Erich Heckel (Döbeln 1883 – 1970 Radolfzell am Bodensee). „Hockende (Hockendes Mädchen / Akt)“. 1913Holzschnitt auf weichem Velin. 41,9 × 31 cm (70 × 55,8 cm) (16 ½ × 12 ¼ in. (27 ½ × 22 in.)). Signiert und datiert.Ebner/Gabelmann 578 H A (von B).–Einer von 50 Abzügen. Ein Blatt der Folge: Elf Holzschnitte, 1912–1919. Berlin, Verlag I.B. Neumann, 1921. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985 / The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 9Zustandsbericht: Harmonischer Gesamteindruck. Die obere linke Blattecke angesetzt (4,7 x 9,5 cm). Am Unterrand sieben Randeinrisse (bis 4,8 cm). Die Blattecken bestoßen und mit Hinterfaserung stabilisiert. Wenige schwache Stockflecken. Unter UV-Licht sind vor allem im Randbereich Stockflecken zu erkennen.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
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Otto Mueller (Liebau/Schlesien 1874 – 1930 Breslau). „Fünf Gelbe Akte am Wasser“. 1921Farblithografie auf Bütten. 33,5 × 43,6 cm (42 × 53 cm) (13 ¼ × 17 ⅛ in. (16 ½ × 20 ⅞ in.)). Monogrammiert.Karsch 156 c (von c).–Einer von etwa 100 Abzügen aus einer Gesamtauflage von etwa 155 Exemplaren. Berlin, Hyperion-Verlag, 1921. [3174]Ausstellung: The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 13Zustandsbericht: Schöner kontrastreicher Druck mit leuchtenden Farben. In gutem Zustand. Minimaler Lichtrand. Die Blattkanten ohne Einrisse oder Fehlstellen. Rückseitig am Oberrand vier Montierungsreste (Japanpapier). Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Otto Mueller (Liebau/Schlesien 1874 – 1930 Breslau). „Drei Mädchen vor dem Spiegel“. Um 1922Lithografie auf Velin. 35 × 26 cm (44,8 × 32,9 cm) (13 ¾ × 10 ¼ in. (17 ⅝ × 13 in.)). Signiert.Karsch 124.–Einer von 50 Abzügen. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Max Pechstein (Zwickau 1881 – 1955 Berlin). „Badende III“. 1911Holzschnitt auf Japanbütten. 33,7 × 40,1 cm (41 × 52,6 cm) (13 ¼ × 15 ¾ in. (16 ⅛ × 20 ¾ in.)). Signiert und datiert. Rückseitig mit dem Sammlerstempel Lugt 83b.Krüger H 98.–Einer von mindestens 15 Abzügen. Blatt 3 ( von 11) der Folge: Badende [nicht als Mappe erschienen]. Berlin, Verlag Fritz Gurlitt. [3174]Provenienz: Ehemals Arthur B. Spingarn, New YorkAusstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985 / The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Auktion: Modern Paintings, Drawings, Watercolors, Sculptures: A Group of Works by Contemporary Italian Artists / Various Owners, Including Arthur B. Spingarn, Mr. and Mrs. Bernard Sanders, Warner Leroy. New York, Parke-Bernet Galleries Inc., 10.3.1966 / Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 11Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Willi Baumeister (1889 – Stuttgart – 1955). „Apoll (Apoll II)“. 1921-22Lithografie auf Bütten. 36,8 × 22,8 cm (14 ½ × 9 in.). Signiert.Spielmann/Baumeister 18 / Söhn HDO 72716-1 (hier irrtümlich betitelt: Apoll I).–Einer von 125 Abzügen. Blatt 1 (von 10) der Mappe: Die Schaffenden, IV. Jahrgang, 4. Mappe. Berlin, Euphorion-Verlag, 1923. [3174]Ausstellung: The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 19Zustandsbericht: In gutem Zustand. Blattkanten gebräunt und ohne Einrisse oder Fehlstellen. Am rechten Rand ein sorgfältig mit Japan hinterfaserter Randeinriss (0,7 cm) sowie ebenso hinterfaserte kleine Knicke. Rückseitig am Oberrand zwei Montierungsreste (Japanpapier).Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Erich Heckel (Döbeln 1883 – 1970 Radolfzell am Bodensee). „Frauen am Strand“. 1919Holzschnitt auf Velin. 46 × 32,5 cm (61 × 43,4 cm) (18 ⅛ × 12 ¾ in. (24 × 17 ⅛ in.)). Signiert, datiert und betitelt.Ebner/Gabelmann 743 H A (von B).–Abzug außerhalb der Auflage von 40 Abzügen. Ein Blatt der Folge: Elf Holzschnitte 1912-1919. Berlin, Verlag I.B. Neumann, 1921. