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Orden & Ehrenzeichen Deutschland - Bayern : Bayern, St. Hubertus - Orden: Bedeutendes Ordenskreuz aus der Mitte des 18. Jahrhunderts, getragen als Knopflochdekoration. Bedeutendes frühes Exemplar in feiner Qualität. Bronze - feuervergoldet und Emaille. Formal entspricht dieses Ordenskreuz des Hausritterordens vom Heiligen Hubertus der Form des Kettenkleinodes. Wie auf einigen Porträts von Ordensrittern des St.-Hubertus-Ordens aus der Zeit des 18. Jahrhunderts zu erkennen ist, war es damals üblich, statt der offiziellen Anlässen vorbehaltenen Ordenskollane oder dem ebenso für formelle Gelegenheiten bestimmten Schärpenkleinod, im täglichen Gebrauch verkleinerte Ordenszeichen im Knopfloch zu tragen. Diese Gepflogenheit war auch bei anderen bedeutenden Ritterorden, wie z. B. dem Orden vom Goldenen Vlies, üblich. Es haben sich nur ganz wenige Exemplare dieser Ordenszeichen in Sammlungen erhalten. Auf Schloss Hohenschwangau werden Vergleichsexemplare aus der Sammlung des Wittelsbacher Ausgleichsfonds aufbewahrt, die dem hier angebotenen Ordenskreuz sehr ähnlich sind Außerordentlich seltene Ordensdekoration in am Alter gemessen hervorragender Erhaltung. Dieses Exemplar ist bei Karsten Klingbeil / Andreas Thies, Orden 1700 ? 2000, Band I, Nr. 179, abgebildet und beschrieben.German Orders and Medals - Kingdom of Bavaria : Bavaria, Order of Saint Hubert: Important early Breast Badge, dating from the mid 18th Century.Important early badge to be worn at the button - hole of a Knight of the Order. Of finest quality. Bronze - fire-gilt and enamel.Formally, this cross of the Order of St. Hubert corresponds to the form worn on the order#s collar chain.As can be seen on some 18th century portraits of knights of the Order of Saint Hubert, it was customary at that time to wear a smaller badges in the buttonhole in daily use instead of the order's collar reserved for official occasions or the large and massive sash badge which was also intended for formal occasions.This custom was also common in other important orders of chivalry, such as the Order of the Golden Fleece.Only a few examples of these badges have survived in collections.Comparative examples from the collection of the Bavarian Royal Family (Wittelsbacher Ausgleichsfond) are kept at Hohenschwangau Castle. These badges are very similar to the cross offered here.Exceptionally rare decoration in excellent condition, especially considering its age of over 250 years.This piece of insignia is illustrated and described in Karsten Klingbeil / Andreas Thies, Orden 1700 - 2000, Volume I, No. 179.

Deutsches Reich 1933 - 1945 - Kunst : Max Bezner: Porträtbüste Hermann GöringGoldpatinierte Bronze. Am hinteren Halsabschnitt Künstlersignatur: "Max Bezner 1937". Auf der Plinthe bezeichnet: "GUSS G: HEINZE BERLIN". Lebhafte Darstellung Görings in Überlebensgröße in Luftwaffen Generalsuniform mit dem Orden Pour le Mérite. Unterhalb des Kinns Bajonetteinstich. Altersgemäße Beschädigungen und Gebrauchspuren. Höhe: 52 cm. Max Bezner (* 1872 in Stuttgart; ? 1939 in Berlin) war ein deutscher Bildhauer und Landschaftsmaler. Bezner, 1894 noch Zeichenlehrer in Stuttgart, studierte Bildhauerei bei Alfred Boucher in dessen Künstlerkolonie La Ruche in Paris. Er lebte danach in Berlin und war dort als Bildhauer tätig, nebenbei malte er auch Landschaften. Zu Ausführungen in Bronze, Stein, Terrakotta und Porzellan schuf er Statuen, Büsten, Statuetten, Porträtreliefs und Medaillen, insbesondere für den Berliner Hof und den deutschen Hochadel. Porträtiert wurden von ihm unter anderem Kaiser Wilhelm II., Otto von Bismarck, Paul von Hindenburg (aufgestellt unter anderem im Tannenberg-Denkmal), Erich Ludendorff, Karl Helfferich, Ulrich von Wilamowitz-Moellendorff und Gustav Roethe. Außerdem schuf er Entwürfe für die Majolika-Werkstatt in Cadinen. 1928 lieferte er auf Haus Doorn dem exilieriten Kaiser eine Marmorreplik seiner Porträtbüste ab.Im selben Jahr wurde er zum Ritter des Königlichen Hausordens von Hohenzollern ernannt. In der Zeit des Nationalsozialismus fertigte er Porträtköpfe von Adolf Hitler und Hermann Göring. The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Max Bezner: Portrait Bust of Hermann Göring Gold-patinated bronze. Artist's signature on the back of the neck: "Max Bezner 1937".Inscribed on the plinth: "GUSS G: HEINZE BERLIN".Realistic depiction of Göring (larger than life size) in Luftwaffe general's uniform with the Order Pour le Mérite. Bayonet damage below the chin. Damages and traces of use according to age.Height: 52 cm.Max Bezner (* 1872 in Stuttgart; ? 1939 in Berlin) was a German sculptor and landscape painter.Bezner, in 1894 still a drawing teacher in Stuttgart, studied sculpture with Alfred Boucher in his artists' colony La Ruche in Paris. Afterwards he lived in Berlin where he worked as a sculptor and also painted landscapes. Among others, he portrayed Kaiser Wilhelm II, Otto von Bismarck, Paul von Hindenburg (erected in the Tannenberg Monument, among others), Erich Ludendorff, Karl Helfferich, Ulrich von Wilamowitz-Moellendorff and Gustav Roethe. He also created designs for the majolica workshop in Cadinen. In 1928 he delivered a marble replica of his portrait bust to the exiled emperor at Haus Doorn.In the same year he was made a knight of the Royal House Order of Hohenzollern. During the National Socialist era, he made portrait heads of Adolf Hitler and Hermann Göring.

