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Gau 02 Bayreuth, vorm. Gau Bayerische Ostmark: 58 Abzeichen Diverse Abzeichen aus unterschiedlichen Materialien (Holz, Kunststoff, Metall, Stoff und Ton). Kleinabzeichen aus der Region, von teilweise handwerklich ausgearbeiteten Ausführungen. Auch zum Bayerischen Fasching gab es künstlerisch gestaltete Faschingsorden in mehreren Ausführungen bis hin zur 1. Klasse, welcher sich in der Sammlung befindet. Zustand: I - II Gau 02 Bayreuth, vorm. Gau Bayerische Ostmark: 58 Abzeichen Diverse Abzeichen aus unterschiedlichen Materialien (Holz, Kunststoff, Metall, Stoff und Ton). Kleinabzeichen aus der Region, von teilweise handwerklich ausgearbeiteten Ausführungen. Auch zum Bayerischen Fasching gab es künstlerisch gestaltete Faschingsorden in mehreren Ausführungen bis hin zur 1. Klasse, welcher sich in der Sammlung befindet. Condition: I - II

Buch "SS Porcelain Allach", zwei Porzellan-Kataloge Buch mit Schutzumschlag, Herausgeber Tony L. Oliver mit pers. Widmung an Sammler-Paar, 1972, Text von Michael J. Passmore, Verlag und Druck "T.L.O. Publications", 107 Seiten Text und zahlreich bebildert. Maße 21 x 15,5 cm. Dazu Nachdruck des Verkaufskataloges "Porzellan=Manufaktur Allach" von 1938/39. Katalog der Manufaktur Eschenbach mit Abbildungen von ehem. bei PMA produzierten und wieder aufgelegten Objekte, Entwurf Prof. Th. Kärner u.a., Druckerei Neumeister in Bayreuth, Graphik Wenz, Klischee Meyle & Müller in Pforzheim, Deutschland 1950er Jahre, Maße 15,5 x 23 cm. Zustand: II + A book "SS Porcelain Allach", two porcelain catalogues Buch mit Schutzumschlag, Herausgeber Tony L. Oliver mit pers. Widmung an Sammler-Paar, 1972, Text von Michael J. Passmore, Verlag und Druck "T.L.O. Publications", 107 Seiten Text und zahlreich bebildert. Maße 21 x 15,5 cm. Dazu Nachdruck des Verkaufskataloges "Porzellan=Manufaktur Allach" von 1938/39. Katalog der Manufaktur Eschenbach mit Abbildungen von ehem. bei PMA produzierten und wieder aufgelegten Objekte, Entwurf Prof. Th. Kärner u.a., Druckerei Neumeister in Bayreuth, Graphik Wenz, Klischee Meyle & Müller in Pforzheim, Deutschland 1950er Jahre, Maße 15,5 x 23 cm. Condition: II +

Mid 18th Century German Fraenkel and Shrenck (Bayreuth) faience tankard, circa 1745-47, the hinged pewter cover with ball thumbpiece over medallion, the cylindrical body with perching bird between sponged manganese trees, blue dash handle, initialled beneath BFS, 26cm high Condition: Pewter cover is somewhat bent and buckled. Faience body has several vertical cracks, one of these beside handle extending at least halfway done body, another at side of body also extendes halfway down forming a reattached U-shaped section with reattached loss. Typical rim fritting. Pewter mount to foot is slightly bruised and is a little loose. Strap handle has been cracked and repaired in three places, overall sold as seen - **General condition consistent with age.

A tray of cased binoculars, glass paperweights, plated cutlery, sugar sifter, glass bottle CONDITION REPORT: Binoculars are Steiner Bayreuth 18464, 10 x 50.

A very rare Meissen wine pot, circa 1725In the form of a peach with a gilt branch handle and spout, the tops with smaller branch terminals applied with leaves to the body, each side finely painted with a chinoiserie scene of figures engaged in various pursuits, scattered insects in flight overhead, the details heightened in gilding, on a gilt scrollwork pedestal filled with Böttger lustre and edged with puce scrolls, a similar scene to the shoulder above the spout and a gilt scrollwork motif with central flowerhead to the top, 14.5cm high (two small flat chips to footrim)Footnotes:Provenance:With Enrico Caviglia, Lugano, 1986;Private Collection, Switzerland (sold at Christie's London, 8 July 2002, lot 14)Literature:J. Munger, European Porcelain in the Metropolitan Museum of Art (2018), p. 65 and n. 11The form is based on a Chinese, Kangxi, example of the early 18th century (fig. 1, published by Munger, op. cit., p. 65, fig. 29).Only three other examples of this form with Meissen polychrome chinoiserie decoration are recorded, all in museum collections, and the present lot is the only one with fully gilt handle and spout: one is in the Metropolitan Museum of Art, New York (formerly in the Walter von Pannwitz Collection), published by Munger, op. cit., no. 16; another is in the Gardiner Museum, Toronto (inv. no. G83.1.584 - formerly in the collection of Dr. Wilhlem Dosquet, Berlin (sold at Hans W. Lange, Berlin, 19-21 May 1941, lot 485); and a third is in the Getty Museum (inv. no. 85.DE.381). Four other examples of the form are recorded: an unfinished example in the Dresden porcelain collection with gilt cartouches and ornamental scrollwork; one in the Metropolitan Museum of Art (inv. no. 54.147.70) with gilt chinoiserie decoration executed in Augsburg; a third, similarly decorated in the Cagnola Collection (La Collezione Cagnola, II (1999), no. 65); and a fourth with Hausmaler decoration, possibly Bayreuth, depicting polychrome chinoiserie figures in the Pauls-Eisenbeiss Collection (E. Pauls-Eisenbeiss, German Porcelain of the 18th Century, I (1972), p. 440.For further information on this lot please visit Bonhams.com

