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Lot 42
Britains, Dinky Toys, Budgie, Crescent - Two boxed diecast vehicles with a collection of unboxed diecast vehicles and accessories. Lot includes Crescent #2154 Saladin Armoured Patrol (appears Fair Plus - Good in a Fair box) a boxed Dinky Dublo #066 Bedford Flat Truck (appears Very Good in a Good box); plus a unboxed Budgie Leyland Hippo; Dinky Lincoln Zephyr; Britains German Army Motorcycle combination; Dinky Toys Dunlop Tyre rack and similar. Unboxed items appear in Playworn condition.
Lot 698
POSTCARDS - ASSORTED Approximately 275 cards, comprising real photographic views of Stanhope Dock, Goole; Army Biplanes (by Fuller, Amesbury); Band of the 7th L.N. Lancs at Clevedon (two different); Pier & Hotel, Clevedon; and Hopkins & Haworth Pierrots, Weston-super-Mare, 1912; with views of the Prince of Wales Hotel, Ludgershall; Bristol City A.F.C., 1919-1920; Donald McGill artist-drawn (14); Charlie Chaplin (5); comic; greetings; photographic military portraits; and others, (album).
Lot 85
On Active Service with the SJAB, South African War, 1899 - 1902. A diary of life and events in the War Hospitals at Wynberg, Nourse Deep, Johannesburg, and other places, by the late W S Inder, Orderly, and 2nd Class Supernumerary Officer, Kendal Division, No 4 District, St John Ambulance Brigade, attached to the Royal Army medical Corps, Kendal, Titus Wilson, 1903, (ex-lib)
Lot 7197
Napoleonic Wars, whilst Napoleon was exiled in Elba - July 1814. A printed copy for circulation of resolutions of the House of Commons expressing thanks to the Officers of the Army for the "meritorious and eminent Services" rendered in the war, and to their "high approval" of the services of the Non-Commissioned Officers and Men of the Army. Furthermore they express their "high sense" of "your Royal Highness's (Frederick, Duke of York, Commander in Chief)...exertions for the improvement of the British Army"
Lot 99
WWII vintage Cortebert A.T.P. (Army trade pattern) mechanical wrist watch stainless steel case, silvered dial with Arabic numerals, florescent hour markers, skeleton hands (lacking second hand) screw off stainless steel back stamped ATP no7614, stainless steel, B135 together with crows foot military mark. Cortebert 665 15 Jewel movement signed, no internal dust cover
Lot 823
WWI MILITARY POSTAL HISTORY British Military postmark collection of The Great War. Album with 400+ postcards mostly from The Front showing Army Post Office and Field Post Office numbered postmarks both hand stamped and machine cancels. A few naval. Variety of views both topographical (with many ruined buildings), sentimental / greetings etc. Messages also of huge interest.
Lot 149
Field Marshal Bernard Montgomery ALS dated 10th March 1941 on headed paper features a clear signature from Montgomery who was nicknamed "Monty" and "The Spartan General", was a senior British Army officer who served in the First World War, the Irish War of Independence and the Second World War. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 50
1916 PROCLAMATION - ORIGINAL PRINTING An original copy of the Foundation Document of Modern Irish Nationhood, the Proclamation of the Irish Republic signed by the Printer Christopher Brady lower left corner A single broadsheet, overall size 76 x 49cm (30 x 19¼) Inscribed verso 'Obtained in Sackville St. Dublin, Easter Monday, April 24th, 1916' The most important document in modern Irish History. This is one of only two known original copies in private hands signed by Brady and one of a small number of surviving copies. Printed at Liberty Hall, Dublin, under the protection of soldiers of the Irish Citizen Army, on Easter Sunday, 1916, and read from the steps of the General Post Office, O'Connell St., Dublin on Easter Monday morning by P.H. Pearse, in the presence of the other signatories of the document, thereby heralding the Rising, and Irelands advance towards self-determination. The Proclamation, the corner-stone of modern Irish history, the Irish Declaration of Independence, was probably the literary composition of P.H. Pearse, with some changes and amendments by James Connolly and Thomas MacDonagh. It was printed on an old Wharfdale Double-Crown, printing machine. The work commenced about mid-day on Sunday 23rd April and was completed approx. 1.00 on Easter Monday morning. James Connolly organised all arrangements. The printer was Christopher Brady and the compositors Michael Molloy, and Liam OBrien all of whom had previously been employed in the work of printing The Workers Republic, for Connolly. Brady who worked the machine throughout described his task as one of great difficulty. He found it hard to ink the type evenly and the rollers refused to maintain an even pressure, with the result that nearly all copies show much smudging in parts and faint printing in other parts. In the beginning an attempt was made to set the entire document at the one time, but it was found this was not viable as there was not enough type available, and it had to be set in two stages. Firstly, top half, from Poblacht down to and including the words... among the nations. Secondly, the bottom half, from The Irish Republic, .. to Joseph Plunkett. The paper used was of the poorest quality, a cheap line which was purchased from Saggart Mills, and similar to that used on the Workers Republic. A print run of 2500 copies was planned, with the intention of supplying the country as well as the city. It seems unlikely however, because of the difficulties encountered in the work, dilapidated machinery, scarcity of paper etc., that any more than 1000 copies were in fact printed. Finally the work of distribution was then handed over to Mrs. Helen Moloney, as ordered by Connolly. The type for the second section or bottom half was still in the press, when the British soldiers entered Liberty Hall, on Thursday 27th April 1916. Michael J. Molloy told the story of how he came to be one of the three men who printed the 1916 Proclamation, in an article entitled My Easter Week, published in the Evening Herald, on April 4th, 1966. In 1925, Mr. Joseph J. Bouch published a booklet, for the Biographical Society of Ireland which was a short history and a bibliography of The Proclamation. He examined the few available copies of the original from libraries etc., and this paper is now the definitive tool for ascertaining the true copies. He defined six main points from which the first issue can be identified: Size of paper: approx. 30 x 20; Quality and colour of paper; Style of typography including wrong fonts and spaces; Measurements of form or type face, or length of line Differences in spelling notably in the names of the signatories; Other typographical inexactitudes. The above copy conforms in size, type of paper, etc., and contains all the typographical inexactitudes and irregularities called for by Bouch. It contains the 23 wrong font e as called for. It also contains the reversed e in the third the on the first line of the last paragraph. Also according to Bouch the spacing matter or bars between the lines frequently caught the ink and showed a line of varying lengths. In addition, this document contains further typographical errors which were missed by Bouch & other bibliographers, historians alike, & which on examination, are to be found in all other true copies of the original. These are three lower case ts. This copy also displays clearly that the original Proclamation was in fact printed in two parts, as the distance between the last two paragraphs, etc., and the top half again varies in size.