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985Zustandsbericht: In gutem Zustand. Im früheren Passepartoutausschnitt leicht gebräunt. Die Blattkanten ohne Einrisse oder Fehlstellen. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Lyonel Feininger (1871 – New York – 1956). „Dorf (mit Kirche)“. 1919Holzschnitt auf Bütten. 28,4 × 35,9 cm (40,5 × 55,4 cm) (11 ⅛ × 14 ⅛ in. (16 × 21 ¾ in.)). Signiert, betitelt und mit der Werknummer bezeichnet.Prasse W 190.–Einer von nur 5 bekannten Abzügen. Selten. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Blattränder leicht wellig. Unter UV-Licht sind keine Restaurierungen erkennbar. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Lyonel Feininger (1871 – New York – 1956). „Die grüne Brücke (Torbogen)“. 1910/11Radierung auf Zanders-Bütten (Wasserzeichen: Einhorn). 27 × 19,9 cm (38,5 × 29,4 cm) (10 ⅝ × 7 ⅞ in. (15 ⅛ × 11 ⅝ in.)). Signiert.Prasse E 22 / Söhn HDO 52003-2.–Einer von 150 signierten Abzügen aus einer Gesamtauflage von 275 Exemplaren. Blatt 2 (von 10) der Zweiten Jahresgabe des Kreises graphischer Künstler und Sammler. Leipzig, Verlag Arndt Beyer, 1922. [3174]Ausstellung: The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 14Zustandsbericht: In gutem Zustand. Die Blattränder minimal gebräunt. Die Blattkanten ohne Einrisse oder Fehlstellen. Oberhalb der oberen Brückenlinie ein schwacher Fleck, papierbedingt. Rückseitig an den oberen Ecken Montierungsreste (Japanpapier). Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Otto Mueller (Liebau/Schlesien 1874 – 1930 Breslau). „Paar am Tisch“. 1922-25Farblithografie auf Papier. 38,5 × 29,2 cm (50,5 × 39,5 cm) (15 ⅛ × 11 ½ in. (19 ⅞ × 15 ½ in.)). Signiert.Karsch 155 III b (von b).–Einer von 60 nummerierten Abzügen. [3174]Ausstellung: The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. Abb. / Druckgraphik des deutschen Expressionismus. Wien, Künstlerhaus (anlässlich der Wiener Festwochen), 1984, Kat.-Nr. 13 (Mueller), m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 12Zustandsbericht: Ex. 22/60.In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen; beschnitten. Unter UV-Licht sind keine Restaurierungen erkennbar. Rückseitig am Oberrand drei Montierungsreste (Japanfasern). Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Lyonel Feininger (1871 – New York – 1956). „Das Tor“. 1912Radierung und Kaltnadel auf Velin. 27,1 × 19,9 cm (32,6 × 25,4 cm) (10 ⅝ × 7 ⅞ in. (12 ⅞ × 10 in.)). Signiert.Prasse E 52 / Söhn HDO 72701-1.–Einer von 125 Abzügen. Blatt 1 (von 10) der Mappe: Die Schaffenden, I. Jahrgang, 1. Mappe. Weimar, Verlag Gustav Kiepenheuer, 1918 (mit dem Prägestempel). [3174]Ausstellung: The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. Abb. / „I Also Collect Prints, Drawings, or Photographs“. A Sampling of Club Members’ Other Collections. New York, Grolier Club, 2007/08Literatur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 15Zustandsbericht: In gutem Zustand. Die Blattränder minimal gebräunt. Die Blattkanten beschnitten, ohne Einrisse oder Fehlstellen. Der Unterrand rückseitig mit Japanfasern stabilisiert. Rückseitig an den oberen Ecken Montierungsreste (Japanpapier). Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Otto Mueller (Liebau/Schlesien 1874 – 1930 Breslau). „Zwei stehende und ein sitzendes Mädchen (Zwei Stehende und ein hockender Akt)“. 1922-25Lithografie auf Papier. 39 × 29,7 cm (53,5 × 43,8 cm) (15 ⅜ × 11 ¾ in. (21 ⅛ × 17 ¼ in.)). Signiert.Karsch 128.–Einer von 60 nummerierten Abzügen. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985Zustandsbericht: Ex. 29/60.In gutem Zustand. Am rechten Blattrand in der oberen Hälfte drei kurze hinterlegte Randeinrisse (bis 3 cm). Am linken Blattrand in der oberen Hälfte zwei kurze hinterlegte Randeinrisse (jeweils 0,7 cm). Die Blattecken durch Hinterfaserungen stabilisiert. Die Blattränder minimal knittrig. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Max Pechstein (Zwickau 1881 – 1955 Berlin). „Badende I“. 1911Holzschnit auf Japan, vom Künstler mit Wasserfarben koloriert. 40 × 32,7 cm (59 × 50,5 cm) (15 ¾ × 12 ⅞ in. (23 ¼ × 19 ⅞ in.)). Signiert und datiert: 1912.Krüger H 96.–Abzug außerhalb der Auflage von 23 Exemplaren. Blatt 1 (von 11) der Folge: Badende. Berlin, Verlag Fritz Gurlitt. [3174]Ausstellung: Images of Women. New York, Pace Editions Inc., 1981 / Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985 / The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 10Zustandsbericht: Harmonischer Gesamteindruck. Die Farben etwas geblichen. Die Blattkanten ohne Einrisse oder Fehlstellen.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). „Matrose und Mädchen“. 1923Farblithografie auf Bütten. 48,3 × 37,4 cm (59,3 × 46,4 cm) (19 × 14 ¾ in. (23 ⅜ × 18 ¼ in.)). Signiert und datiert.Karsch 68 III b (von III.b.).–Einer von 65 Abzügen. Berlin, Karl Nierendorf. [3174]Ausstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985Zustandsbericht: In gutem Zustand. Leicht unregelmäßig gebräunt im Randbereich. Am Oberrand rechts der Mitte ein kurzer Randeinriss, hinterlegt (1,1 cm). Am rechten Rand unterhalb der Mitte ein kurzer Randeinriss (0,9 cm). An der oberen rechten Blattecke ein schwacher diagonaler Knick, 18 cm. Das Blatt ist unmontiert. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
![Dick Cole 7 (1950s) Accepted reprint (Vol. 1, No 6 on cover). L.B. Cole cover art. 2 ins lower spine split [vg-]. No Reserve](https://cdn.globalauctionplatform.com/ff8964cd-d449-4e2f-83ec-b10f00ef8397/a3fdf31d-51ad-4868-a90d-b10f00f40ec5/468x382.jpg)
Buck Jones Cowboy Comics/Fighting Sheriff of the Ranges (Australian issues 1949-52) 1-36 complete run designed by Amalgamated Press, printed by Land Newspapers, Sydney, Australia. With cover art by George Cattermole and Geoff Campion, these full-size comics were the template for the hugely successful Cowboy Comics/Cowboy Picture Library digest-size UK series that was published from 1952 once paper stocks became more widely available in post-war Europe. This complete run is extremely rare. No 1 [vg+], Nos 25, 29, 36 [gd/vg], most issues [vg/fn] with a few later issues [fn/vfn] (36)
Tim Holt - Cowboy Star of the Films (1949-50) 1-4 complete run designed by Amalgamated Press and printed by Century Press/ Land Newspapers in Australia. Cover art by Geoff Campion. Interior art by Frank Bolle. With Captain Flame 1 (1949) cover and interior art by Eric Parker, Battling Samson 1 (1949) and Thunderbolt Jaxon (1949) 4, 6. These rare Tim Holt full-size comics were the template for the hugely successful Cowboy Comics/Cowboy Picture Library digest-size UK series published in the 1950s once paper stocks became more widely available in post-war Europe. Battling Samson 1, Thunderbolt Jaxon 4, both [vg-], balance [vg/vg+] (8)
Waterman Patrician lot (2). The Patrician was Waterman's first foray into celluloid pens, the last of the "big four"(Waterman, Wahl Eversharp, Sheaffer and Parker), to make the jump from hard rubber or vulcanite to celluloid. These pens are known for their bright colours and Art Deco elements. The lot consists of a Turquoise marble with some wear throughout along with a Jet with a hard rubber barrel and celluloid cap. Overall fair condition, both with trim wear and general wear throughout. Both pens have original Patrician 14k extra fine semi flexible nibs and original feeds.
Eversharp (3) and Wahl Oxford (3) fountain pens and mechanical pencils. The lot consists of a Bantam in blue marbled, a Junior in green marble with purple, Art Deco style pencil in black with white, an Oxford Art Deco style pen in black with silver diagonal lines, an Oxford in blue marble and an Oxford pencil in gold marble with red. Overall mixed condition, some wear and nib damage present.