A Royal Bayreuth porcelain novelty creamer jug, in the form of a Kangaroo, printed mark, 12.5cm high

Three Royal Bayreuth porcelain novelty creamer jugs, including Robin, Parakeet and Crow, 12.5cm high (3)

A Royal Bayreuth porcelain novelty creamer jug, in the form of a Mountain Goat, 9.5cm high

A Royal Bayreuth porcelain novelty water pitcher, in the form of a mouse, grey with red eyes, 19.5cm high

A near pair of Royal Bayreuth porcelain Spiky Shell creamer jugs, modelled in relief and painted, 10cm high (2)

A collection of Royal Bayreuth porcelain, decorated with Peasant Musicians, in tavern interiors, including jugs and silver rimmed vases, 18cm high (7)

Two Royal Bayreuth porcelain novelty creamer jugs, including Tomato and Monk, 12cm high (2)

A pair of Royal Bayreuth porcelain black Cow creamers, modelled in relief, with red horns and eyes, 10cm high (2)

Two Royal Bayreuth porcelain novelty creamer jugs, including Rabbit and Monk, 13.5cm high (2)

A 12 BORE GERMAN WHEEL-LOCK SPORTING RIFLE BY HANNS ROHR IN BAYREUTS (SIC), DATED 1661 with octagonal swamped sighted barrel rifled with a series of slender grooves and engraved with a garland around the muzzle face, engraved with scrolling foliage and large expanded flowerheads over the breech and muzzle, the former signed and dated ahead of the back-sight, engraved tang, flat lock retained by two side nails, fitted with external wheel retained by a pierced openwork gilt-brass bracket decorated with a symmetrical arrangement of two sphinxes, fitted with sliding pan-cover with button release, finely engraved dog decorated with two monsterheads, fitted with gilt-brass bridle formed as a cherubic mask, and with an additional gilt-brass dragon, double set trigger, blackened full stock lightly carved behind the rear ramrod pipe, covered over much of its surface with large engraved silver plaques depicting scenes from the chase, including a fox with a bird-of-prey, a hunter and hound in pursuit of a boar on each side of the fore-end, a large prowling bear opposite the lock and a mounted nobleman beneath, the butt applied with further plaques including, on the left, a doe and stag in a woodland landscape on the cheek-piece and, on the right, with patchbox with sliding cover applied with a further silver plaque of a hunter in contemporary dress, pierced iron trigger-guard shaped for the fingers, silver butt-plate engraved with the owner's coat-of-arms and numbered '9', and silver fore-end cap (later ramrod and ramrod-pipe, some silver plaques restored), the cheek-piece applied with an early red wax gewehrkammer seal 83.0 cm; 32 3/4 in barrel Hans Ruehrer is recorded active in Bayreuth, Bayern, circa 1658.

AGA KHAN III: (1877-1957) Imam of the Nizari Ismaili Community and the first President of the All-India Muslim League. President of the League of Nations 1937-38. Signed postcard photograph `Aga Khan´, in bold blue fountain pen ink to the upper left clear corner of the image, Bayreuth 1956. The postcard has been neatly affixed to a larger 4to brown card. Together with a 3.5 x 5.5 photograph of the Begum, unsigned, affixed to the verso. Fourth and last wife of the Aga Khan. G

Reservistenkrug 6. Com. 7. Baier. Infanterie Regiment Prinz Leopold, Bayreuth 1906/08, Reservistenkrug 6. Com. 7. Baier. Infanterie Regiment Prinz Leopold, Bayreuth 1906/08, Reservistenkrug 6. Com. 7. Baier. Infanterie Regiment Prinz Leopold, Bayreuth 1906/08, Zinndeckel, Bodenlithophanie, Namensleiste, tlw. ber., h. 28cm