Lot 79
Hughie O'Donoghue RA (B.1953) Swell, 2019 Oil on tarpaulin, 118 x 177cm (46½ x 69½) Exhibited: Limerick, The Hunt Museum, Time, Tide and the Memory, 2019 Swell is one of a series of paintings created by Hughie O'Donoghue over a period of several years under the thematic title Cargo. The term is deliberately ambiguous, and comes with some sinister connotations. Cargo is, collectively, a personal reimagining of FW Murnau's classic 1922 silent film Nosferatu, loosely inspired by Bram Stoker's Dracula. O'Donoghue delves into the symbolic and allegorical meanings of Murnau's work in the context of its, and our, times. When the film was made, Europe was haunted by the unparalleled disaster of the First World War, succeeded by an epidemic of Spanish flu. The vampire count, sneaked aboard a schooner in a coffin, is a lethal cargo, capable of infecting the world. O'Donoghue's paintings are rich in metaphor and not tied to any one interpretative meaning. The vessel is translated into the wreck of the merchant vessel the Plassy on Inis Oirr. O'Donoghue originally visited the site with his father in 1962. The experience stayed with him and he has returned to the wreck often as a motif in his work. The Plassy had played a military role in the Mediterranean during WWII (where his father served with the British Army). This century, as he worked, the slow tragedy of refugees trying to reach Europe was unfolding in the Mediterranean. And, of course, by the time the work was shown in restricted circumstances at the Galway International Arts Festival in 2020, as the exhibition Night Cargo, we were in the grip of a pandemic. O'Donoghue made the paintings on tarpaulin or sacking; rugged materials, as he put it, with their own histories rather than neutral, fine art supports. He leaves the folds of the tarpaulin clearly visible. In Swell, the ghostly form of the ship looms against an eerily lit expanse of sky, buoyed by a phosphorescent surge of water below. The curiously metallic glow of the composition is inspired by the intense, silvery light of early black-and-white film. Born in Manchester to Irish parents, O'Donoghue lives and works in County Mayo and in London. Elected to the Royal Academy of Arts in 2009 he has been artist-in-residence at the National Gallery London and St John's College, Oxford. His work has been widely exhibited in many solo shows and is included in numerous private and public collections. Often drawing on his own family history, he has described painting as a form of emotional archaeology, a means of recovering and remembering experiences, both individual and universal, often forgotten in grand historical narratives. As in Swell, the picture surface is worked and reworked as a charged terrain that will yield up secrets rather then a blank sheet. Aidan Dunne, May 2021
Lot 14
Kadhim Hayder (Iraq, 1932-1985)How He Wandered with the Heart of a Martyr (From the Epic of the Martyr Series) oil on canvas, framedexecuted in 1963127 x 176cm (50 x 69 5/16in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Hiwar, Vol.3 No.3, Kadhim Hayder: Waddah Faris, 1965 (preparatory sketch)A MONUMENTAL 1963 MASTERPIECE FROM KADHIM HAYDER'S MARTYR'S EPIC: THE LARGEST COMPOSITION FROM THE SERIES EVER TO COME TO AUCTION'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiHow He Wandered with the Heart of a Martyr, by Saleem Al-Bahloly How He Wandered with the Heart of a Martyr belongs to a landmark series of paintings shown at the National Museum of Modern Art in Baghdad the last week of April 1965 under the title The Epic of the Martyr. The series drew immediate critical acclaim for the way that the artist, Kadhim Haidar, was able to derive from popular culture not simply visual motifs to tailor the styles of modernism to the local context of Iraq but a means of expression for articulating the human condition. The human condition preoccupied artists and thinkers across the world in the middle of the twentieth-century; but in Iraq the concept of the human took on a particular significance following the persecution of leftists in the aftermath of the Baʿath coup in 1963. The Epic of the Martyr was so important largely because it demonstrated how artists could represent modern experience by drawing upon their cultural history.Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family. In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.That moment when the martyr is transfigured into the symbol of the horse is in part dramatized in How He Wandered with the Heart of a Martyr. A white horse stands in the foreground carrying on its back a decapitated body. It groans violently into the helmeted warrior on the left who holds a sword triumphantly over his head; arrayed behind the white horse at centre are other horses in crimson and mustard-orange and warriors whose spears and shields resolve into simple shapes and strokes in the distance. The body of the headless corpse astride the white horse is unlike the other bodies in the paintings: it has volume and weight, it casts a shadow, and it gathers together the pinks, grays and browns in the picture. This painting was the sixth in the series; in another painting that comes near the end of the series, in the collection of the Barjeel Art Foundation, Fatigued, Ten Horses Converse with Nothing, the headless corpse morphs into the heads of two horses. The paintings in The Epic of the Martyr were different sizes, and this was one of the largest. Its size reflects Haidar's interest in the mourning processions as a kind of street theatre, his work in stage design, and the monumental scale of ancient Mesopotamian sculpture. But it also reflects, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions. This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics.For further information on this lot please visit Bonhams.com
Lot 74
Ala Bashir (Iraq, born 1939)Predicament of Man oil on canvas, framedsigned and dated (lower right), further signed, dated and titled on the verso, executed in 1980121 x 100cm (47 5/8 x 39 3/8in).Footnotes:Provenance:Property from a private collection, LondonBonhams is delighted to be including this spectacular piece by the Iraqi artist Ala Bashir. Bashir was born in Iraq in 1939, eighteen years after his country declared independence from Britain; he grew up with the British army in Iraq and when he left Iraq it was under the American invasion. As a reconstructive surgeon during the Iran-Iraq war he found himself surrounded by death. Bashir was introduced to death at a very young age and his art practice is motivated heavily on the theme of death and tragedy. The artist's style is easily comparable to that of the surrealists, yet these nightmarish visions are not dreams, they depict a reality that he lived through and the suffering he was witnessing daily. Unexpected directions in his style often make his work difficult to decipher, whilst recurring signs such as the raven and the mask draw directly from traditional Iraqi imagery. His work evokes the sense of rejection of the rational vision of life and asserts the beauty in the unexpected and uncanny, the disregarded and the unconventional. Unlocking ideas and images of his conscious and unconscious mind, however he likes to reiterate that his art embodies the truth in his eyes. Anatomical and expressive, his paintings address the pain and suffering of mankind and the brutality of war. He began his artistic career painting landscapes and portraits but then found it to be a waste of his time and instead diverted his practice to exploring the human condition. Bashir says his surrealist paintings often dwell on themes of mortality and fate, influenced by his experiences of the war and the horrors to which he bore witness.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1151
PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitel: Das Picknick im Wald. Technik: Öl auf Leinwand. Maße: 116 x 96cm. Bezeichnung: Signiert unten rechts: Otto Pippel. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland.Otto Pippel zählt heute zu den bedeutendsten Spätimpressionisten aus dem süddeutschen Raum. Zu seinen Motiven gehören insbesondere das städtische Leben Münchens an berühmten Orten wie dem Englischen Garten, dem Hofgarten oder dem Hirschgarten. Aber auch Stadtveduten, Figuren, Stillleben und Landschaften finden sich in großer Anzahl in seinem Oeuvre wieder. In dieser Fine Art-Auktion können wir vier Arbeiten anbieten, die die Vielfalt der Natur- und Stadtdarstellungen Pippels in seinem unverkennbaren, pastosen Umgang mit Farbe sowie sein malerisches Lichtspiel aufzeigen. Der Künstler wurde 10. Februar 1878 in Lódz geboren. Sein Studium begann er an der Kunstgewerbeschule in Karlsruhe, musste dieses jedoch durch einen Dienst im russischen Heer unterbrechen. 1905 setzte er sein Studium zunächst in Karlsruhe bei Julius Hugo Bergmann und Friedrich Fehr fort, bevor er in den Jahren 1907 und 1908 in Dresden bei Gotthardt Kuehl studierte, der ihn an den Impressionismus heranführte. Im Rahmen einer Studienfahrt nach Paris machte der junge Otto Pippel Bekanntschaft mit den ortsansässigen Impressionisten und beschäftigte sich mit dem Malstil des großen Claude Monets, den er fortan zu einem eigenständigen Impressionismus weiterentwickelte. Otto Pippels Stil zeichnet sich aus durch einen charakteristischen pastosen Farbauftrag und seine malerischen Landschaftsstimmungen, die die Betrachtenden in seine vielschichten Farbwelten hineinzuziehen scheint. Erläuterungen zum KatalogOtto Eduard Pippel Deutschland Münchner Schule Impressionismus 1.H. 20.Jh. Gemälde Familien Gemälde Bürgerliches Leben PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitle: Picnic in the Forest. Technique: Oil on canvas. Measurement: 116 x 96cm. Notation: Signed lower right: Otto Pippel. Frame/Pedestal: Framed.Provenance:Private