Parker fountain pen ring top lot (2). The lot consists of a True Blue Streamlined pen with a silver and black Art Deco box and extra fine flexible nib, along with a Lady Duofold flattop in black with fine nib. Overall fair to good condition, True Blue has reasonable colour but the end piece shows heavy marring. Both pieces have original Christmas Tree feeds. Art Deco box in good condition.
Parker Duofold Art Deco enamel base. Parker made a series of these bases, this example has beautiful enamel work with reds, blues, greens and cream colouration bordered with Chromium trim. Original Parker label on the front side of the base. Overall excellent condition with slight loses and wear. The pen holder or “tulip†is fitted for a Parker Duofold Junior desk pen.
Waterman Edson Diamond Black fountain pen. The Waterman Edson has a classic late 1990's retro-Art Deco design. The Diamond Black version of the Edson has a grey cap with dark grey/black barrel, this example has a medium 18k 750 nib. Overall fair condition with some chips to the finish and small ding to the crown of the cap, comes with a Waterman Paris box.
Frankreich - Bronzemedaille 1901, Jahresfeier der Gobelin Manufaktur Paris, von Alphée Dubois (1831 - 1905), Av: CHARLES LE BRUN / 1619 - 1690, sign. "Alphée Dubois", 3/4- Büste Charles le Bruns mit Umhang und Perücke nach links, Rv: Darstellung Athenas mit zwei Eroten. Sie unterweist eine junge Frau in der Kunst der Tapisserie, TROISIEME CENTENAIRE DES GOBELINS 1601 - 1901 in Kartusche "DESCLEFS", sign. ALPHÉE DUBOIS D'APRÈS TRÉMOLIÈRES, Rand: Randpunze "Füllhorn" und "BRONZE", vz., mehrere kleine Randfehler, feine Patina, geringe Kratzer, kleine Randkerben, teils Berieb des Reliefs, ca. 129,9g.Bei der Vorlage des rückseitigen Reliefs handelt es sich um ein Gemälde von Pierre-Charles Trémolières (1703 - 1739) im Pariser Hôtel de Soubise. Der Hofmaler Charles le Brun (1619 - 1690) war u. a. Direktor der königlichen Gobelin-Manufaktur in Paris. | France - Bronze medal 1901, anniversary of the Gobelin Manufactory Paris, by Alphée Dubois (1831 - 1905), Obv: CHARLES LE BRUN / 1619 - 1690, sign. "Alphée Dubois", 3/4- Bust of Charles le Brun with cloak and wig to the left, Rv: Depiction of Athena with two Erotes. She is instructing a young woman in the art of tapestry, TROISIEME CENTENAIRE DES GOBELINS 1601 - 1901 in cartouche "DESCLEFS", sign. ALPHÉE DUBOIS D'APRÈS TRÉMOLIÈRES, edge: edge punch "Füllhorn" and "BRONZE", several small edge defects, fine patina, minor scratches, small edge nicks, some rubbing of the relief, approx. 129.9g.
Frankreich - Silbermedaille der Gartenbaugesellschaft Nordfrankreich 19.Jh., - Palast Rameau, Lille, von Jean-Claude Esparon (1823 - 1886), Av.: VILLE DE LILLE, Gekrönter Schild mit dem Wappen der Stadt Lille, sign.: J.ESPARON. F, Rv: Kreisförmige Umschriften und Perlkreis, SOCIETE REGIONALE D'HORTICULTURE DU NORD DE LA FRANCE-LILLE /PALAIS RAMEAU, Rand: Punzierungen "Füllhorn" und "ARGENT", ss, Randfehler, Randkerben, Kratzer, Kerben, Abrieb des Reliefs, Tönung, 86,5g Ag rau. 1878 vermachte Charles Rameau, der damalige Präsident der Société lilloise d'horticulture, der Stadt Lille 300.000 Francs unter der Bedingung, dass ein nach ihm benanntes Gebäude errichtet wird, das für Blumen- und Obstausstellungen, aber auch für Kunstausstellungen oder Musikfeste konzipiert wird.Der Palast wurde am 22. Juni 1879 eingeweiht und war Schauplatz verschiedener Blumenausstellungen und gärtnerischer Veranstaltungen. Jean-Claude Esparon (1823 - 1861) war ein französischer Medailleur.| France - Silver medal of the Horticultural Society of Northern France 19th cent. - Rameau Palace, Lille, by Jean-Claude Esparon (1823 - 1886), Obv: VILLE DE LILLE, crowned shield with the coat of arms of the city of Lille, signed: J.ESPARON. F, Rv: circular inscriptions and pearl circle, SOCIETE REGIONALE D'HORTICULTURE DU NORD DE LA FRANCE-LILLE /PALAIS RAMEAU, edge: hallmarks "Füllhorn" and "ARGENT", VF, edge defects, edge nicks, scratches, nicks, abrasion of the relief, toning, 86.5g Ag rough.In 1878, Charles Rameau, then president of the Société lilloise d'horticulture, bequeathed 300,000 francs to the city of Lille on condition that a building named after him be erected, which would be designed for flower and fruit exhibitions, but also for art exhibitions or music festivals. The palace was inaugurated on June 22, 1879 and was the venue for various flower exhibitions and horticultural events. Jean-Claude Esparon (1823 - 1861) was a French medallist.