A GROUP OF BRONZE OPIUM WEIGHTS, THAI / BURMESE 19/20TH CENTURY. Of varying sizes. 4cm - 5.5cm tall. (8)Good overall condition with signs of use and age.

An antique bronze dagger-axe on later short shaft. [W]Note: This lot is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require shipping for this lot, this can only be done using an age verified method.

Enthralling large oil on canvas painting made in a Expressionist/Late Cubist style. The artist has represented a wide eyed child who appears to be seating on his mother's lap as he looks at her enormous breast that is shown in profile. Areas of loosely applied green and shades of browns morph between the black contour lines that separate the background and the figures. Housed in a brushed bronze and black colored frame. Illegible signature on the upper right. Dates: 69. Frame size: 30.50"L x 41"H x 1.10"W. Artwork dimensions: 28.50"L x 39"H. Issued: 1969Country of Origin: United StatesCondition: Age related wear.

Middle-eastern style painting depicting two men on horseback hunting gazelles over a mountainous background. Khatam style frame with intricate bronze, green, white, and red marquetry. Unsigned. Sight size: 4.5"W x 6.5"H; frame: 7.75"W x 9.75"H x 0.75"D. Condition: Age related wear. Chipped corners and edges.

Comics -  Over 1000 Comics Mainly American, Some British, from 1960s to modern, to include Silver Age, Batman, Superman, Spiderman, Bronze and later examples, worthy of closer inspection, (quantity verified):- Five Boxes

Bronzestatue: Allegorie der ArchitekturHöhe: 42 cm.Frankreich, 17./ 18. Jahrhundert.Nach Modell von Giambologna (1529 Douai-1608 Florenz). Braune Patina, erkennbare feine Kaltarbeitsspuren. Die Bronzefigur in schwerem Hohlguss geschaffen, in Kaltarbeit nachziseliert und braun patiniert. Als Allegorie der Architektur ist die Frauengestalt unbekleidet gezeigt, lediglich ein Tuch zieht den Sockel herab. Die Körperhaltung dem manieristischen Stil entsprechend stark gedreht. In Sitzhaltung auf einem Rechtecksockel, Oberkörper und Arme nach rechts, der Kopf dagegen stark nach links gewandt, mit Blick nach unten. Das rechte Bein über das angezogene linke gelegt. Der linke Arm greift nach unten, die Hand liegt einer hochrechteckigen Platte auf, während die Rechte Winkel und Reißstift hält. Das Haar zu Zöpfen gedreht und hochgebunden, mit Bändern durchflochten, besetzt mit einem Lorbeerkranz.Die in der Sammlerwelt weitgehend unbekannte Bronzefigur ist formidentisch mit einem weiteren Exemplar, das sich im Pariser Louvre befindet. Die Maße sind identisch, was einen Nachguss von dort so gut wie ausschließt.Giambologna schuf eine Erstausführung in Marmor wohl um 1580, widmete sich dem Thema aber noch einmal. So existiert eine weitere Version „Architektur“ in unterschiedlicher Sitzposition: die Beine dort im Gegensinn übereinandergelegt, der Kopf nach rechts gewandt, die Attribute auf dem Schoß. Dieselbe Gestaltung findet sich in großer Marmor-Ausführung im Bargello-Museum Florenz.Ein Exemplar in Marmor, ebenfalls nahezu lebensgroß, das jedoch mit der uns vorliegenden Version übereinstimmt, ist im Walters Art Museum, Baltimore, USA zu sehen (Inv.Nr. 27.458).Ein weiteres in Bronze gegossenes gleichgroßes Exemplar, wie hier und im Louvre, hält das Philadelphia Museum of Art (Gallery 357). Dort ist der Guss als französisch, um 1675 – 1725 datiert.Das Exemplar im Musée du Louvre, ist unter der Nr. TH 108 in der Abteilung „Département des Objets d’art du Moyen Age, de la Renaissance et de temps modernes“ inventarisiert.Mit dem Vermerk: 2Statuette: l’architecture, Bologne, Jean Bologne dit aussi Giambologna, Jean de Bologne“, D’après un modèle de“Vermächtnis von Dosne-Thiers, Elise, Donateur Thiers, Louis Adolphe Collectioneur. Acquisition 1881.So dürfte es sich bei der uns vorliegenden Bronze um ein dem Louvre- und dem Philadelphia-Exemplar nahestehendes Werk handeln. A.R. (1362243) (11)Bronze statue: Allegory of ArchitectureHeight: 42 cm.France, 17th/ 18th century.After a model by Giambologna (1529 Douai–1608 Florence). Brown patina, visible fine traces of cold work.