Uecker, Günther: "Der schwarze Schwan" "Der schwarze Schwan" Nägel, schwarz lackiert, auf kreisrunder, mit Schwarz bemalter Leinwand überzogener Holzplatte. 1980. Durchmesser ca. 56 cm, Tiefe 12 cm. Verso mit Pinsel in Schwarz signiert "Günther Uecker", datiert, betitelt, bezeichnet, gewidmet und mit Richtungspfeil. Nicht bei Honisch. "Den Ablauf einer Bewegung sichtbar zu machen, als Zustand einer Lebendigkeit, an der der Mensch teilnimmt in schöpferischer Wiederholung, in Monotonie, ist in der Tat eine erregende Aktion, die wie ein Gebet geistig erlebt werden kann". (Günther Uecker 1961, zit. nach: ZERO. Die internationale Kunstbewegung der 50er und 60er Jahre, Ausst.-Kat. Martin-Gropius-Bau, Berlin 2015, S. 488). Uecker zählt zu den international bedeutendsten Künstlern der Nachkriegszeit. Seit seinen Studienjahren an der Düsseldorfer Kunstakademie von 1955 bis 1957 bei Otto Pankok zeichnen Nagelbilder und genagelte Objekte sein bildnerisches Werk überwiegend aus. Der Künstler hat ganz im Sinn des 1963 postulierten Manifestes der Zero-Bewegung einen neuen Idealismus geschaffen. Seine begehrten Nagelbilder befreien die Kunst von der bis dahin prägenden Bedeutung des malerischen Duktus als künstlerische Handschrift. Der Nagel ist zum Charakteristikum seiner Kunst geworden. Von der reizvollen Ambivalenz mit starren Nägeln Licht- und Bewegungsphänomene auf planen oder runden Leinwänden zu schaffen, geht eine große Faszination aus. Anfangs schafft Uecker seine streng linearen Raster und Strukturen, die in den späten 1950er Jahren von Leinwänden mit fließenden, amorphen und dynamischen Gebilden abgelöst werden. Ueckers 1962 geschaffener "Vogel", eine auf einer runden Fläche oben rechts aufgehämmerte Nagelgruppe, versinnbildlicht die Symbiose von Luft, Licht und Bewegung in einem Kunstwerk. Vögel wählt der Künstler wohl gerade deshalb häufiger zum Motiv seines Schaffens. Wir denken an die Starenschwärme, die Uecker auf der Ostseehalbinsel Wustrow, auf der er aufgewachsen ist, beobachtet hatte. Der "Schwarze Schwan" ist charakteristisch für Ueckers Werk, das oftmals hybride Konstrukte von Malerei und Skulptur darstellt. Unsere runde Platte ist sehr dicht beschlagen mit schwarzen Nägeln unterschiedlicher Länge. Anders als in seinen 1980er Jahren entstandenen "Feldern" ergeben die Nägel keine gezielt ausgerichtete Bewegung in der Fläche, sondern sie erzeugen einen in die Tiefe ausgerichteten Rhythmus, der das pulsierende Leben des schwarzen Vogels symbolisiert. Gleich einem Energiefeld verdichten sich die Nägel zu einem plastischen sowie nahezu organischen Wesen, an Ueckers "Organische Struktur" von 1962, heute im Städelmuseum, Frankfurt am Main zu sehen, erinnernd. Die Unordnung der Nägel steht für die der Natur. Schwarze Schwäne sind selten in der Natur zu finden. Auf der Bühne versinnbildlicht ihn wohl als berühmteste Vertreterin Odile, als verführerisches, böses Ebenbild der weißen Schwanenbraut Odette, in die sich Prinz Siegfried verliebte. Für Uecker, der die Musik liebt und zahlreiche Bühnenbilder für die Oper, darunter auch für mehrere Wagner-Aufführungen in Bayreuth entwarf, gehört der "Schwarze Schwan" zu Lohengrins Abschied mit dem Schwanengesang. So deutet sich in dem "Schwarzen Schwan" neben dem expressiven auch das theatralische Moment von Ueckers Schaffen an. Der noch pulsierende Zustand von Lebendigkeit und die fragile Verletzbarkeit des schwarzen Vogels zugleich erregen den Betrachter in gebetsartiger Intensität. Provenienz: Privatsammlung Berlin (ehemals direkt vom Künstler als Geschenk erhalten) Privatsammlung Deutschland Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Fidus: Was liegt daran! "Was liegt daran!" Bleistift auf Velin. 1916. 32,2 x 24,8 cm. Unten rechts mit Bleistift monogrammiert "F." und datiert. Die Gräuel des Ersten Weltkrieges schildert Fidus hier drastisch. Das vaterlandstreue Gedicht "Was liegt daran!", erschienen in der Sammlung "Meine Seele klingt", Nachgelassene Gedichte aus dem Kriege, Hrsg. Franz Stuhlmann, in Berlin bei Dietrich Reimer (Ernst Vohsen), 1918, stammt von Richard Kandt (Richard Kantorowicz), der als Psychiater in Bayreuth und München tätig war, zwischen 1897 und 1907 den Nordwesten von Deutsch-Ostafrika erforschte und 1908 Resident des Gouvernements Ruanda wurde, wo er Kigali gründete. Emil Kaselitz vertonte das Gedicht für eine Singstimme und Klavier; die Ausgabe erschien im Lieder Verlag Werner Bartels, Braunschweig und Leipzig. Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Kleiner Walzenkrug Bayreuth, 1745-1747 Mittig stehender hl. Nepomuk, an den Seiten große Blumenzweige. Monochrome Blaumalerei auf hellkleisterblauem Grund. Fayence; Zinnmontierung. Fabrikmarke mit Malermarke "BFS-B". H. 18,3 cm. - Haarriss. Bayreuther Fayence, Deckelhumpen, Deckelkrug, Heiligendarstellung, Heiligenfigur Small jug Bayreuth, 1745-1747 Showing St. Nepomuk and large floral branches at the sides. Monochrome blue painting on a light paste blue ground. Faience; tin mounting. Factory mark with painter's mark ''BFS-B''. H. 18,3 cm. - Haircrack. lid tankard, depiction of saints, figure of a saint

Walzenkrug mit Vogelmotiv Bayreuth, Periode Knöller, 1. H. 18. Jh. Weiß glasierte Fayence mit kobaltblauer Bemalung; Zinnmontierung. Am Boden gemarkt. H. 21,8 cm. - Restauriert, berieben. Bayreuther Fayence, Deckelhumpen, Deckelkrug, Fayencekrug Jug with bird decoration Bayreuth, period Knöller, 1st half 18th c. White glazed faience with cobalt blue painting; tin mounting. Marked on the bottom. H. 21,8 cm. - Restored, rubbed. lid tankard, faience jug

Walzenkrug mit Hirsch Bayreuth, 18. Jh. Weiß glasierte Fayence mit polychromer Bemalung; Zinnmontierung. H. 26 cm. Bayreuther Fayence, Deckelhumpen, Deckelkrug, Fayencekrug, Keramik Roller jug with stag Bayreuth, 18th c. White glazed faience with polychrome painting; tin mounting. H. 26 cm. lid tankard, faience jug, ceramics

