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Two Portuguese Majolica Chargers in the Style of Carlos Da Ramna. One Decorated in relief with Plums and the Other Apples, Both 28cms Diameter, Impressed Mark to Base

3rd century AD. An iron pugio military dagger with waisted leaf-shaped blade, rounded midrib, rectangular rivetted baluster, short grip with crescent pommel. See Bishop, M.C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Kennedy, D., The twin towns of Zeugma on the Euphrates, Portsmouth, 1998; Ba?gelen N. & Ergeç, R., Belkis/Zeugma, Halfeti, Rumkale, a last look at history, Istanbul, 2000; Bishop M. C. & Coulston J.C.N., Roman military equipment from the Punic Wars to the fall of Rome, London, 2006; Feugère, M., ‘Roman militaria from Zeugma’, in Ergeç, R. (Ed.), International Symposium on Zeugma: from Past to Future, Gaziantep: 2006, 91-96; Ibañez, F.C., ‘Post Vestigium Exercitus. Militaria romana en la región septentrional de la Península Ibérica durante la época Altoimperial’, in Morillo A. (ed.), Actas del II Congreso de Arqueología Miltar Romana en Hispania. Universidad de León-Ayuntamiento de León, León 2006, 257-308; Casprini, F., Saliola, M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012. 400 grams, 36.3cm long (14 1/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. This dagger finds a good parallel with a similar item found in London (Bishop & Coulston, 2006, p.165, fig.104,1), in Copthall Court. The pugio appeared as a side weapon of the Roman legionary in the 2nd century BC. However, its full diffusion within the Roman army begun with Caesar and Augustus, where it appeared as the reserve weapon for the heavy infantryman. Usually worn on the left side of the body by the Milites Legionarii and on the right side for the non-commissioned officers and centurions, it was used as a lethal weapon in body-to-body combat, being considered a short sword (pugio gladius brevis est"). Its continued use during the 3rd century is demonstrated by the many finds of similar type in Britannia (England), Syria, Germania (Germany), Pannonia (Hungary, part of modern Austria and Croatia) and in the imperial provinces. In Kunzing no fewer than 51 blades and 29 sheaths of such weapons were found. Double-edged daggers of old pugio fashion are in particular archaeologically attested for the 3rd century AD, from Zeugma (Ba?gelen-Ergeç, 2000, p.22; Feugère, 2006, p.92; these iron specimens belonged to the soldiers of the IIII Legio Scytica here stationed; they were found in the 1992 excavation of the Dyonisos and Ariadne houses in chantier 12; s. Feugère, 2006, p.92 and Kennedy, 1998, p.135, fig.5.9, p.89;), Dura (Bishop-Coulston, 2006, p.164;), Sotopalacios and Iuliobriga (Ibá?ez, 2006, pp.294 ff), London and other localities of Rhine and Germany (Kunzing, Eining, Speyer, s. Bishop-Coulston, 1993, fig.95.1 - London- ; Coulston-Bishop, 2006, fig.104, 4-5: Eining, 6: Speyer, Balkans and Danubian Limes. Our specimen comes from a military outpost, probably from Britannia. These daggers usually had a length of 28cm, reaching a maximum size (scabbard included) of 40cm. Third century AD blades are usually longer and proportionally wider in comparison with the blades of the 1st-2nd century. Casprini and Saliola (2012, pp.22-23) have evidenced the main differences between these pugiones and the earlier ones: with bigger dimension of the blade, expansion of the leaf-shaped shape, stronger central rib (when present), straight shoulder, flat tang, bigger guard of C typology, and bilobate pommel. Fair condition.