Art-déco Diamant-Anhänger an Kette. Platin und 14 kt. WG. In feiner Millegriffesfassungen Besatz mit 17 Diam. im Alt-, antiken 8/8- und Übergangsschliff zus. ca. 1 ct. Leicht Getöntes Weiß(I/J).vs-P. und 4 kl. Rosendiam. 39 x 26 mm, Gew. ca. 10,3 g. Auch als Brosche tragbar, die mit kl. Werkzeug abnehmbare Anhängeröse kann ersetzt werden durch die aufschraubbare Nadelmontierung, Kette 14 kt. WG L. 62 cm. Mit Etui. -
Art-déco Diamant-Saphir-Ring. Um 1920. 14 kt. GG mit Platin. Der zentrale Diam. im Marquiseschliff ca. 0,45 ct. Getöntes Weiß(L).P. In Millegriffesfassungen 14 Diam. im Altschliff zus. ca. 0,40 ct. Weiß(H)-Leicht Getöntes Weiß(J).si-P. mit 12 kl. Saphiren im Carréeschliff zus. ca. 0,24 ct. Ringkopf 19,5 x 10 mm, Weite 50, Gew. ca. 2,7 g. Angaben laut Bewertungsbericht Omankowsky Berlin von Januar 2018. -
Art-déco Ring und Anhänger mit Chrysopras-Besatz. Um 1920/25. 18 kt. GG mit Platin, tlw. rhodiniert, Ring gest. 585. Besatz mit insges. 19 Diam. im Alt-, Übergangs- und Rosenschliff zus. ca. 0,65 ct. Weiß(H)-Leicht Getöntes Weiß(J).si-P. und je einem Chrysopras-Cabochon in Ovalform (ca. 12 x 10 mm und 17 x 11 mm). Anhänger mit Öse 34 x 12 mm, variierender Ringkopf 18 x 17 mm, Ringreif erweitert Weite 58, Gew. zus. mit Kette in 14 kt. ca. 10 g. -
Montblanc. Limitierte Patron of Art Edition Füllfederhalter 'The Prince Regent'. 1995. Feder 18 kt. GG, Sterlingsilber, vergoldet, königsblauer Edelharz. Edition 1459 von 4810 Exemplaren. Corpus mit geflochtenem Besatz und Krone aus vergoldetem Sterlingsilber. Unbenutzt, Kolbenfüller. Stärke M, L. 14 cm. Mit Box, Kartonage und Anwenderbroschüre. -
Art-Nouveau Opal-Diamant-Anhänger mit Naturperlen an Kette 'Fleur de Trompette'. Um 1900. 14 kt. Roségold mit Platin, Kette 333 gest. Floral durchbrochen gearbeitet, farbfeiner Besatz mit hellem Opal ovaler Form (ca. 17,4 x 11 x 5 mm), 15 platingefassten Altschliffdiam. zus. ca. 0,50 ct. weiß(H)-Leicht Getöntes Weiß(J).vvs-vs. und über 110 kleinen, natürlichen Mabé- und Saatperlen. Mit Öse 70 x 42 mm, Kette L. ca. 150 mm, Gew. zus. ca. 23,5 g. -
Montblanc. Limitierte Patron of Art Edition Füllfederhalter 'Karl der Grosse'. Feder 18 kt. GG, gest., Sterlingsilber vergoldet, schwarzer Edelharz. Edition 3832 von 4810 Examplaren. Sterlingsilber Corpus und Kappe mit vergoldeten Friesen. Onyx Stein im Clip. Unbenutzt, Kolbenfüller. L. 14 cm, Stärke M. Mit Box, Kartonage und Anwederbroschüre. -
From the 'DJH Ford Collection', an original, unused/uninstalled factory bench-tested RS500 engine; 'automotive art' or as a spare, either way it's magnificent. The Sierra RS Cosworth might have been the first Ford to be honoured with the Cosworth name, but the relationship between the two companies dates back to the 1960s when the American car producer funded the development of a 3-litre V8 engine for Lotus' F1 car. The resulting V8, known as the DFV, then went on to be a dominant engine in Formula 1 for over a decade, winning 155 Grand Prix.Despite reigning supreme on track and in rallying throughout the decade, by the end of the 1970s, Ford’s motorsport dominance was on the wane. Even the once all-conquering Ford-Cosworth DFV Formula 1 was starting to lose out to more modern turbocharged units. This was painfully obvious when a Ford VIP contingent visited the 1983 British Grand Prix at Silverstone, where a Touring Car race supported the main event and Ford bosses, Stuart Turner and Walter Hayes, were dismayed to witness a group of Capris being humbled by SD1s with Rover V8 power.The solution was again to be found with the engineers at Cosworth who had previously developed a four-cylinder engine for Ford's racing and rallying saloons in the late 1960s and 1970s. The Mk1 Escort RS1600, which replaced the Lotus-powered Twin Cam Escort, had a 1,600cc engine with a 16-valve head designed by Cosworth called the 'BDA'.The formula for the Sierra wasn’t dissimilar to that of the earlier homologation Escorts and Cosworth and the trusted cast iron block from Ford’s single-overhead cam, the T88 Pinto that was used in the Escort RS2000, was utilised to form the basis of this new engine. Code named 'YAA', Cosworth designed an aluminium head to suit the Pinto block with two belt-driven cams operating 16 valves; eight 35mm diameter inlet valves and