Walzenkrug Bayreuth, 18. Jh. Polychromer Blumendekor; Zinnmontierung, Deckel mit Monogramm- und Jahreszahlgravur. Stadtmarke Plauen sowie zweifaches Meisterzeichen und Marke "Loth" für Carl Friedrich Loth. H. 23,5 cm. Bayreuther Fayence, Deckelhumpen, Deckelkrug, Fayencekrug Jug Bayreuth, 18th c. Polychrome floral decoration; tin mounting, lid with monogram and year engraving. City stamp Plauen as well as two master marks and stamp ''Loth'' for Carl Friedrich Loth. H. 23,5 cm. lid tankard, faience jug

Ansichtentasse "Bayreuth" mit Untertasse Deutschland, 1. H. 19 Jh. Gefußte Eiform mit Rosettenhenkel; auf der Tasse Stadtpanorama in goldradiertem Rechteckrahmen, am unteren Rand betitelt. Porzellan mit Goldfond und farbiger Bemalung. H. T 10,5 cm, Ø UT 14,3 cm. Fränkische Ansicht, Vedutenporzellan German Topgraphical Cup ''Bayreuth'' with saucer Germany, 1st half of the 19th century Egg-shaped base with a rosette handle; on the cup a town panorama in a gold etched rectangular frame, titled at lower margin. Porcelain with gold background and coloured painting. H. cup 10,5 cm, Ø saucer 14,3 cm. franconian view

Walzenkrug mit Früchten Bayreuth, 18. Jh. Bouquet aus Früchten, Blumen sowie Rankenwerk, mit stilisierten geschwämmelten Bäumen. Weiß glasierte Fayence mit polychromer Bemalung; Zinnmontierung. H. 26,8 cm. - Haarrisse. Deckelhumpen, Deckelkrug, Fayencekrug Jug with fruits Bayreuth, 18th c. Bouquet of fruits, flowers and tendrils, with stylised spongy trees. White glazed faience with polychrome painting; tin mounting. H. 26,8 cm. - Hairline cracks. lid tankard, faience jug

Johann Baptista Homann, Kupferstichkarte Bayernoben rechts prächtige figürliche Kartusche und hierin betitelt „Bavariae Circulus et Electorat in suasquasque Ditiones tam cum Adiacentibus quam Insertis Regionibus … Jo: Baptistam Homannum“, Darstellung des Gebietes zwischen Bayreuth im Norden, Wels im Osten, Innsbruck im Süden und Nördlingen im Westen, grenzkolorierter Kupferstich, um 1710, unter Passepartout und hinter Glas gerahmt, Darstellungsmaße ca. 56 x 47,5 cm. Künstlerinfo: dt. Kupferstecher, Verleger und Jesuit (1664 Kambach bis 1724 Nürnberg), vermutlich Schüler von David Funck, gründete um 1702 den eigenen Verlag "Homännisches Landkarten-Offizin", 1715 Mitglied der königlich preußischen Societät der Wissenschaften, Kaiser Karl VI. verlieh ihm den Titel eines "Kayserlichen Geographen" und der russische Zar Peter der Große ernannte Homann zum "Kayserlich russischen Agenten", tätig unter anderem in Wien, Leipzig und Nürnberg, Quelle: Thieme-Becker und Internet.

Franz Lippert, See in Hochgebirgslandschaftsommerlicher Blick über stillen See, auf steil ansteigende grüne Wälder vor imposanter Bergkulisse, pastose Malerei in Spachteltechnik, Öl auf Leinwand, um 1960, rechts unten schwer lesbar ritzsigniert "Franz Lippert", minimale Craquelure, gerahmt, Falzmaße ca. 68 x 85 cm. Künstlerinfo: dt. Porzellanmodelleur, Industrieformgestalter und Maler (geboren 1909), Ausbildung zum Porzellanmodelleur in Schönwald und an der Fachschule Selb bei Fritz Klee, Otto Keitel und Wilhelm (Willi) Veit, weitergebildet bei Joseph Wackerle in München, zeitweise Gasthörer an der Kunsthochschule Weimar bei Walter Klemm, tätig unter anderem für "Metzler & Ortloff" in Ilmenau, beschickte 1939-44 Ausstellungen im Dondorf-Museum Weimar, vierjähriger Kriegsdienst und anschließend Kriegsgefangenschaft im 2. Weltkrieg, nach 1945 zunehmend als Maler tätig, realisierte 1945 unter anderem Portraitmalereiaufträge aus den USA, 1978-80 Dozent an der Staatlichen Porzellanfachschule Selb, unternahm Studienreisen nach Dänemark, Schweden und Italien, beschickte Ausstellungen in Ludwigshafen, Heidelberg, Meiningen, Selb, Hof, Bayreuth, Wunsiedel, Berlin und München, Quelle: "Bürger" (Broschüre "Informationen aus der Brücken-Allianz Bayern-Böhmen e.V." Ausgabe August/September 2011) und Info Künstlerhaus Schirnding.

Two Mason's Regency bowls, a Minton Haddon Hall bowl and others by Bayreuth, etc.

A large Bayreuth chargerCirca 1740With pie-crust rim, decorated with two birds seated on a fruit basket under a stiff leaf and scrollwork edge around the well, the rim with cartouches of symmetric flowers alternated by dense fields of floral design, 34cm diam, BK in blueFootnotes:Provenance: The Sperling Collection, MunichFor further information on this lot please visit Bonhams.com

A pair of Steiner Bayreuth 7X50E binoculars, two other pairs, a camera and a tripod. (6)

ORIENTAL & CONTINENTAL - a neat globular Famille Verte Oriental teapot and domed lid, a pair of glazed late vintage Oriental pots with six character marks to the base, a 19th century blue and gilt Oriental patterned cup and saucer and a pair of small Bayreuth miniature vases, each with two figures playing musical instruments and with silver bands to the neck (parcel of 4 items)

A pair of Steiner Bayreuth 7X50E binoculars, a pair of Carl Zeiss Jena binoculars, two other pairs, a camera and a tripod. (6)

