 19th century Continental pencil and gouache roundel drawings framed as one. Two extensive landscapes and one architectural. Named to the reverse in pencil, 16cm diameter.

A collection of books about architectural craftsmanship, cabinet making, wood and related subjects including A History of Architecture by Sir Bannister Fletcher (8th Edition), London 1928 (12)

19th century black slate architectural mantle clock with two train movement and four pillar case, 40cm high

A LATE 19TH CENTURY FRENCH GILT METAL AND PORCELAIN LEROY & FILS MANTEL CLOCK, the finial with two reclining females above a domed architectural case in a medieval style, the porcelain dial with Roman numerals, slight damage around winding holes, eight day movement, bell strike, backplate stamped 'Leroy & Fils No.6124 A Paris', glazed dust cover, the oval lower case inset with a nine porcelain plaques on four gothic style feet, height 32cm, with velvet base, heard ticking and chiming, one plaque missing to rear

Indian black stone carved architectural frieze section, relief carved with dancing figures, 14cm high x 20cm wide

JAMES MORRIS 'Mosque, Yebe, Mali', photographic print, 50cm x 34cm, ref Butabu by James Morris, Princeton architectural press, 64cm x 54cm. (Subject to ARR - please see Buyers Conditions)

COCKTAIL RING, Art Deco sapphire and diamond of architectural design set with two larger sapphires approx weight 3-4 carat surrounded by diamond approx 2.5 carat, size L1/2.

Late 19th century walnut architectural cased bracket clock, square brass dial with silvered Roman chapter, brass twin train movement stamped 'W&H Sch 2', quarter hour striking on two gongs, H42cm, W30cm, D20cm - Condition Report

A single Edwardian mahogany hall chair, the architectural rail over pierced and floral panel back, solid seat, on ring turned tapering forelegs.

A late 19th century French brass mantle clock, the heavily cast architectural form case with mask ring handles and a painted ivorine dial supporting an eight day gong striking movement. 32 x 20 x 20 cms.

A 19th century architectural form black slate mantle clock with American eight day gong striking movement. 39 cms wide.

A Victorian black slate mantle clock, the architectural case applied with gilt metal masks containing an eight day gong striking movement faced by an enamel Roman dial. 46 x 47 x 18 cms.

A Geo.III and later mahogany bureau bookcase, the broken architectural pediment over a pair of astragal glazed doors and fitted fall above frieze drawer and three further drawers to each pedestal, on bracket feet. 224 x 116 cms.

A Victorian black slate mantel clock of architectural form, relief decorated with birds, the dial with enamelled chapter ring showing Arabic numerals, eight day movement, flanked by doric columns on plinth base, 32cm high

Four boxes containing a collection of various magic lantern slides to include several architectural examplesCondition report: Mostly topographical, but condition is an issue with quite a few. Several are faded and a handful are cracked.

Umfangreiche Studienmappe mit ca. 120 Zeichnungen und Aquarellen, Magdeburg, 1950er Jahre, darunter Architekturstudien, Landschafts- und Aktzeichnungen, Typografie, Porträts, Stillleben u.a., teilweise signiert und datiert, partiell mit Alters- und Lagerspuren, diverse Größen 20,5*18,5cm bis 48*70cmExtensive study folder with approx. 120 drawings and watercolors, Magdeburg, 1950s, including architectural studies, landscape and nude drawings, typography, portraits, still lifes etc., partly signed and dated, partly with traces of age and storage, various sizes 20,5*18,5cm to 48*70cm

NAOMI TYDEMAN watercolour - architectural view of part of St David's Cathedral, signed, 33 x 22.5cms Provenance: private collection Cardiff Presentation & Condition: no apparent problems, framed and glazed

A collection of Staffordshire pastille burners of architectural form with other English ceramics (two trays)

A quantity of unframed drawings, architectural prints, artwork, Frida Kahlo folder etc.

A small Chinese lacquer Brush Pot with monkish figures in an architectural scene, 4 1/4'' tall, a/f.

A porcelain soup plate from the Wurtemberg Service of Grand Duchess Catherine Pavlovna, by the Imperial Porcelain Factory, St Petersburg, period of Alexander I (1801-1825), the circular plate finely painted with a view of 'Temple de la Cibelle' within a gilt frame, the border painted at intervals with three pale yellow cartouches centred by architectural views painted en grisaille against a rust coloured oval ground, all below an upper border, finely painted with a band of flowering blooms and gilt lined rim, underglaze blue mark verso, titled in black and old paper label fixed to back stating 'Specimen of St. Petersburgh porcelain, Painted from Views of Italy in Medallions, Presented by the Emperor Alexander to Queen Catherine of Wurtemburg', 23.3cm diameter (at fault) The Dowry Service for Grand Duchess Ekaterina Pavlovna (1788-1819) daughter of Paul I, was manufactured circa 1799-1802. It is often referred to as the Wurtemburg Service due to her second marriage to Wilhelm of Wurtemberg following the death of her first husband, Prince Peter Friedrich Georg Of Oldenburg. The service was a wedding present from Tsar Alexander I to his sister, Ekaterina Pavlovna and her husband Wilhelm I, King of Wurttemberg (1781-1864). See Victorian and Albert Museum, Museum number C.49-2007

A late 19th century French ormolu mantel clock by Brevete SGDG, with a urn shaped finial above the 9cm gilt metal dial applied with roundel markers, the ornate architectural case raised on cast paw feet, 36cm high, along with a velvet lined gilt wood and gesso plinth (at fault) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

After Giovanni Battista Cipriani (1727-1785), Three etchings on paper engraved by Francesco Bartolozzi (1727-1815), 'The Ball At The Mansion House April XVII, MDCCLLXXV The Right Honourable John Wilkes, Lord Mayor', 35cm x 28.5cm, 'The Triumph Of Beauty And Lowe', 25cm x 33cm, 'A Sacrifice To Cupid', 25.5cm x 33cm, All unframed, With a hand coloured engraving on paper of Pope Gregory XVI and three further hand coloured engravings of the Papal Court, a copy of 'The Looking Glass' satirical newspaper dated March 1st 1830, a Ukiyo-E school woodblock print after Hiroshige, and a collection of 19th century and later engravings to include portraits of Edward lord Ellenborough, Dr Benjamin Hoadly Lord Bishop Of Winchester and others, architectural scenes including The Cathedral Church of Saint Davids, family scenes etc, all unframed (Qty)

A craftsman built cream Georgian style dolls house, late 20th century, the house with an architectural pediment and balustrade gallery over the hinged house front, with an arrangement of fourteen windows and a central front door flanked by pilasters, opening to a nine rooms and a central stairway, with three windows to both sides of the house, 90cm H x 84cm W x 46cm D

A late 19th century French mantel clock by Marti 'Medialle de Bronze', the two tone polished gilt metal architectural case, with acanthus leaf cast pilasters flanking the 9cm enamelled dial adorned with floral swags, enclosing a two train movement stamped with the makers name and striking on a coiled gong, 33cm high, with pendulum, lacking rear circular rear panel

An early 19th century mahogany linen press, the architectural pediment above a pair of flame mahogany doors, opening to five oak lined sliding trays, upon the chest with an arrangement of two short over two long drawers, inlaid with angular geometric stringing, with later detached lion mask ring handles, 226cm H x 122cm W x 55cm D For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.comCondition reports can be found attached to your lot of interest once a request has been submitted, and can be found attached to the lot at auctions.trevanionanddean.com. Please only bid if you are entirely satisfied with the condition of your lot. The absence of a condition report does not guarantee that the lot is free from faults or defects.