ownership, Germany.Otto Pippel today ranks among the most important late Impressionists from southern Germany. His motifs include in particular the urban life of Munich in famous places such as the English Garden, the Hofgarten or the Hirschgarten. But also city scenes, figures, still lifes and landscapes can be found in large numbers in his oeuvre. In this Fine Art auction we are able to offer four works which show the variety of Pippel's depictions of nature and cities in his unmistakable, painterly handling of colour as well as his painterly play of light. The artist was born in Lódz on 10 February 1878. He began his studies at the Kunstgewerbeschule in Karlsruhe, but had to interrupt them due to service in the Russian army. In 1905 he continued his studies in Karlsruhe under Julius Hugo Bergmann and Friedrich Fehr, before he studied in Dresden under Gotthardt Kuehl in 1907 and 1908, who introduced him to Impressionism. During a study trip to Paris, the young Otto Pippel became acquainted with the local Impressionists and studied the painting style of the great Claude Monet, which he further developed into an independent Impressionism. Otto Pippel's style is characterised by a characteristic impasto application of paint and his painterly landscape moods, which seem to draw the viewer into his multi-layered worlds of colour. Explanations to the Catalogue
Lot 392
A large quantity of Royal Naval and maritime related ships' plaques, mostly mounted on wooden boards, to include 'Zerstorer 3', various Royal Association plaques to include 'Welwyn Garden City Association', 'Oldham Branch', 'Llanelli' and many more, two copper measuring jugs, a Mermaid stainless steel measuring spoon, etc a quantity of Royal Navy and maritime collectibles, copy photographs to include images of the Northern end of Hill 170 Kangaw Burma 1945, where the Japanese army made a nighttime attack, III Commando Brigade 42 and 44 Royal Marine Commandos, 1 and 5 Army Commandos, a facsimile poster relating to Admiral Lord Viscount Nelson 'Britannia Triumphant' with lists of the English fleet ships of the time and the combined fleets of France and Spain, a Liverpool Naval banner, hand painted Naval badges and image of the Liver Bird to the centre, 77 x 95cm, a cased plated darts championship trophy, two hand knitted Naval dolls, a framed and glazed case containing eight Naval badges, 'Strike Hawker', 'Steady Hood', 'HMS Anson', 'Howe', 'Nelson' and 'Drake', with brass plaque to base inscribed '63rd (Royal Naval) Division' and a cased scale model of a HMS Eggesford, etc.
Lot 513
A WWI Army Commission, named to Joseph Boswell, 2nd Lieutenant, dated 22nd July 1915, photographs of 2nd Lieutenant, later Captain Joseph Boswell, No.15 Depot Company Machine Gun Corp, two Christmas cards for 1917 and 1918, later papers relating to his qualification as a teacher, the 1917 Christmas Greeting card from France from Fred to Mother, and black and white photographs, post war relating to relatives visiting the burial place of the loved one at Anneux British Cemetery in France.
Lot 287
Italian School, early 20th century, Two muses, both with indistinct signature verso 'F... Pompei.?', watercolour, 19cm x 14.5cm, oval, together with a micro-mosaic circular brooch and a miniature portrait, three Second World War medal ribbons with mentioned in despatches oak leaves, ATS and Royal Army Pay Corps cap badges, Scots Guard badge and three Army Service Corps BadgesCondition report: Frames with minor gilding chips and rubbing. Scratched. Waterclouours ok. Unexamined out of frames.
Lot 234
Indian Company SchoolA hound keeper with two sighthoundsgouache on mica12.5 x 16cmProvenance: The collection of Major Richmond Keith Molesworth Battye (1905-1958).Major Keith Battye left the army in 1938 and joined the Indian Political Service. He was posted to the North-West Frontier, working in Gilgit and Chitral, where he was called upon to adjudicate between different tribal chiefs in the area.Condition report: Some time staining and losses to the paper to the left side. Some folds.
Lot 659
Suffolk, Ipswich, William Adams, ‘Morgan’s’ Shilling, 1811, Prince of Wales’ feathers above standards and military accoutrements, rev. to convenience the army and the public, etc, edge grained, 3.40g/12h (D 4). Partially toned, about extremely fine, rare £150-£200 --- Provenance: J. O’D. Mays Collection, Spink Auction 207, 23 March 2011, lot 409 [from Seaby 1979]
Lot 5021