Silver and plate, various dates and makers, to include two shoe horns, two Royal Bayreuth silver capped porcelain vases, manicure accessories, spoons etc. (qty

A German Rococo carved and polychrome decorated mirrorProbably Bayreuth, third quarter 18th centuryThe rectangular bevelled plate surmounted by a pierced and C-scroll crest centred by a Ho-ho bird, 95cm high x 43cm wide Footnotes:Sotheby's, Zurich, Fine Furniture, 5 December 1991, lot 170, Property of a Private German CollectorThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Royal Bayreuth Bermuda devil playing card cream jug, 9cm (3.5ins) high Condition Reporthairline crack running down from under devils arm otherwise good overall condition

A framed and glazed advertising poster for the Bayreuth Festival. 87x61cm

[Schmidt, Johann Andreas]. [Leib-beschirmende und Feinden trotz-bietende Fecht-Kunst, oder, Leicht und getreue Anweisung auf Stoss und Hieb zierlich und sicher zu fechten : nebst einem curieusen Unterricht vom Voltigiren und Ringen, deutlich und gru?ndlich beschrieben..., 1st edition, Nuremberg: Johann Christoph Weigel, 1713], [12], 376pp., initial 10 pages lacking (i.e. without portrait frontispiece, title, and preliminary leaves), 72 full-page engraved illustrations and 12 engraved plates, some show-through, occasional spotting and minor marks, tips of upper outer blank corners to few leaves slightly trimmed (where previously frayed?), pencil scribbles to fore-edge blank margin of page 272, upper blank margins of rear third of leaves with single & double worm holes, modern brown morocco, oblong 8vo (9.6 x 16.7 cm) (Qty: 1)NOTESProvenance: The Leon Paul Library of Fencing. Thimm p.260; Pardoel 2365. The collation of a complete example is [22],376pp. Besides fencing, the engravings show gymnastic training on the horse and various wrestling techniques. Johann Andreas Schmidt was a German fencing master born circa 1650 in Marienberg, Germany. Sometime after 1671 (or after 1675), he studied fencing under the fencing master Johann Georg and Johannes Georgius Bruchius in Amsterdam. Schmidt's impressive fencing abilities were illustrated by a story that in 1712, as a result of a bet of 10 ducats, armed only with a stick, he took on "six strong farmers" in Altdorf in the area of Nuremberg and defeated them all, thus winning the bet. The following year, in 1713, he established his own fencing school in Nuremberg. In 1721 Georg Wilhelm von Brandenburg-Bayreuth (1678-1726) the ruler of Bayreuth appointed Schmidt as a Page Fencing Master following the successful defeat and disarming of two fencing masters. He was awarded the appointment as a Page Fencing Master with a wage of 1,000 guilders. After the death of his patron probably after 1726, Schmidt returned to Nuremberg to continue his teachings. He then moved to teach in both Stuttgart and finally in Tübingen, where he died.

Brandenburg-Bayreuth (German States), 1735 30 kreuzer, obv; Friedrich bust right; rev; crowned shield dividing date, together with France, Charles VII (1422-1461), Blanc ala couronne. (2)

A rare Bayreuth brown-glazed stoneware teabowl and saucer, c.1730-40, after Meissen's Böttger stoneware, with silberChinesen decoration, possibly by an Augsburg hausmaler, with figures carrying flowers, parasols and panniers of fruit within laub und bandelwerk decoration, the teabowl broken and restuck, 11.8cm. (2) Provenance: a private collection from Dorset. Sotheby's, 29th June 1982, A Distinguished Collection of German Porcelain; Property of a European Nobleman.

[Schmidt, Johann Andreas]. [Leib-beschirmende und Feinden trotz-bietende Fecht-Kunst, oder, Leicht und getreue Anweisung auf Stoss und Hieb zierlich und sicher zu fechten : nebst einem curieusen Unterricht vom Voltigiren und Ringen, deutlich und gru?ndlich beschrieben..., 1st edition, Nuremberg: Johann Christoph Weigel, 1713], [12], 376pp., initial 10 pages lacking (i.e. without portrait frontispiece, title, and preliminary leaves), 72 full-page engraved illustrations and 12 engraved plates, some show-through, occasional spotting and minor marks, tips of upper outer blank corners to few leaves slightly trimmed (where previously frayed?), pencil scribbles to fore-edge blank margin of page 272, upper blank margins of rear third of leaves with single & double worm holes, modern brown morocco, oblong 8vo (9.6 x 16.7 cm) (Qty: 1)NOTESThimm p.260; Pardoel 2365. The collation of a complete example is [22],376pp. Besides fencing, the engravings show gymnastic training on the horse and various wrestling techniques. Johann Andreas Schmidt was a German fencing master born circa 1650 in Marienberg, Germany. Sometime after 1671 (or after 1675), he studied fencing under the fencing master Johann Georg and Johannes Georgius Bruchius in Amsterdam. Schmidt's impressive fencing abilities were illustrated by a story that in 1712, as a result of a bet of 10 ducats, armed only with a stick, he took on "six strong farmers" in Altdorf in the area of Nuremberg and defeated them all, thus winning the bet. The following year, in 1713, he established his own fencing school in Nuremberg. In 1721 Georg Wilhelm von Brandenburg-Bayreuth (1678-1726) the ruler of Bayreuth appointed Schmidt as a Page Fencing Master following the successful defeat and disarming of two fencing masters. He was awarded the appointment as a Page Fencing Master with a wage of 1,000 guilders. After the death of his patron probably after 1726, Schmidt returned to Nuremberg to continue his teachings. He then moved to teach in both Stuttgart and finally in Tübingen, where he died.