eight 31mm exhaust. Compared with the basic Pinto, almost everything changed except for the cylinder block itself and the new head and valve gear were matched to a new steel crankshaft, rods, pistons, and sump, and hydraulic valve lifters were a given. A turbocharger was always part of the plan and a Garrett AiResearch T3 with an intercooler were selected boosting power to 201bhp at 6,000rpm and 205lb/ft at 4,500rpm, in road car spec.With a new facility to produce the production-ready version (now with the 'YB' prefix), the first prototype started test-bed work in Northampton in June 1984 although the first engines and test cars didn’t go to Weber-Marelli in Italy until September 1984 before subsequently being 'signed off' by mid-1985.First utilised in the 3-door Sierra RS Cosworth of 1986 - introduced for homologation to allow Ford to go 'Group A' Touring Car racing - the new production 1,993cc YBB engine proved to be legendary, both on road and track. When the ruling allowed for an 'evolution' upgraded model to compete, spawning the RS500 Cosworth, the YB engine stepped-up too, the grateful recipient of further development.To cope with the requisite extra horsepower required, the original YBB motor was switched to an uprated 'YBD' unit which featured a reinforced block (still cast-iron) with thicker walls (note, there are two main types of YB block - known as the 205 and the 200, the latter is a thicker-wall design and was found in 4 x 4 versions, such as the Escort and 1990 Sapphire; the RS500 block was also a thick-wall design but stamped 205, recognisable by its smaller core plugs). Other differences included a bigger Garrett AiResearch T04 turbo plus a larger air-to-air intercooler, pressurised oil-cooled pistons, uprated oil, water and fuel pumps and beefier (orange) air hoses for the radiator and turbo, and a re-mapped ECU.Ford pushed the limit of the Homologation rules to the maximum for the RS500 and the road car featured components that weren’t at all functional but allowed legal modifications on the race cars. The RS500's Cosworth YB engine had an inactive secondary injection system fitted so, when activated on the race cars, their engines could swallow greater amounts of fuel and produce more power (with a different engine map and the second injectors squirting fuel, race RS500s made an 'easy' 485bhp and it didn’t take much more before the engine was putting out 525bhp).In addition, the YBD’s induction system was reconfigured with a bigger intake plenum which, along with a new secondary fuel rail, required one corner of the battery tray be cut away for installation, and a slightly different thermostat housing and alternator bracket. On the road cars, the RS500's power rating went from 201bhp to 224bhp at an unchanged 6,000rpm. Peak torque was the same as the regular Sierra RS Cosworth: 204lb/ft at 4,500rpm.Although undoubtedly successful before, the Ford Sierra became really dominant when the RS500 took to the circuit, winning the 1988 DTM championship, the 1989 Spa 24 Hours, the 1988 and 1989 Bathurst 1,000km, the 1988 and 1989 Australian Touring Car Championship, the 1988 and 1989 Japanese Touring Car Championship and the 1990 British Touring Car Championship.The engine presented here is a Cosworth factory, bench-tested YBD unit, #YBD 0626, designed and built for an RS500 road car. Tested and signed off by Cosworth, confirmed by a tag, it's understood to be one of the very last YBD engines to leave the factory. We understand that it has always been complete (i.e. never as separate components), has never been apart, rebuilt nor ever installed into a car, being sat on its plinth since manufacture. All the factory elements appear to be present and correct, the stampings included, even down to the original FRAM oil filter!Meticulously kept - in pride of place even - alongside his two RS500 cars, it has been owned by our vendor for last 14 years. He sourced it from an ex-pat Ford aficionado living in Malta who had acquired it previously in the UK (some 6 years before). Rumour has it that only a handful of unused YBD engines still exist.For the serious collector or enthusiast, this 'jewel' of an engine is supplied with a bespoke glass display case and is now ready to be appreciated by its next custodian; what an opportunity.N.B. Please note this lot will be sold with a buyers premium of 20% plus VAT as per our usual memorabilia terms.Click here for more details and images