Hermann Göring – eigenhändige Karte aus Nürnberg an seine Tochter Edda vom 12.2.1946POW-Postkarte "W.D.,P.M.G. Form No 6-1 November 1, 1942", eigenhändig in Tinte beschrieben: "Mein heissgeliebtes Kind! [.] Ich habe heute einen Brief an Mamma geschrieben. Vielleicht darfst Du mir auch wieder einmal schreiben. Ich habe mich immer über Deine lieben Briefe gefreut. [.] Dich und Mamma küsst Dein Pappa". Absender "Göring (H) Nürnberg. Justizpalast - Internal Security Det. U.S. Army", adressiert an "Edda Göring - Straubing/Donau - Zuchthaus - Passauerstr. Germany". Nürnberger Poststempel vom 12.2.1946. Die damals siebenjährige Edda verbrachte die Haftzeit ihrer Mutter im Straubinger Zuchthaus von Oktober 1945 bis März 1946 gemeinsam mit ihrer Mutter und ihrer Tante Else. Zustand: IIHermann Göring – a handwritten postcard from Nuremberg to his daughter Edda, dated February 12, 1946 POW-Postkarte "W.D.,P.M.G. Form No 6-1 November 1, 1942", eigenhändig in Tinte beschrieben: "Mein heissgeliebtes Kind! [.] Ich habe heute einen Brief an Mamma geschrieben. Vielleicht darfst Du mir auch wieder einmal schreiben. Ich habe mich immer über Deine lieben Briefe gefreut. [.] Dich und Mamma küsst Dein Pappa". Absender "Göring (H) Nürnberg. Justizpalast - Internal Security Det. U.S. Army", adressiert an "Edda Göring - Straubing/Donau - Zuchthaus - Passauerstr. Germany". Nürnberger Poststempel vom 12.2.1946. Die damals siebenjährige Edda verbrachte die Haftzeit ihrer Mutter im Straubinger Zuchthaus von Oktober 1945 bis März 1946 gemeinsam mit ihrer Mutter und ihrer Tante Else. Condition: II
Lot 5026
Rudolf Heß – "Bilder vom Kampf - Das Braune Heer" mit eigenhändiger Widmung Hitlers Luxusausgabe des Hoffmann-Bildbandes mit kalligraphisch gestaltetem Pergamenteinband mit handschriftlicher Tintenwidmung auf dem Vorsatzblatt "Meinem lieben Rudolf Heß - in herzlicher Freundschaft und treuer Verbundenheit zur Erinnerung an Weihnachten 1933 - Adolf Hitler". "Zeitgeschichte", Verlag und Vertriebs-Gesellschaft M.B.H. Berlin. Zustand: II +Rudolf Heß – "The brown Army" with handwritten dedication by Hitler Luxusausgabe des Hoffmann-Bildbandes mit kalligraphisch gestaltetem Pergamenteinband mit handschriftlicher Tintenwidmung auf dem Vorsatzblatt "Meinem lieben Rudolf Heß - in herzlicher Freundschaft und treuer Verbundenheit zur Erinnerung an Weihnachten 1933 - Adolf Hitler". "Zeitgeschichte", Verlag und Vertriebs-Gesellschaft M.B.H. Berlin. Condition: II +
Lot 5054
Persönliche Schreibmappe Hitlers aus seiner Münchner Privatwohnung am Prinzregentenplatz 16/IIGroßformatige, lindgrüne Ledermappe mit goldgeprägtem und -umrandetem Hoheitsadler auf dem Einband. Cremefarbenes Leinenfutter, die linke Innenseite mit Dokumentenfach, die rechte Seite mit zwei dicken Bögen Löschpapier. Rückseitig schwer lesbarer Prägestempel "Pfaff ... Berlin" der bekannten Berliner Buchbinder-Werkstatt von Otto Pfaff und Otto Dorfner. Maße der Mappe ca. 43 x 33,5 cm. Die Ecken etwas bestoßen, die Kanten und Flächen teils berieben.Einliegend drei Blanko-Doppelbögen persönlichen Briefpapiers mit Hoheitsadler, Namenszug "Adolf Hitler" und "München, den" in Goldrelief sowie drei Blanko-Kuverts.Anfang Mai 1945 von Siegfried F. Brand, damals Angehöriger des US Military Intelligence Service, T-Force, innerhalb der US 7th Army, in Hitlers Wohnung am Prinzregentenplatz erbeutet.Dazu eine notariell beglaubigte Bestätigung sowie zwei ebenfalls beglaubigte Fotobestätigungen Brands aus dem Jahr 1977 für den damaligen Käufer Ben Swearingen.Zudem ein signierter Brief Albert Speers aus dem Jahr 1977, in dem er Swearingen aus seiner Erinnerung heraus die Zuschreibung dieser Schreibmappe an Hitler bestätigt, außerdem in Fotokopie ein Artikel über die Arbeiten Otto Pfaffs und Otto Dorfners aus "Die Kunst im Deutschen Reich", Ausgabe Juni 1942.Provenienz: Sammlung Malcolm Willits (1934 - 2019), verkauft durch Hermann Historica in der 43. Auktion, 19.10.2002, Los 5280, Zuschlag € 14.000. Erworben durch Willits 1994 von Ben Swearingen, dabei Korrespondenz zwischen den beiden und eine Fotokopie des Schecks über $ 12.500.Zustand: II -Hitler's personal writing case from his Munich apartment on Prinzregentenplatz 16/II The large-format, lime green leather case with a gold-embossed national eagle, also outlined in gold, on the cover. Lined in cream-coloured linen, a document compartment on the inside on the left, the right side with two thick sheets of blotting paper. A barely legible embossed stamp "Pfaff ... Berlin" on the back for the famous Berlin bookbinding workshop of Otto Pfaff and Otto Dorfner. Dimensions of the folder approx. 43 x 33.5 cm. The corners somewhat knocked, the edges and surfaces scuffed in places. Inside are three blank double sheets of personal writing paper with the national eagle, the inscription "Adolf Hitler" and "München, den" in gold relief, along with three unused envelopes. Seized by Siegfried F. Brand, at that time a member of the US Military Intelligence Service, T Force, in the US 7th Army in Hitler's apartment on Prinzregentenplatz at the beginning of May 1945.Includes a notarised confirmation and two photographic confirmations by Brand, also certified and dated 1977, for Ben Swearingen, the buyer at the time. Also comes with a signed letter from Albert Speer, dated 1977, in which he confirms for Swearingen that he remembers the writing case actually belonging to Hitler, together with a photocopy of an article on the work of Otto Pfaff and Otto Dorfner in "Die Kunst im Deutschen Reich", from the June 1942 issue.Provenance: Collection of Malcolm Willits (1934 - 2019), sold by Hermann Historica in the 43rd Auction, 19 October 2002, lot 5280, hammer price 14,000 euros. Acquired by Willits from Ben Swearingen in 1994, enclosed is correspondence between the two and a photocopy of the cheque in the amount of 12,500 US dollars.Condition: II -