ARTS THE: A good, interesting hardback bound 4to album containing over 60 signed clipped pieces, letterheads, A.Ls.S., musical quotations etc., by various famous individuals, most associated with the Arts (Classical Music, Literature, Art & Theatre etc.) at the end of the 19th century, including Anton Rubinstein (A.L.S., Ant. Rubinstein, one page, 8vo, Dresden, 5th October 1893, to Bock, in German), Moritz Moszkowski, Wilhelm Taubert, Arthur Quiller-Couch, S. R. Crockett (A.N.S., 'I hate giving autographs, but you ask nicely', 1895), Stanley J. Weyman, Adolf von Henselt, H. Rider Haggard, Leonard Borwick, Ferdinand Hiller, Hugo Thimig, Julius Benedict, Dr. Hans Paumgartner, Richard Wuerst, Robert Stawell Ball, Lawrence Alma-Tadema, John Everett Millais, Friedrich Kiel, Solomon J. Solomon, Frederic Leighton, Benjamin Leader, Luke Fildes, Arthur James Balfour, Anthony Hope Hawkins, Kate Greenaway, Mrs. Patrick Campbell, Philip Calderon, Walter Besant, Ellen Terry, Edward J. Poynter, Frank Dicksee, Moriz Rosenthal, Alexander Mackenzie (A.M.Q.S.), Joseph Chamberlain, Willy Hess (A.M.Q.S., April 1895), Grant Allen (an amusing A.N.S., 'Why ask a busy man for his autograph? I won't give it. Grant Allen'), Eugen d'Albert (A.M.Q.S., April 1896), Edward Dannreuther (ink signature in the form of a musical quotation), George Grove, Siegfried Wagner (dated Bayreuth, 1896), Lilli Lehmann, Rosa Sucher, Lillian Henschel, Felix Moul (A.M.Q.S., Bayreuth, 1896), John Lavery, Jean de Reszke, Emile Sauret (A.M.Q.S., London, 1900), Eduard Schutt (A.L.S., incorporating two musical quotations, Bremen, 17th November 1896), Herbert Beerbohm Tree, Rudolf Lehmann, Johan Strauss II, Eduard Hanslick, Theodor Leschetizky (A.M.Q.S., Vienna, December 1896), Giacomo Meyerbeer, Ignaz Brull etc. The majority are laid down to the pages, some in multiples, and with some light age wear and minor staining etc. The half morocco bound album with the gilt stamped initials of the original owner, Grace Falcon, to the cover and with her pencil ownership signature to the front free endpaper. Lacking the spine and the boards (and some interior pages) loose, generally G  £300-400   

WAGNER COSIMA: (1837-1930) born Francesca Cosima Liszt. Illegitimate daughter of Liszt. Second wife of Richard Wagner, and with him founder of the Bayreuth Festival. Cosima was the principal inspiration for Wagner´s later works, particularly Parsifal. After Richard Wagner´s death, she devoted the rest of her life to the promotion of his music. A.L.S., `C.Wagner´, one page, small 8vo, Lichterfelde, 10th February 1902, to Paul Bijk, in German. Cosima Wagner thanks her correspondent for his kindness and states in part `I can report that my regime is finished and that I feel an essential recovery! Accompanied by the original envelope, postmarked and post-stamped. With very small remnants of a former affixing to the blank integral leaf, otherwise, about EX  £200-300    

MAUREL VICTOR: (1848-1923) French Baritone. Rare A.L.S., `V.or Maurel´, four pages, 8vo, Paris, 15th August 1897, to Monsieur Litta, in French. Maurel first mentions the travelling that his correspondent´s letter did, stating `Your 2nd of August letter wandered from city to city before reaching me, first Paris, then Bayreuth, Munich, Nuremberg, Stuttgart and finally Paris again, where I got it last night. It was stupid clerk the one who caused..´, further referring to a performance issue with impresarios and future plans, stating in part `I believe that you will not regret the decision you have made, since the Don Juan affair seems to have taken a good turn…. Right on the spot and within a few days we could work out a good libretto, and as you correctly state, we could return in Spring with a theatrical work which we could stage immediately.´ Maurel adds two post-scriptums, and states to the second `I have written an article about Wagner and Bayreuth. It will be published on Wednesday on the Le Gaulois. Read it. I think that you will find it interesting.´ VG  £200-300    

El Anatsui (Ghanaian, born 1944)Curtain (yellow / ochre) signed and dated 'El/ '88' twice (centre right)dyed and printed cloth295.5 x 131cm (116 5/16 x 51 9/16in).Footnotes:ProvenanceMr Christoph Ludzuweit; A private collection.El Anatsui made ten printed textiles in Nsukka in 1988, they were produced in black, blue, yellow and yellow/ochre pigments. Three of these works are now to be found in the collection of Iwalewahaus, Bayreuth.These early works can be considered as the first stage in the artist's development of the later wall hangings.Christoph Ludzuweit worked as a lecturer at the University of Nigeria, Nsukka from 1983 to 1988 and was a close friend and colleague of the artist.For further information on this lot please visit Bonhams.com