2nd-3rd century AD. An iron short dagger or pugio of 'Kunzing Type', with double-edged blade, the blade characteristically leaf-shaped with pronounced waist and a double longitudinal channel defining a rib, typical of this category; the iron grip would originally have been covered with bone or ivory, having inverted T-shaped grip plates with crescentic pommel. See Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Kennedy, D., The twin towns of Zeugma on the Euphrates, Portsmouth, 1998; Ba?gelen, N. & Ergeç, R., Belkis/Zeugma, Halfeti, Rumkale, a last look at history, Istanbul, 2000; Bishop, M. C. & Coulston, J.C.N., Roman military equipment from the Punic Wars to the fall of Rome, London, 2006; Feugère, M., ‘Roman militaria from Zeugma’, in Ergeç, R. (ed.), International Symposium on Zeugma: from Past to Future, Gaziantep, 2006, 91-96; Ibañez, F.C., ‘Post Vestigium Exercitus. Militaria romana en la región septentrional de la Península Ibérica durante la época Altoimperial’, in Morillo, A. (ed.), Actas del II Congreso de Arqueología Miltar Romana en Hispania. Universidad de León-Ayuntamiento de León, León, 2006, pp.257-308; Casprini, F., Saliola, M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012. 324 grams, 40cm long (15 3/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. This dagger belongs to the last period of evolution of the Roman pugio, the so-called Kunzing type (from the German locality in which a hoard of these pugiones was found), and to the blades of the III period according to the Saliola-Casprini classification (Saliola-Casprini, 2012, nos.45,54"). Compared to previous types of the 1st-2nd century AD, the blade of this weapon shows a considerable size, up to 45cm and longer, showing a plain appearance and no decoration, even on the scabbard, when preserved. Fair condition.

16th century AD. A rapier with tapered blade of flattened hexagonal section, fullers on both sides of the forte inscribed with 'NIO FIO', facing crescents and circle with cross on the blade, pronounced ricasso; elaborate, swept hilt with thumb ring and three guard bars, the quillon finials with embossed knobs, new leather grip and slightly oval pommel. Cf. Foulkes, C., Inventory and survey of the Armouries of the Tower of London, 2 volumes, London, 1916; Dufty, A.R., European swords and daggers in the Tower of London, London, 1974, pl.21, especially letter D. 1.25 kg, 1.05m (41 1/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. From the early 16th century onward, the practice of wearing a sword or rapier with civilian dress, made duels between unarmoured opponents more common. Lacking the armour, shield or hand protections worn in battle, the fighters had to block or parry an attack by other means. Methods of defence included the use of a dagger or a buckler held in the left hand. Fundamental characteristics of the spada da lato, compared to the normal one-handed sword and the sword, are the long and pointed but still massive blade, sharpened on both sides, with a short ricasso protected above by a metal ring; and the hilt with one or two-handed sleeves, normally in relation to the length of the blade and therefore to the total weight of the weapon, cross-shaped guard with large, straight or folded arms, loaded with branches, bridges and rings, articulating on the ricasso, to ensure greater protection of the hand. The maker's mark shows analogies with a rapier in the Tower of London Armoury (Foulkes, 1916, no.107 p.274"). Fine condition.

signedmixed media on paper76 by 56,5cm; 105,5 by 86 by 5cm including framingThierry Guetta, professionally known as ?Mr. Brainwash?, is a French born street artist. His work is a combination of pop imagery and cultural icons often illustrated through the mediums of spray-paint, stencil work and screen-printing, lending itself to a ?street art aesthetic?. His journey into the world of art started by shadowing famous street artists such as Space Invader and Banksy, documenting their art and recording thousands of hours of footage. He quickly became fascinated with the clandestine art process, forfeiting his day job and immersing himself in the culture of street art.The Oscar nominated, Exit Through the Gift Shop 2010, was a film directed by Banksy using footage captured by Guetta. The film explores the underground world of street art, following Banksy?s famous journey through North America, however, the plot changes almost immediately and concentrates on Guetta?s adoption of the Mr. Brainwash persona. The film centres around Guetta?s rise to fame as he struggles to assemble his first exhibition, Life is Beautiful 2008. Guetta?s factory-made process depicted throughout the film directly references the pop art movement and the installation of the artworld. Through this process Guetta emphasises the commercial value of art and the process of making. Within lot 309, Work Well Together, Leonardo Da Vinci?s Mona Lisa, Walt Disney?s Micky Mouse and Andy Warhol?s iconic Soup Cans are all referenced. Work Well Together clearly demonstrates Mr. Brainwash's fascination with popular culture, using iconic artworks found throughout different periods. He merges these symbols onto one canvas in an attempt to make art more accessible to everyone. A fusion between pop art and street art. His artistic intentions are undoubtedly aligned with the original pop artists, ?producing art for everybody that can be experienced everywhere?. Masterworksfineart.com. Mr. Brainwash Biography. [online] Available:

SILBERMÜNZE / NIOBMÜNZE 25 Euro: 900er Silber (16,5 g) , Niobmünze/Bimetall, Österreich 2011; Motto: Robotik. Avers mit Leonardo da Vincis Darstellung eines Menschen in Gestalt eines Roboters, Revers mit Darstellung eines Marsroboters, D. 33 mm.