Lot 5067
GFM Erwin Rommel – privater Schreibtisch aus seiner Villa in HerrlingenDunkel gebeiztes Eichenholz. Schreibplatte (Maße 157 x 86 x 4 cm) mit hellbraunem Leder bezogen und mit umlaufenden Messingnieten verziert. Zwei seitliche Holzkästen (Maße 77 x 43 x 75) mit gerundeten Ecken, verschließbaren Türen, getönten Kupferbeschlägen sowie großen Eisenschlüsseln, die linke Seite mit drei ausziehbaren Innenladen, die rechte mit einem Zwischenboden, darüber jeweils eine Schublade (Schlüssel fehlen) und je eine ausziehbare Schreib- oder Ablagelade. Zwischen den Kästen eine große Schublade, der Schlüssel fehlt. Gesamthöhe 81 cm. Zerlegbar in die Schreibplatte, die zwei Seitenkästen sowie die mittige Schublade. Dazu der rotbraune, lederne Papierkorb (Maße 41 x 26 cm) mit Prägedekor sowie geprägtem Monogramm "DR". Eine Lederschreibmappe und ein ledergebundener Notizblock mit identisch geprägtem Monogramm. Hölzernes Utensilienkästchen mit Deckelfurnier aus Wurzelholz, eine lederne Schreibtischunterlage mit Löschpapiereinlage, eine hölzerne Löschwiege und ein Paar hölzerne Buchstützen. Im Oktober 1943 übersiedelte die Familie Rommel von Wiener Neustadt nach Herrlingen, zunächst in die als Haus Breitenfels oder Martin Buber-Haus bekannte Villa, in der bis 1939 unter Leitung von Hugo Rosenthal das "Jüdische Landschulheim Herrlingen" untergebracht war. Erwin Rommel, seit Juli 1943 Oberbefehlshaber der Heeresgruppe B und seit November 1943 verantwortlich für die Verteidigungsmaßnahmen am Atlantikwall, besuchte seine Familie so oft wie möglich in Herrlingen. Nach schwerer Verwundung durch Tiefflieger am 14. Juli 1944 verbrachte Rommel die Genesungszeit ebenfalls zu Hause in Herrlingen, wo er am 14. Oktober 1944 den Besuch der Generale Burgdorf und Maisel erhielt, die ihn wegen seiner angeblichen Beteiligung am Widerstand gegen Hitler vor die Wahl stellten, sich entweder mit Zyankali selbst zu töten oder sich vor dem Volksgerichtshof zu verantworten.Provenienz: Dazu eine Bestätigung über den Erwerb des Schreibtischs sowie des Papierkorbs von der Witwe Lucie Rommel im Jahr 1955 im Zuge einer Weiterveräußerung der beiden Gegenstände im Jahr 1963 an einen Rechtsanwalt. Außerdem eine Schenkungserklärung der Witwe des Rechtsanwalts an die Familie des heutigen Besitzers aus dem Jahr 2002. Die Dokumente können in der Vorbesichtigung in teils geschwärzter Kopie eingesehen werden, der Erwerber erhält selbstverständlich die ungeschwärzten Originaldokumente.Zustand: IIGFM Erwin Rommel – a private writing desk and a leather waste paper basket from his mansion in Herrlingen Dark-stained oak wood. Table top (dimensions 157 x 86 x 4 cm) covered with light brown leather and decorated with continuous brass rivets. Two lateral wooden boxes (dimensions 77 x 43 x 75 cm) with rounded corners, lockable doors, tinted copper fittings and large iron keys, on the left three extendable inner drawers, on the right false bottom, above it on each side a drawer (keys missing) and an extendable writing surface or storage tray. Between the boxes is a large drawer, the key is missing. Overall height 81 cm. Can be disassembled into table top, the two lateral boxes and the centre drawer. Comes with a waste paper basket of red-brown leather (dimensions 41 x 26 cm) embossed with décor and monogram "DR". Leather writing case and leather-bound notepad with identical embossed monogram. Wooden utensil box, the lid veneered with root wood, leather desk pad with inlaid blotting paper, wooden ink blotter and a pair of wooden bookends. In October 1943, the Rommel family moved from Neustadt/Vienna to Herrlingen and initially lived in a villa known as Haus Breitenfels or Martin Buber Haus, which accommodated the (tr.) "Jewish country hostel Herrlingen" directed by Hugo Rosenthal until 1939. Erwin Rommel, Commander-in-Chief of Army Group B since July 1943 and responsible for defensive actions at the Atlantic Wall since November 1943, visited his family in Herrlingen as often as possible. After having been seriously wounded by low-flying aircraft on 14 July 1944, Rommel also spent his recovery period at home in Herrlingen, where he was visited by Generals Burgdorf and Maisel on 14 October 1944, who, in consequence of his alleged participation in the resistance against Hitler, faced him with the choice of either killing himself with potassium cyanide or standing trial before the People’s Court of Justice.Provenance: Comes with a confirmation on the acquisition of the writing desk and the waste paper basket from his widow Lucie Rommel in 1955 in connection with the resale of both objects in 1963 to a lawyer. Also a deed of donation issued by the lawyer’s widow to the family of the present owner in 2002. Partly blacked-out copies of the documents can be previewed; the purchaser will then receive the unredacted original documents.Condition: II