ART, LITERATURE AND PHILANTHROPYSeries of autograph letters to Lady Louisa Goldsmid, the philanthropist, educationalist and suffragist, from Robert Browning, Millicent Jarrett Fawcett and Edward Lear, comprising: three autograph letters signed 'Robert Browning', the first asking her to 'Please put the notes into the fire, and – if you please to honor it so far – the photograph into your album', the rest accepting invitations ('I understand your kindness in softening the disgrace by this second invitation, which I accept blushingly but joyfully too'), 3 pages, 8vo, 19 Warwick Crescent, 'Saturday afternoon', 20 February [18]69 and 'Tuesday'; two autograph letters written on mourning paper signed ('Millicent Jarrett Fawcett' and 'M.J.Fawcett'), thanking her for her efforts in funding a memorial fountain on London's Embankment to her husband Henry ('not only for the sympathy and consideration shown to my by yourself and others at every stage of the undertaking, but especially for embodying, in a lasting form, the appreciation of his country women... On all grounds then, public & private, I think there is no title he would have been prouder to bear than that of the Friend of Women', the second confirming that the fountain is being put to good use ('It was surrounded by children drinking from it the whole time we were there'), the first with envelope, 4 pages, 8vo, Alde House, Aldeburgh, 28 July [1886] and Bayreuth, 5 August; and autograph letter signed ('Edward Lear'), regretting he is unable to accept her invitations as he is preparing for an exhibition of oil and watercolour landscapes at Frank Lushington's and thanking her for her kindness, 3 pages, 8vo, 33 Norfolk Square, Friday 14 May (7)Footnotes:LETTERS OF GRATITUDE TO A LEADING SUPPORTER OF WOMEN'S EDUCATION.Lady Louisa Goldsmid's 'entire life was devoted to the advancement of women's causes, chief among which was raising the professional status of Victorian women of the middle classes' (Geoffrey Alderman, ODNB). She championed the rights of governesses and worked with other activists in the Langham Place circle such as Emily Davies to obtain the admission of women to university examinations, leading to the creation of Girton College, Cambridge and a campaign to give women the right to gain university degrees. Her wealth and position in society as a well-known London hostess attracted leading figures from the worlds of politics and the arts to her salon and her causes. The fountain she caused to be erected in the memory of the blind educational reformer and economist Henry Fawcett (by, appropriately, a female sculptor) can still be seen on the Embankment.For further information on this lot please visit Bonhams.com

German Third Reich Luftwaffe promotion document.A good large cream card example, the front with gold embossed eagle and swasika, housing document promoting Hautmann Joachim Bauer of the Luftwaffe Generalm Staff to be Major as of 1 August 1939. Dated Bayreuth 31 Juli 1939 and bears ink facsimile of Hitler ... also with three typed signals, mention him as Oberst (20.3.1945) from the Oberkommando der Luftwaffe. Contents VGC, folder grubby.

Andras Kaldor (Hungarian, born 1938)Gran Teatre del Liceu, Barcelona; Teatro Nacional de San Carlos, Lisbon; Markgrafliches Opernhaus, Bayreuth; Opera, Montpelliera set of four works depicting various opera houseseach signed dated and inscribed (along the lower edge) watercolour the first 75 x 81.5cm (29 1/2 x 32 1/16in); the second 74 x 101cm (29 1/8 x 39 3/4in); the third 51 x 56cm (20 1/16 x 22 1/16in); the fourth 71 x 79.5cm (27 15/16 x 31 5/16in)(4)Footnotes:ExhibitedNew York, Coe Kerr Gallery Inc., The Opera Houses of Europe, December 5-21, 1990.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.

Assorted quartz movement wristwatches, a pair of mother of pearl opera glasses by Julius Heuberger, Bayreuth, etc.

Two Gill Adams limited edition prints of West Highland TerriersSigned coloured etching 'Bayreuth, Festspielhaus', signed indistinctly  and another Wagner's house (4)

Tea Set by Fein Bayreuth of Germany comprising tea pot, milk jug, lidded twin-handled sugar bowl, six cups, six saucers and six sandwich/cake plates. White ground with decorative yellow and grey floral design. Also, a Norwegian 1960s Coffee Set comprising coffee pot, milk jug, sugar bowl, six cups and saucers. In black ground with gilt interiors and trims. Please see photographs.

A documentary Meissen Hausmaler saucerCirca 1740Painted in the workshop of Johann Friedrich Metzsch in Bayreuth, a flower spray in the centre and a border of stylised flower heads and scrolls with floral swags around the gilt-edged rim, the reverse inscribed in blue enamel 'M/ Bayr.', 13.2cm diameter, crossed swords mark in underglaze-blue, impressed numeralFootnotes:Provenance:Luise Hofmann Collection, sold in these Rooms, 16 May 2007, lot 60A similar saucer with the same marks was sold by Christie's London, 11 December 2000, lot 296.For further information on this lot please visit Bonhams.com

A Marconiphone electric record player, with variable speed selector for 16, 33, 45 and 78 RPM, together with a quantity of classical records include recordings from the Bayreuth Festival 1936 'Lohengrin'

After Louis de Silvestre, portrait of Christiane Eberhardine (1671-1727), of Brandenburg-Bayreuth and Electress of Saxony, half length in a jewelled dress and urmine trimmed cloak, inscribed u.l., oil on canvas, 82 by 64.5cm, modern gilt frame 