A pair of French gilt-bronze figural candlesticks, in the manner of Corneille van Clève (1646-1732), second half 19th century, one modelled with a seated and draped male figure holding a cornucopia, the other with female figure holding a foliate and ribbon-tied floral cornucopia, each with gadrooned spreading and foliate drip-pan and scaled nozzle, above a gadrooned spreading base with entrelac and rosette border, the underside of one marked H, 35cm high (2)Footnotes: Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (1646-1732).  The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. These designs were first executed by Clevé's brother-in-law, the goldsmith Nicolas de Launay in 1702 in silver-gilt.  The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.Condition Report: Generally in good, ready to place condition.  Inevitable wear in areas to the gilded surface, such as the knees, shoulders of the figures and the extremities overall to be expected with age and use.  Dark dirt to the recesses of the casting.  Both lacking drop-in drip pans.

After Emmanuel Fremiet, French, 1824-1910, a bronze model of Char de Minerva (Minerva's Chariot), early 20th century, cast by Ferdinand Bardbedienne, depicting Diana on the back of a chariot pulled by three horses, inscribed E. FREMIET and F. BARBEDIENNE Fondeur, 54cm high, 53cm wideCondition Report: Some missing reins, the existing rein is detached at the shield. The patina with some rubbed highlights to be expected with age and use.  

Evans (Arthur). The Palace of Minos: A comparative account of the successive stages of the early Cretan civilization as illustrated by the discoveries at Knossos, 4 volumes in 6, plus Index volume, 1st edition, London: Macmillan and Co, 1921-36, numerous colour and monochrome maps, plates and plans, 3 folding plans contained in volume II part II rear pocket, 4 folding plans contained in volume III rear pocket, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, top edge gilt, original publisher's decorative blue cloth gilt, a few light water spots to backstrips, extremities lightly rubbed, head of rear joint of volume 1 slightly frayed, 8voQTY: (7)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).A complete set of this monumental work on the excavation and restoration of the ruins at Knossos. Dating from the Bronze Age, it is often called the oldest European city.The index volume is scarce - either lacking, or present as a reprint only.

Pair of French classical gilt bronze wine coolersextensively decorated, with handles in the form of grape vines and further grape vine decoration throughout, adorned with the head of Dionysus God of Wine on each side of the body, a cylindrical frieze above the body of the cooler decorated with various playful cherubs, the base surrounded by further playful cherubs in the round, each wine cooler with a cherub finial with drapery in differing poses, approximately 51cm high x 26cm wide (2) Both with signs of wear consistent with age and use. Both coolers with looseness and slight tilt. Some cherubs loose.

After Oscar Loevenich (b.1904) bronze sculpture of a newspaper boy, signed to rear at the base, on a turned wooden socle, 24.5cm high Overall wear and marks throughout, consistent with age and use. Chips to the marble base.

▲ Hamish MackieRoe Deer Standing Bronze 1of an edition of 12 98cm high by 106cm Lots 52-109 are from a private UK collection formed between 2010-2014 Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa.Animal Sculpture

▲ Hamish MackieWoodcock Bronze 2011 1 of an edition of 12 95cm high by 65cm wide by 60cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie  Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa. Bird Sculpture, Bird of Prey

▲ Hamish MackieLucifer Bronze 2012 1 of an edition of 12 105cm high by 70cm wide by 40cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa.Bird Sculpture, Goose

▲ Hamish MackieSwift Large Bronze 2006 Signed Hamish Mackie, numbered from an edition of 12 450cm high by 120cm wide by 80cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie - Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa.Bird Sculpture

▲ Hamish MackieHare Head Bronze 2015 From a signed and numbered edition of 12 45cm high by 19cm wide by 53cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa. Animal Sculpture, Rabbit

▲ Hamish MackieToad Bronze 2007 Numbered edition of 25, signed HAM 28cm high by 26cm wide by 19cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa.Animal Sculpture, Amphibian, Frog