Lot 5172
Herbert Knötel – ein Satz AquarelleAchtzehn einzeln gerahmte Aquarelle des Malers Herbert Knötel mit Darstellungen von Wehrmachtsangehörigen in Uniform und im Feldeinsatz. Herberts Vater, der berühmte Maler Richard Knötel, war für seine Illustrationen für Magazine und das Militär bekannt, veröffentlichte Uniformstudien in 18 Bänden und war eines der Gründungsmitglieder der Gesellschaft für Heereskunde. Sein Sohn Herbert, selbst ein vortrefflicher Illustrator, wurde als "Knötel, der Jüngere" bezeichnet. Es sind nur zwei existierende Aquarellsammlungen bekannt. Ein Rahmen ohne Glas, alle anderen intakt. Größe der gerahmten Illustrationen jeweils 22 x 28 cm.USA-Los: Versand aus den USA.Zustand: IIHerbert Knötel – A group of watercolors Eighteen individually framed watercolors, depicting various Wehrmacht armed forces in uniform and in action in the field, by the painter Herbert Knötel. Herbert’s father was the famous painter Richard Knötel, who was well known for magazine and military illustrations, published a study of uniforms in 18 volumes and was one of the founding members of the Society for Army Science. His son, Herbert, an accomplished illustrator himself, was referred to as “Knötel the Younger”. Only two sets of illustrations are known to exist. One frame has had glass removed, all others intact. Dimensions of each framed illustration 22 x 28 cm.USA-Lot: Shipping from the USA.Condition: II
Lot 5258
Chiffriermaschine HELL H-54 der deutschen BundeswehrLizenzfertigung für die deutsche Bundeswehr von der Kieler Firma Rudolf Hell mit verbesserter und robusterer Technik sowie vereinfachter Bedienung. Das olivfarben lackierte Gehäuse mit vernietetem Typenschild "HELL - ... H 54" mit Identnummer, im Deckel ein deutschsprachiges Hinweisschild, komplett mit Schlüsseln. Maße ca. 21 x 13,5 x 13,5 cm. Nahezu ungebraucht, Funktion und Vollständigkeit nicht überprüft. Zustand: I - IIA cipher machine HELL H-54 for the German Army Licence production for the German Army (Bundeswehr) by the company Rudolf Hell of Kiel with improved and more robust technology as well as simplified handling. The case lacquered in olive green, the riveted type plate "HELL - ... H 54" with ident number, on the inside of the lid a notice in German, complete with keys. Dimensions approx. 21 x 13.5 x 13.5 cm. Almost unused, not checked for functionality and completeness.Condition: I - II
Lot 5259
Chiffriergerätesatz der deutschen BundeswehrChiffriermaschine HELL H-54, eine Lizenzfertigung für die deutsche Bundeswehr von der Kieler Firma Rudolf Hell mit verbesserter und robusterer Technik sowie vereinfachter Bedienung. Das olivfarben lackierte Gehäuse mit vernietetem Typenschild "HELL - ... H 54" mit Identnummer, im Deckel ein deutschsprachiges Hinweisschild, komplett mit Anschlusskabel. Ohne Schlüssel. Klaviatur/Keybord B62. Das Gehäuse mit olivgrüner Lackierung und entsprechendem Typenschild ohne Seriennummer, mit den mechanischen Anschlüssen für die HELL H-54, QWERT-Tastatur. Funktion und Vollständigkeit nicht überprüft. Komplett mit der Transportkiste.Seltener Gerätesatz für größere mobile Einheiten oder Kommandostellen. Gewicht 30 kg.Zustand: II +A cipher machine set of devices for the German Bundeswehr Cipher machine HELL H-54, license production for the German Army (Bundeswehr) by the company Rudolf Hell of Kiel with improved and more robust technology as well as simplified handling. The case lacquered in olive green, the riveted type plate "HELL - ... H 54" with ident number, on the inside of the lid a notice in German, complete with connection cable. Without key. Keyboard B62. The case lacquered in olive green, the matching type plate without serial number, with the mechanical connections for the HELL H-54, QWERT keyboard. Not checked for functionality and completeness. Complete with carrying case.Rare set of devices for major mobile units or command posts. Weight 30 kg.Condition: II +
Lot 5260