One of the most spectacular creations of its time, the 750 F1 is still one of the most sought after motorcycles in Ducati history. On offer from a private Collection, this fabulous example has not been used since being fully recommissioned. Considered by many enthusiasts to be the last of the 'real' (pre-Cagiva takeover) Ducatis, the race-styled 750 F1 first appeared in 1985. Ducati had already enjoyed considerable success with its Pantah-derived F2 racers in FIM Formula 2 racing - Tony Rutter winning the championship four times running between 1981 and 1984 - so a '750' version was the logical next step.First seen in prototype form in endurance races in 1983, the F1's 748cc engine was the latest in a long line of stretches applied to the original 500c 'belt drive' Desmo unit that had first appeared in the Pantah in 1979. An markedly over-square design of 88mm x 61.5mm bore/stroke, the F1 engine produced around 60bhp and functioned as a stressed element within the frame, the swinging arm pivoting in the rear of the gearbox. Clearly visible above the deliberately cut away fairing sides, the aforementioned frame attracted almost as much attention as the engine: a trellis of short, straight tubes, it has formed the basis of every road-going Ducati since, as well as the first Desmosedici Moto GP racers. In the fashion of the day, the F1 came with a 16" front wheel, while braking power was provided by state-of-the-art triple Brembos. The stock F1 was complemented by a series of hand-built limited edition race replicas – Montjuich, Santamonica and Laguna Seca – the last inspired by Marco Lucchinelli's famous 'Battle of the Twins' race victory at Daytona in 1986.Today, the evocatively named F1 and its derivatives are highly prized by Ducati collectors. First registered on 7th August 1986, this Ducati F1 was purchased by its second owner, the renowned collector and entrepreneur, Robert White, in September 1989 from Three Cross Motorcycles (sales invoice on file). The Ducati formed part of Robert White’s Collection from 1989 up until 2016 when he then auctioned off his collection, with the current owner being the lucky bidder that day and he, in turn, has kept it in his heated garage ever since.In late January 2017, the bike was entrusted to Rhodes & Track for recommissioning and they went right through it including a carb overhaul, replacement hoses, chain, sprockets, plugs, gaskets, battery, fresh fluids, new tyres and the fairing was painted. This work amounted to £1,818 and the invoice is on file.Presented in unrestored condition, this fabulous Ducati displays a, believed-genuine, 10,787km (approximately 6,702 miles) on the odometer and is offered with SORN paperwork and its V5C registration document. N.B. Please note this lot will be sold with a buyers premium of 15% plus VAT as per our usual motorcycle terms.Specification Make: DUCATI Model: 750 F1 Year: 1986 Chassis Number: NA Registration Number: D41 EPR Transmission: Manual Engine Number: 7500821 Drive Side: Right-hand DriveClick here for more details and images
**The car has just received a full service and vehicle health check at Sytner BMW with no advisories/suggested action**The E46 M3 CS Leichtbau was the definitive 'Touring Car' for the road. Only 947 miles from new and a single former keeper - the best available? Probably. With only 1,383 examples produced during its 2004 production run, the E46 M3 CSL was the definitive 'Touring Car' for the road. Available in only two colours, Silver-Grey metallic and Black Sapphire metallic, with a purposeful but not overly compromised cockpit.The proven S54B32 in-line 6-cylinder engine of the BMW M3 remained in the M3 CSL as the 3,246cc S54B32HP but now offered even more power, at 360bhp. By adapting its camshafts and valves, the engineers at BMW M were able to generate a further 17bhp and an additional 5Nm torque. A special highlight of the engine is its airbox: not only is it particularly light, but the carbon component also gave the engine the uniquely characteristic intake noise that became so popular with enthusiasts. Mated to the exclusive SMG II transmission, this state-of-the-art transmission featured a launch-control mode that automatically shifts at the optimum point for maximum acceleration and this, in turn, was mated to the standard E46 M3 final drive and M differential lock. Finally, the DSC can be switched to 'M Track' mode with a steering wheel-mounted button, raising the threshold at which the system intervenes to allow for some degree of wheelspin. 