▲ Hamish MackieLeft Hook Bronze, life size 2009 Signed HAM, numbered 1 of an edition of 12 70cm high by 20cm wide by 20cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa.Animal Sculpture, Hares

▲ Hamish MackieRoe Deer Family Bronze 2007 Signed HAM, numbered from an edition of 12 120cm high by 90cm wide by 25cm deep 80cm high by 90cm wide by 30cm deep 40cm high by 60cm wide by 30cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie - Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa. Animal Sculpture

▲ Hamish MackieLifesize Leopard Coming Down Tree Bronze 2010 Edition of 12 210cm high by 110cm wide by 50cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Hamish Mackie Sculpted from an early age and went on to become a full time sculptor in 1996 after returning from Africa. Animal Sculpture

Ernest Beck,Dutch foundry worker,bronze, signed in the cast and dated 1919, on a variegated marble plinth,47cm.Condition report:Generally good condition, wear associated with age, pan handle slightly bent, height is 47cm, base is 13x14cm.

CORONATION MEDALS ETC. A 1902 Coronation Borough of Penzance, Colenso Mayor medal; a 1937 Coronation Rowntree's Cocoa & one other 1937 medal; a 1953 Coronation Spink bronze medal in box & a Denton & Down A1 EPNS 1953 teaspoon. Also, a Hughes, Bath 3d token, a Bronze Age Roman coin, a St. Justin, Penzance mayors quatercentenary medal, two Cornwall Light Infantry badges & three coin banks. (13)  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Goebel Land in Sight #530 figure, featuring a group of five children in a boat. Includes 50th Anniversary of Columbus Landfall to New World bronze metal. Goebel backstamp TMK7. Certificate of Authenticity included. Issued: 1992Dimensions: 10"L x 5.5"W x 9.5"HEdition Number: 04047/30,000 Manufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.

Ca. 2nd millennium BC.A bronze axe head, characterized by its round-section shaft and blade flaring to a cutting edge. Bronze axes were versatile tools utilized for various purposes during Bronze Age. This meticulously crafted artifact played a crucial role in agricultural activities, allowing for efficient clearing of land, felling trees, and shaping timber for construction. Additionally, the sturdy and sharp blade facilitated hunting and butchering of animals, providing sustenance and raw materials for a growing society. The bronze axe head's significance extended beyond practical applications, as it also held symbolic value, signifying power and authority within the social hierarchy of Bronze Age communities. Size: L:100mm / W:135mm ; 255g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Western Asiatic/Aegan, ca. 1200-700 BC.A pair of bronze spearheads, each with elegantly shaped, slender blades. The blades culminate in a sharp, pointed tip, ideal for piercing armor and other defensive measures. The tang is rectangular in section and impeccably designed. Bronze Age bronze spears were highly valued weapons characterized by their exquisite craftsmanship and functional design. Serving as formidable weapons in both warfare and hunting, they stand as a testament to the technological advancements and cultural achievements of the civilizations that crafted them. Size: L:320-370mm / W:45214mm ; 305g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead boasts a double-edged blade with parallel sides, skillfully tapering to a finely honed point. One notable feature of this spearhead is the presence of a thick and flattened midrib that intricately adorns both surfaces of the blade, enhancing its structural integrity and visual appeal. The tang of the spearhead is characterized by a flat-section shank, gradually tapering towards its termination. Bronze spears played a pivotal role during the Bronze Age, serving as essential tools for warfare, hunting, and ceremonial purposes. The introduction of bronze as a primary material for spearheads marked a significant technological advancement, as it provided superior strength, durability, and sharpness compared to earlier materials like stone or copper. These bronze spears revolutionized combat strategies, enabling warriors to engage in close-quarter battles with increased efficiency and precision. Size: L:290mm / W:40mm ; 195g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

1st millenium BC.A matched pair of gold earrings. At the heart of each earring is a round hoop, expertly crafted from the finest gold. The gold has a warm, glowing hue that speaks to the preciousness of the metal and its timeless beauty. The hoops are perfectly circular, with no discernible seams or imperfections. The outer edge of each hoop is adorned with 14 spherical gold beads, arranged in a regular pattern. The beads are spaced at equal intervals around the circumference of the hoop, adding a sense of symmetry and harmony to the design. These gold earrings are a unique and captivating example of the artistry and craftsmanship of the Bronze Age. They offer a glimpse into a time when gold was prized not only for its value but also for its beauty and symbolic significance. Size: L:15.2-17.9mm / W:16-20.2mm ; 2.55-6.35g Provenance: Private London collection, UK art market before 2000.