Chiffriermaschine NeMa für das Schweizer Militär und BotschaftenDie NeMa (= Neue Maschine) war das Schweizer Nachfolgemodell der 1938 für die Schweizer Armee entworfenen Enigma-K. Wie diese, eine Rotor-Chiffriermaschine, jedoch mit zehn Walzen, davon fünf verdrahtet. Maschine und Transportkasten mit schwarzgrauer Originallackierung und Beschriftung, nummerngleich "T-D" (= Tasten-Drücker-Maschine) und "191" (Nummernkreis des Departments für auswärtige Angelegenheiten). Im Deckelinneren die Anschlusskabel und eine als "Geheim/Secret" klassifizierte deutschsprachige Bedienungsanleitung. Funktion und Vollständigkeit nicht überprüft. Insgesamt wurden 640 Maschinen von der Zellweger Uster AG hergestellt und in den Botschaften bis Mitte der 1970er Jahre verwendet.Zustand: II +A cipher machine NeMa for the Swiss military and embassies The NeMA (= new machine) was the Swiss successor model to the Enigma-K developed in 1938 for the Swiss Army. It was a rotor cipher machine as its predecessor, but it had ten wheels, five of which were wired. Machine and carrying case with original black-grey lacquer and inscription, "T-D" (= Tasten-Drücker-Maschine, tr. key stroke machine) with identical numbers and "191" (number range of the Department of Foreign Affairs). The inside of the lid with connection cables and a German instruction manual classified as "Geheim/Secret". Not checked for functionality and completeness. A total of 640 machines were manufactured by Zellweger Uster AG and used in embassies until the mid-1970s.Condition: II +
Lot 5264
Adleraufsatz für einen Schellenbaum des HeeresPolierter Aluminiumaufsatz, darstellend einen auffliegenden Adler mit ausgebreiteten Schwingen, in den Krallen das Hakenkreuz im Eichenlaubkranz. Altersspuren, leicht verformt, kleiner Haarriss am linken Bein. Holzsockel. Höhe ca. 41 cm, Spannweite ca. 55 cm. USA-Los: Versand aus den USA.Zustand: IIAn Eagle for a Jingling Johnny (Schellenbaum) of the Army Polished aluminum, the eagle with outstretched wings, its talons holding an oakleaf wreath with swastika. Lightly tarnished with minimal age marks with hairline crack in left leg. Mounted on a multi-tier wooden base with red felt covered underside. Height circa 41 cm, width circa 55 cm.USA-Lot: Shipping from the USA.Condition: II
Lot 5265
KFZ-Stander für Offiziere des HeeresFeldgrauer Dreieckswimpel mit beidseitig aufgenähtem, silbergrau gesticktem Heeresadler und heller Randeinfassung an den Längsseiten. Der innenseitige Verstärkungsrahmen mit Befestigungsösen. Komplett mit der ledern eingefassten Schutzhülle. Maße ca. 32 x 22 cm. Zustand: IIA vehicle pennant for army officers Feldgrauer Dreieckswimpel mit beidseitig aufgenähtem, silbergrau gesticktem Heeresadler und heller Randeinfassung an den Längsseiten. Der innenseitige Verstärkungsrahmen mit Befestigungsösen. Komplett mit der ledern eingefassten Schutzhülle. Maße ca. 32 x 22 cm. Condition: II
Lot 5266
Ein Paar KFZ-Stander für einen Divisionskommandeur des HeeresFeldgrauer Dreieckswimpel mit beidseitig aufgenähtem weißgewebten Heeresadler und hellgrauer Einfassungskordel an den Längsseiten. Ohne innenseitigen Verstärkungsrahmen, nur mit vernähtem Befestigungskarabiner und -schnur. Dazu ein passender schwarz-weiß-roter Wimpel für Divisionskommandeure. Der Befestigungskarabiner abgeschnitten. Alters- und Gebrauchsspuren. Maße ca. 30 x 19 bzw. 35 x 23 cm. Zustand: IIA pair of vehicle pennants for a Division Commander of the army Feldgrauer Dreieckswimpel mit beidseitig aufgenähtem weißgewebten Heeresadler und hellgrauer Einfassungskordel an den Längsseiten. Ohne innenseitigen Verstärkungsrahmen, nur mit vernähtem Befestigungskarabiner und -schnur. Dazu ein passender schwarz-weiß-roter Wimpel für Divisionskommandeure. Der Befestigungskarabiner abgeschnitten. Alters- und Gebrauchsspuren. Maße ca. 30 x 19 bzw. 35 x 23 cm. Condition: II
Lot 5267
Ein Paar KFZ-Stander für einen Bataillonskommandeur des HeeresFeldgrauer Dreieckswimpel mit beidseitig eingesticktem weißen Heeresadler und hellgrauer Einfassungskordel an den Längsseiten. Schwarz-rosa bzw. schwarz-rot (ausgeblichen, Luftwaffenmodell) unterteilter Dreieckswimpel. Die innenseitigen Verstärkungsrahmen jeweils mit Befestigungsbügeln. Längen ca. 36 cm. Sichtliche Gebrauchs- und Altersspuren. Zustand: II - IIIA pair of vehicle pennants for a Battalion Commander of the army Feldgrauer Dreieckswimpel mit beidseitig eingesticktem weißen Heeresadler und hellgrauer Einfassungskordel an den Längsseiten. Schwarz-rosa bzw. schwarz-rot (ausgeblichen, Luftwaffenmodell) unterteilter Dreieckswimpel. Die innenseitigen Verstärkungsrahmen jeweils mit Befestigungsbügeln. Längen ca. 36 cm. Sichtliche Gebrauchs- und Altersspuren. Condition: II - III
Lot 5268
Stahlhelm M 35 des Heeres mit beiden AbzeichenDie Glocke mit separat eingesetzten Belüftungsnieten, matter feldgrauer Lackierung und nahezu vollständig erhaltenem Adler- und Nationalschild. Schlagstempelungen "Q 64" und "3225". Lederfutter (leichte Tragespuren) mit Größenstempelung "56" und handschriftlichem Trägernamen, komplett mit Kinnriemen. Zustand: I - IIAn army steel helmet M 35 with double decals Die Glocke mit separat eingesetzten Belüftungsnieten, matter feldgrauer Lackierung und nahezu vollständig erhaltenem Adler- und Nationalschild. Schlagstempelungen "Q 64" und "3225". Lederfutter (leichte Tragespuren) mit Größenstempelung "56" und handschriftlichem Trägernamen, komplett mit Kinnriemen. Condition: I - II
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