0 - 60mph is in an incredible 4.6 seconds, totally remarkable in a car with four comfortable seats, electric windows and a boot spacious enough for the weekly shop.BMW's 'Leichtbau' philosophy in relation to the mass-produced M3 was not only to reduce weight overall, but to distribute the weight savings in order to retain the E46 3-Series' perfect 50/50 split. To get the centre of gravity as low as possible, the CSL adopted many weight-saving technologies from BMW's Formula 1 racing applications. A large proportion of the M3's sound insulation was removed, along with the electric seats and navigation systems. The CSL's unique body pieces, including the roof, were all crafted from carbon fibre, glass-reinforced plastics were used throughout structural points in the car and the standard rear window was replaced with one made from thinner glass. The results were considerably more effective than the 110kg weight saving would suggest, as the reduction in mass in conjunction with the lowered height of that mass and less body flex led to a dramatic improvement in dynamics.Externally, the CSL can be identified by numerous details, such as the special door sills, the curved spoiler lip on the boot lid and, of course, the addition of those three special letters on its rear. The single 'porthole' on one side of the front apron, which gives the engine the necessary oxygen by means of an enlarged intake air duct, is unique to this model.The car presented here is a 2004 BMW M3 (E46) CSL, one of the 422 UK-supplied examples, which has covered an incredibly low 947 miles from new. Iconic Auctioneers are privileged to offer for sale what we believe to be the lowest mileage M3 CSL in existence.It was supplied new through Lancaster BMW on the Isle of Man, and was first registered there on the 7th January 2005. Its original owner bought the car and immediately placed it into his garage, barely using it for the next couple of years. In 2007, our vendor, a keen car enthusiast, travelled over to buy it, driving it briefly around the island, before trailering it safely back home, and that's where it has resided ever since, professionally stored, on an OptiMate trickle-charger, regularly run-up, and only being removed for a comprehensive service at BMW on the 27th May 2020 (at 947 miles).The car is as good as any enthusiast-collector would want, being virtually unmarked. The paint is factory-fresh, the underside is spotless and the interior still smells 'of BMW'. It is as close to a new M3 CSL as is surely possible; quite something when you think this is now a 20-year-old car.We invite any interest and inspection of car that surely represents a unique opportunity. The M3 CSL is a 'high-tide mark car' and this example is undoubtedly the 'best-of-breed'.SpecificationMake: BMWModel: M3 CSLYear: 2004Chassis Number: WBSBL96010JC98401Registration Number: TBATransmission: SMGEngine Number: 60773147Odometer Reading: 947 MilesMake: Interior Colour: Amaretta Suede / Reflex ClothClick here for more details and images
Graded Comic Books comprising of four issues to include; 1) Uncanny X -Men #522 - Marvel comics 5/10 - Variant Edition - Matt Friction story - Whilce Portacio & Ed Tadeo Art - Mark Brooks Cover - Return Of Kitty Pryde - Fantastic Four App - Back-up Story By Matt fraction, Phil Jimenez & Andy Lanning - CGC Grade 9.8 - White Pages. 2) X -Men: Black Sun #5 - Marvel Comics 11/00 - Chris Claremont Story - Pablo Raimondi Art - Vince Evans Cover - CGC Grade 9.8 - White Pages. 3)Wolverine & The X -Men #7 - Marvel Comic 5/12 - Jason Aaron Story - Nick Bradshaw Cover & Art - CGC Grade 9.8 - White Pages. 4)X -Men Unlimited #36 - Marvel Comics 7/02 - Chris Claremont, Ian Edginton & Jeff Jenson Story - Salvador Larroca, Joe Chiodo & John Totleben Art - CGC Grade 9.8 - White Pages.
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