Ca. 1st century BC - 1st century AD.A relatively light bronze legionary helmet with a bulbous domed bowl, small crest knob with a flattened top, pierced at the centre for insertion of a crest pin; narrow neck guard with thickened rim; fastening clasps for the cheek-guards inside the bowl. The use of the Etrusco-Italic tradition of the 'Montefortino' style helmet continued through the late Consular Age and into the early Imperial period, as shown on the Altar of Domitius Ahenobarbus and on the monument of Flavius Mikkales. See Robinson, R., The Armour of Imperial Rome, New York, 1975, pls.6-25 pp.18ff; Schaaf, U., 'Etruskich-Römische Helme' in Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.318-326; D'Amato, R., Arms and Armour of the Imperial Roman Soldier, London, 2009; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.102; Travis, H & J., Roman helmets, Stroud, 2014. Size: L:215mm / W:150mm ; 886g Provenance: Formerly in the private collection of Mr M. B., Mainz, Germany, since the 1990s; previously in the Axel Guttman collection

Ca. 525-330 BC.A group of five bronze arrowheads represents an intriguing assemblage of projectile points. These arrowheads showcase a distinctive trilobate and bilobate shape, characterized by three and two lobes respectively, which contribute to their aerodynamic efficiency and lethal potential. Crafted from bronze, a highly valued material during the Bronze Age, these arrowheads exhibit remarkable craftsmanship and metallurgical knowledge. Each arrowhead features a rounded socket that facilitated its attachment to an arrow shaft, allowing for swift and accurate release. The blades of these arrowheads taper gracefully to culminate in sharp points, enabling piercing penetration and maximizing their efficacy as hunting and warfare tools. Size: L:28-45mm / W:45214mm ; 25g Provenance: Private London collection; formerly acquired in the US in the 1990s.

Western Asiatic/Aegan, ca. 1200-700 BC.A bronze spearhead crafted with exceptional skill, it features a double-edged blade in a distinct leaf shape, gradually tapering to a finely honed point. A prominent and meticulously crafted thick midrib adorns both surfaces of the blade, not only enhancing its structural strength but also adding an exquisite aesthetic quality. Notably, the midrib extends along the length of the blade, seamlessly integrating into the shank and forming an integral part of the spearhead. The tang, relatively short, showcases a tapering profile. Bronze spears held great significance during the Bronze Age, serving as vital tools in warfare, hunting, and ceremonial contexts. These spears represented a pivotal technological advancement, as bronze, with its superior strength and durability, revolutionized the effectiveness and versatility of these weapons. The mastery demonstrated in the design and production of bronze spears reflects the profound influence they held within the societal and cultural framework of the time, ultimately shaping ancient civilizations' military strategies and cultural practices. Size: L:297mm / W:35mm ; 280g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Santorini, also known as Thira, is a stunning and picturesque island located in the southern Aegean Sea, part of the Cyclades archipelago in Greece. It is famous for its breathtaking sunsets, white-washed buildings with blue-domed roofs, crystal-clear waters, and dramatic landscapes shaped by volcanic activity. Santorini is a popular travel destination, attracting millions of visitors each year from all over the world.Key features and aspects of Santorini, Greece, include:1. Caldera: Santorini is a volcanic island formed by a massive volcanic eruption that took place around 3,600 years ago. The eruption caused the center of the island to collapse, forming a large caldera, which is now flooded with the Aegean Sea. The caldera's cliffs offer some of the most dramatic and beautiful views on the island.2. Unique Architecture: Santorini's traditional architecture is characterized by whitewashed buildings with blue-domed roofs and colorful doors and shutters. The island's iconic architecture is one of the most photographed and recognized in the world.3. Sunset Views: Santorini is renowned for its breathtaking sunsets, particularly from the towns of Oia and Fira, where visitors gather each evening to witness the stunning sight as the sun sets over the caldera.4. Beaches: The island has several beautiful beaches with unique characteristics. Some beaches have black volcanic sand, such as Kamari and Perissa, while others have red or white sands.5. Wine: Santorini is known for its excellent wines, particularly its white wines made from indigenous grape varieties such as Assyrtiko. Visitors can explore local wineries and vineyards, taste different wines, and learn about the island's winemaking traditions.6. Akrotiri Archaeological Site: Santorini boasts a rich history, and one of the significant archaeological sites is Akrotiri, a Minoan Bronze Age settlement that was buried by the volcanic eruption. The well-preserved ruins offer insights into the ancient civilization that once thrived on the island.7. Cuisine: Santorini offers a delectable array of traditional Greek cuisine, including fresh seafood, Greek salads, moussaka, and local specialties. Many restaurants and taverns offer dining with stunning views of the caldera.8. Outdoor Activities: Besides enjoying the island's beauty and culture, visitors can partake in various outdoor activities, such as boat tours, hiking, water sports, and exploring the island's charming villages and historic sites.Santorini's stunning vistas, unique architecture, rich history, and inviting atmosphere make it a dream destination for travelers seeking a mix of natural beauty, cultural experiences, and unforgettable moments. Whether relaxing on the beach, savoring local cuisine, or taking in the island's breathtaking sunsets, Santorini offers a memorable and enchanting experience for all who visit.Measures 24 x 36.Mounted to linen.