Dalí, SalvadorFigueras/Spain 1904 - 1989Tristan et Iseult. German edition. 1969. Book with 21 coloured drypoint etchings on BFK RIVES (watermark). Each: 40 x 26cm (45.5 x 64cm, central fold). Cover sheet signed and inscribed (artist's proof), all remaining sheets monogrammed. In the imprint with the copy number: A. With it is a complete suite on BFK RIVES (watermark). Each: 45 x 26cm (45 x 32cm). Inscribed (Signature and artist's proof). Suite and book (each in portfolios) in original box (49 x 37 x 8.5cm). Orangerie-Verlag, Cologne (publisher). Number artist's proof. Each sheet with the blind stamp of the publisher. The present book is one of three Hors de Commerce-copies (inscribed A-C). The numbered total edition was published with an amount of 200 copies.Provenance:- Collection Gerhard F. Reinz, CologneLiterature:- Sahli, Charles: Salvador Dalí - 257 editions originales 1964-1985, New York/Paris/Cologne/Bern 1985, cat.rais.-no. 138-158, ill.- Michler, Ralf/Löpsinger, Lutz W. (eds.): Salvador Dali - Das druckgraphische Werk 1924-1980, Oeuvrekatalog der Radierungen und Mixed-Media-Graphiken, Munich 1994, cat.rais.-no. 406-426, ill. Explanations to the CatalogueSalvador Dalí Spain Modern Art Prints 1960s Literary theme Print Drypoint etching Figure / FiguresDalí, SalvadorFigueras/Spanien 1904 - 1989Tristan et Iseult. Deutsche Ausgabe. 1969. Buch mit 21 farbigen Kaltnadelradierungen auf BFK RIVES (Wasserzeichen). Jeweils: 40 x 26cm (45,5 x 64cm, mittig gefalzt). Titelblatt signiert und bezeichnet (E.A.), alle übrigen Blätter monogrammiert. Im Impressum mit der Exemplarangabe: A. Dazu eine komplette Suite auf BFK RIVES (Wasserzeichen). Jeweils: 45 x 26cm (45 x 32cm). Bezeichnet (Namenszug und E.A). Suite und Buch (jeweils in Mappen) in originaler Kassette (49 x 37 x 8,5cm). Orangerie-Verlag, Köln (Hrsg.). Ex. E.A. Jedes Blatt ist mit dem Trockenstempel des Herausgebers versehen. Das vorliegende Buch ist eines von drei Hors de Commerce-Exemplaren (bezeichnet A-C). Die nummerierte Gesamtauflage erschien in einer Höhe von 200 Exemplaren.Provenienz:- Sammlung Gerhard F. Reinz, KölnLiteratur:- Sahli, Charles: Salvador Dalí - 257 editions originales 1964-1985, New York/Paris/Köln/Bern 1985, WVZ.-Nr. 138-158, Abb.- Michler, Ralf/Löpsinger, Lutz W. (Hrsg.): Salvador Dali - Das druckgraphische Werk 1924-1980, Oeuvrekatalog der Radierungen und Mixed-Media-Graphiken, München 1994, WVZ.-Nr. 406-426, Abb.Gerhard F. Reinz, der Herausgeber der Arbeit, liebt und schätzt Richard Wagner sehr. In Salvador Dalí findet er einen Gleichgesinnten und so hören die beiden oft während der "Signier-Stunden" im New Yorker oder Pariser Hotelzimmer die Musik des deutschen Komponisten. Wohl bei einer dieser Sitzungen entsteht die Idee zu einer Zusammenarbeit für den Radierzyklus "Tristan und Isolde". In der 21-teiligen Suite zu den Texten von André Mary gestaltet Dalí eine seiner vielen Interpretationen der populären Geschichte aus dem 12. Jahrhundert über Romantik und Tragödie. Reinz, der 1964 erstmals die Festspiele in Bayreuth besucht und dort die Familie Wagner kennenlernt, durfte zur Eröffnung der Eremitage 1969 eine Ausstellung mit Dalís Zyklus zeigen. Sie ist die erste Ausstellung von weiteren, die Reinz während der folgenden Festspiele einrichtet. Erläuterungen zum KatalogSalvador Dalí Spanien Surrealismus Moderne Kunst Grafik 1960er Literarische Themen Druckgrafik Kaltnadelradierung Figur / Figuren- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Royal Bayreuth Bavaria Silver Collared Twin Handle Bud Vase The body decorated with transfer print depicting 17th century Flemish musicians, factory mark to base, twin scroll handles and silver rim, fully hallmarked - rubbed. Height, 3 inches, slight chip/5mm hairline to bottom left.

Tea Set by Fein Bayreuth of Germany comprising tea pot, milk jug, lidded twin-handled sugar bowl, six cups, six saucers and six sandwich/cake plates. White ground with decorative yellow and grey floral design. Also, a Norwegian 1960s Coffee Set comprising coffee pot, milk jug, sugar bowl, six cups and saucers. In black ground with gilt interiors and trims. Please see photographs.

NO RESERVE Nazi architecture.- Troost (Gurdy) Das Bauen im neuen Reich, 2 vol., photographic illustrations, original cloth-backed boards, dust-jackets, minor chipping to spine ends and corners, light rubbing to extremities, near-fine otherwise, 4to, Bayreuth, 1942.

Carltonware Rouge Royal vase, a Royal Bayreuth vase and a Johann Havilland vase

WAGNER RICHARD: (1813-1883) German Composer. A good vintage signed sepia carte-de-visite photograph by Wagner, the sepia albumen print by Franz Hanfstaengl of Berlin depicting Wagner in a profile half length pose wearing his velvet suit, cravat and beret. Signed ('Richard Wagner') with his name alone in ink to the lower photographer's mount. With the photographer's imprint to the verso, which is further annotated in bold black fountain pen ink in an unidentified hand indicating that the photograph was received on 15th September 1893 from [the antiquarian bookseller] B. Seligsberg of Bayreuth, 'Wagner's own collector of curios etc., who, in letter of same date, absolutely guarantees the authenticity of the autograph'. Some light, very minor age wear, otherwise VG

Wagner (Cosima, 1837-1930). Autograph letter signed, 'C. Wagner', Bayreuth, 31 December 1897, to Princess Herrmann of Saxe-Weimar in German, wishing her well, two pages with integral blank, minor split along centre fold, 4to (Qty: 1)Cosima Wagner was the illegitimate daughter of Frans Liszt and Marie D'Agoult, who later became the second wife of Richard Wagner, and with him founded the Bayreuth Festival.