BACHEM, BELE (1916-2005), Konvolut: Bronzefigur UND Radierung, die Bronze: vollplastische Figur einer jungen Frau, einen Blumenkorb auf dem Kopf tragend, H: ca. 43 cm; die Radierung: Surreale Stadtansicht mit liegender Frau im Vordergrund, mit Bleistift von Hand signiert und num. 132/165, HxB: Platte ca. 17x14 cm (Außenmaße Rahmen ca. 36x30 cm), mit Rahmen. Je Altersspuren, die Radierung mit Lichtrand.| BACHEM, BELE (1916-2005), mixed lot: bronze figure AND etching, the bronze: fully plastic figure of a young woman, carrying a basket of flowers on her head, H: approx. 43 cm; Etching: Surreal city view with a woman lying in the foreground, signed by hand in pencil and numbered. 132/165, HxW: plate approx. 17x14 cm (external dimensions of frame approx. 36x30 cm), with frame. Each with signs of age, the etching with a light edge.

MINIATURKANONE AUF LAFETTE, In der Art des 18. Jh. gestaltet, Bronzekanone mit Delfinhenkeln und muschelförmiger Zündpfanne auf einer Holzlafette mit Metallbeschlägen montiert. Rohrlänge: 33 cm (Gewicht 2,27 Kg), HxBxT gesamt: 26/21/67 cm. Lafette mit losen- und fehlteilen. Alters- und Gebrauchsspuren.| MINIATURE CANNON ON MOUNT, designed in the style of the 18th century, bronze cannon with dolphin handles and shell-shaped firing pan mounted on a wooden mount with metal fittings. Barrel length: 33 cm (weight 2.27 kg), HxWxD total: 26/21/67 cm. Mount with loose and missing parts. Signs of age and use.

KAMINUHR, Frankreich, 2. Hälfte 19. Jh., Bronze feuervergoldet, Werk mit Fadenaufhängung und Schlag zur vollen und halben Stunde auf eine Glocke, Werk auf der Rückplatine gestempelt: „Vincenti & Cie., Medaille d'Argent“. HxBxT: 38/30/10cm. Alters- und Gebrauchsspuren, Pendel nicht vorhanden, nicht auf Funktion geprüft. | CHIMNEY CLOCK, France, 2nd half of the 19th century, fire-gilt bronze, movement with thread suspension and striking on the hour and half hour on a bell, movement stamped on the back plate: "Vincenti & Cie, Medaille d'Argent". HxWxD: 38/30/10cm. Signs of age and use, pendulum not present, not tested for function.

BÜLOW, VICCO VON "LORIOT" (1923-2011) "Comedian Harmonists" Verschiedenfarbig patinierte Bronze, rückseitig sign., Ex. 238/499 und mit Gießerstempel ars mundi, HxB: 19/45 cm. Min. Altersspuren. | BÜLOW, VICCO VON "LORIOT" (1923-2011) "Comedian Harmonists".Bronze patinated in various colours, signed on the reverse, ex. 238/499 and with foundry stamp ars mundi, HxW: 19/45 cm. Min. signs of age.

BÜLOW, VICCO VON "LORIOT" (1923-2011) "Der Denker" Verschiedenfarbig patinierte Bronze, rückseitig sign., E.A., HxB: ca. 19/30 cm. Min. Altersspuren. | BÜLOW, VICCO VON "LORIOT" (1923-2011) "The Thinker".Bronze patinated in various colours, signed on the reverse, E.A., HxW: approx. 19/30 cm. Min. signs of age.

BÜLOW, VICCO VON "LORIOT" (1923-2011) "Herren im Bad" Verschiedenfarbig patinierte Bronze, rückseitig sign., Ex. 572/980 und mit Gießerstempel ars mundi, HxB: 18/17 cm. Min. Altersspuren. | BÜLOW, VICCO VON "LORIOT" (1923-2011) "Gentlemen in the Bath".Bronze patinated in various colours, signed on the reverse, ex. 572/980 and with foundry stamp ars mundi, HxW: 18/17 cm. Min. signs of age.

BÜLOW, VICCO VON "LORIOT" (1923-2011) "Der Kenner" Verschiedenfarbig patinierte Bronze, rückseitig sign., Ex. 131/499 und mit Gießerstempel ars mundi, H: 14 cm. Min. Altersspuren. | BÜLOW, VICCO VON "LORIOT" (1923-2011) "The Connoisseur".Bronze patinated in various colours, signed on the reverse, ex. 131/499 and with foundry stamp ars mundi, h: 14 cm. Min. signs of age.

ARENTZ, KURT (1934-2014) "Drei Schweinchen des Glücks" Bronzeplastik, ARSMUNDI; am Sockel sign. & num. 183/199, H: 20 cm. Min. Altersspuren.| ARENTZ, KURT (1934-2014) "Three Little Pigs of Happiness".Bronze sculpture, ARSMUNDI; at the base sign. & num. 183/199, h: 20 cm. Min. signs of age.

GERLACH, WOLF (XX) "Mainzelmännchen, der Denker" Verschiedenfarbig patinierte Bronze, rückseitig sign., Ex. 51/499 und mit Gießerstempel ars mundi, H: 14,5 cm. Min. Altersspuren. | GERLACH, WOLF (XX) "Mainzelmännchen, the Thinker".Bronze patinated in various colours, signed on the reverse, ex. 51/499 and with foundry stamp ars mundi, h: 14,5 cm. Min. signs of age.

BOULOGNE, CATHERINE (1950) "Eduard, der Überlegene" Bronze, Ex. 32/99, Kunstgiesserei Strassacker, H: 52 cm. Leichte Altersspuren.| BOULOGNE, CATHERINE (1950) "Edward the Superior".Bronze, Ex. 32/99, Strassacker Art Foundry, h: 52 cm. Slight signs of age.

RHEINECK, GEORG (1848-1916) "Stehender Jüngling" Bronze, Akt eines Jünglings mit Lanze gestützt auf ein Bärenfell, auf Plinthe sign. "Gg. Rheineck." H: 37 cm. Altersspuren.| RHEINECK, GEORG (1848-1916) "Standing Youth".Bronze, nude of a youth with lance supported on a bearskin, on plinth sign. "Gg. Rheineck." H: 37 cm. Signs of age.

SCHMIDT-FELLING, PAUL (1835-1920) "Stehender Akt" Bronze, braun patiniert, unsig., seitlich mit Gießereimarke "Akt-Ges: Gladenbeck Berlin", über einem runden Stand naturalistischer Sockel mit der ganzfigurigen Darstellung eines Jünglings in leicht gedrehter Haltung, den Gürtel schließend, H: 22 cm. (mit Sockel) Altersspuren, Gürtel besch.| SCHMIDT-FELLING, PAUL (1835-1920) "Standing Nude". bronze, brown patina, unpainted, on the side with foundry mark "Akt-Ges: Gladenbeck Berlin", above a round stand a naturalistic base with a full-length depiction of a youth in a slightly turned posture, fastening his belt, h: 22 cm. (with base) signs of age, belt dam.

FLIEGENDER MERKUR 20.Jh., Bronze, H: 49 cm. Leichte Altersspuren, der Caduceus fehlt. Der Merkur gehört zu den Hauptwerken des Giovanni Bologna, auch genannt Giambologna, Meister des ital. Spätmanierismus. Das 1580 für einen Brunnen des Palazzo Medici in Florenz entworfene Original steht heute im Florentiner Museo nazionale del Bargello.| FLYING MERCURY20th century, bronze, h: 49 cm. Slight signs of age, the caduceus is missing. The Mercury belongs to the main works of Giovanni Bologna, also called Giambologna, master of the Italian late Mannerism. Late Mannerism. The original, designed in 1580 for a fountain of the Palazzo Medici in Florence, is today in the Museo nazionale del Bargello in Florence.

BRONZE NACH ANTIKEM VORBILD "Sonnenanbeter" Um 1900, patiniert, monogramiert, stehender nackter Jüngling mit erhobenen, ausgebreiteten Armen, H: 21 cm. (mit Sockel) Altersspuren, arm besch.| BRONZE AFTER ANTIQUE MODEL "Sun Worshipper".c. 1900, patinated, monogrammed, standing nude youth with raised, spread arms, h: 21 cm. (with base) signs of age, arm dam.

GROßE BRONZEGRUPPE "Aphrodite und Ares" 20.Jh., Bronze, Medaille "Bronze Garant Paris, J.B Deposé", H: 74 cm. (mit Sockel) Leichte Altersspuren.| large bronze group "Aphrodite and Ares".20th c., bronze, medal "Bronze Garant Paris, J.B Deposé", h: 74 cm. (with base) Slight signs of age.

White Bisque porcelain rose blossom and a bud mounted on coppered bronze leaf form base. The flower is marked Boehm, F135, American Express, Miss Liberty Rose, Made in USA, and the base is marked Boehm, Made in England. Dimensions: 5"L x 6"W x 4.75"HManufacturer: BoehmCondition: Age related wear.

Bronze Age Bronze Spear Head, Circa 950-800 BC. A nice example of a Late Bronze Age socketed spear head with dark green even patination.  The spearhead has a slender leaf-shaped blade, the edges of which are bevelled and still relatively sharp. The shaft tapers through the length of the spearhead to the point from the base with the socket itself being at least half the depth of the entire shaft. Two holes in the side of the shaft for fixing via pegs.Length approximately 17.1cm x Width 4cm.Condition: some clipping to the edges of the blade, mostly to one side.Fine all over patination to the metal. A Neolithic stone axe head of trapezoidal form, with a pointed oval profile.Approximately 9.5cm x 5cm.Condition: generally good.Some clipping to the pointed edge, plus further old tool marks from where the head has been shaped.

Jean Albert Errard, French SAS and French Resistance:- An Interesting Collection of Photographs and Ephemera, including citations for Croix de Guerre, Medale Militaire etc., numerous hand written letters, an S.N.P.P. medallion in maroon leather cloth case, two F.N.F.L. cap talleys, a pocket compass, button plate, pewter sandwich box/flask, numerous photographs, SAS publications etc.; "Amicale des Anciens Parachutistes SAS et des Anciens Commandos de la France Libre" - a Longwy Pottery Charger, numbered 021 and inscribed "A Notre Camarade S.A.S. Jean Errard; a Lizio Art Pottery Dish, incised with a parachutist below St. Marcel (the Maquis of St. Marcel were resistance fighters in the war); also an MBE Breast Badge, in case of issue to his wife Josephine Errard, for her post-war work in the British Embassy in Paris, where she worked for the welfare of British nationals and their repatriation, together with the citation.Footnote:- Jean Albert Errard, known as "Shell Head", due to the unusual shape of his head, was abandoned when he was born in 1916, and was taken in by a farming family in the Meuse region of Belgium/France, where he was treated like one of the family. He worked on the farm until he joined the sub-mariners at the age of 19. He was in Brest when the Germans invaded in June 1940 and went to England with the evacuating British Expeditionary Forces. He was one of the first to join the French Libre Forces and was sent to Dakar, Gabon and French Equatorial Africa, and took part in the Syria Campaign 1941. He returned to England in March 1942 and volunteered to serve with Captain Philippe Kieffer's group of Commandos. In August 1942 he was involved in Operation Jubilee (Raid on Dieppe) where heavy casualties were incurred, and he was one of the few to get back to the UK alive. He was awarded the Croix de Guerre with bronze star "To show evidence, on the 19th August 1942, of the highest qualities of courage and was a cog in the team which took part in three successive attempts at Bonneval after his convoy was attacked by German motorboats, and in spite of deadly artillery fire and automatic gun fire, made it to land". In November 1943, with the 4th Battalion Parachutists SAS, he parachuted into France and went on to work with the French Resistance with their sabotage programme. He was later dropped behind enemy lines before the D-Day landings, where he was responsible for "harassing" the enemy. He left the war zone of St. Marcel by escaping from the Germans with the help of the religious order of Malestroit who hid him in their convent. During Jean's time in the war, he sustained injuries from a hand grenade and met his future wife Josephine Lovegrove, whilst recuperating. Jean was a friend of General de Gaulle and the French spy Marie Clair. After the war, Jean's wife Josephine, travelled around Afghanistan after being inspired by the book "Where the Four Worlds Meet - Hindu Kush, 1959" by Fosco Maraini, which is included in this lot.

After Benedatto Boschetti (1820-1860), a bronze figure of a classical maidenThe semi-nude figure standing and wearing flowing robes tied at her waist, she leans over a large tazza which rests on a viney tree stump, set on a plain circular base.54cm highCondition:Honey golden patina. Minor, typical signs of age. No damage or repair apparent.

After Clodion (1738-1814), a bronze Bacchanalian groupGreen-brown patina, modelled as a youth and a maiden accompanied by two putti, they stride over a rocky landscape with trailing vines, set on an ochre marble base.41cm highCondition:Some small chips around the bottom of the marble. Bronze appears intact with only negligible signs of age.

A collection of mixed Marvel comics, Bronze to Modern Age including Amazing Spider-Man, The Incredible Hulk, X-Force #2, Captain America, Marvel Team-Up, etc. Qty

Marvel Comics - Daredevil #87, #222, #248-258, #263-264, #266-278, #281-282 (1972-1990) includes 1st and 2nd appearance of Typhoid Mary, and 1st appearance of Blackheart Bronze to Modern Age Marvel comics. (31)

Marvel comics - A large collection of Incredible Hulk comics from Bronze to Modern age including Hulk #377, 1st Professor Hulk, Hulk #418, 1st Talos, World War Hulk #1-5 etc. Qty

A collection of Marvel comics ranging from Bronze to Modern age including X-Men, Avengers, Amazing Spider-Man, Venom, Classic X-Men, etc. Qty

Comics - A collection of Bronze to Modern Age Marvel D.C. and Indie comics including the Brave and the Bold, Nightwing, Swamp Thing, X-Factor, Spellbound, etc. Qty

The Invaders #3-40 (1975-79) The Invaders Annual #1 (1977) Giant-Size Invaders #1 (1975), includes 1st appearance of Baron Blood, Union Jack, Warrior Woman, etc. Bronze Age Marvel comics. (39)

Marvel comics - A large collection of Avengers comics from Bronze to Modern Age, 1st appearance of the Council of Kangs. Qty