Konvolut zeitgenössischer Grafik verschiedener Künstler:A. Paul Weber (1893 - 1980), vier Radierungen, verschiedene Maße;Michael Mathias Prechtl (1956-1981), Poster;Jürgen (?), Farblithografie, unleserlich signiert, "Unterwegs", 80/250;Klaus Böttger (1942-1992), Farbradierung, "Verhör", 56/150;Walter Heckmann (1929-1994), Serigrafie, 10/200;Gertrud Degenhardt (geb. 1940), "Da gibts den Schnaps", Farblithografie, 115/180;Jürgen Grenzemann (geb. 1941), Farbradierung, e.a., "Gewitterdämmerung";Unleserlich signiert, "Farewell to Connaught", Radierung, 138/200

Urbino, Raffael Sanzio da (Urbino 1483 - 1520 Rom) nach,"Madonna mit den Nelken", Öl auf Leinwand, auf Holz, 30 x 23 cm, winzige Farbaufsprünge und -abplatzer, alt restauriert.Nach dem bekannten Gemälde von Raffael in der National Gallery in London. Erst in den 1990er Jahren wurde das Gemälde, welches bis dahin Teil der Sammlung des Duke of Northumberland war, als eigenhändiges Werk Raffaels identifiziert. Das Original galt bis dato als verschollen und war lediglich durch Kopien bekannt, zu denen auch diese Ausführung gehört.

1 bt Da Silva's Quinta do Noval Nacional 1950 Vintage Port us, pt dis/aged label

2 bts Quinta & Vineyard Bottlers Finest Reserve Port NV 1 bt Consuelo Porto NV 1 bt Martinez Vintage Character Port NV cdl/pt dis 1 bt Abel Pereira da Fonseca Velhissimo Vinho do Douro NV 2 bts Almeida's Dry White Port NV 1 bt Adriano Ramos Pinto LBV Vintage Unknown pt dis/cdl Above eight bottles

1 bt Borgogno Barolo Riserva 1971 us, aged label 1 bt Vin Santo Vino da Tavola Invecchiato Nei Caratelli Colli Della Toscana Centrale 1985 hf 2 bts San Felice Chianti Classico Riserva 1985 us/ts 1 bt Bersano Barolo Riserva 1990 1 bt Macchiole 2001 Toscana vts 1 bt Le Macchiole Messorio 2007 Toscana i.n 1 bt Spumante Nosecco Da Angelo Taurini NV Above eight bottles

1 bt Royal Oporto Colheita de 1963 i.n 1 bt Taylors LBV 1997 bottled 2002 1 bt Grahams LBV 1997 bottled 2003 1 bt Grahams LBV 2007 original tube 1 bt Quinta da Mesquita NV Tawny 1 litre bt Cockburns Special Reserve NV 1 bt Almeidas Dry White Port NV Above seven bottles

Spain.- Castille & León.- Nueva relación y curioso romance, en el qual se declara, y da cuenta de un maravilloso fin que tuvo un labrador del Reino de León, el qual por su avaricia, y ambición llegó a hacerse dueño del lugar, bifolium, large woodcut of crucifixion to first recto, some staining and spotting, lightly browned, 8vo, no place, no printer, 1733.⁂ Rare, with WorldCat recording one copy (Biblioteca de Castilla y León (Valladolid)).

A ANTIQUE EDWARDIAN HALF PEARL SET BANGLE IN ORIGINAL BOX 15CT GOLD RETAILED BY DA. AND HILL COLCHESTER

Alan Anderson DA MCSD FRSA (Scottish b 1940), winter landscape with crofter's cottage and outbuildings, 'Ferlochan in Winter', oil on board, signed, 44cm by 44cm

Nick Drake - Time of No Reply, 1st Pressing with ephemera; together with United States of America on Mono; and 2 Love LPs: Forever Changes; and Da Capo. (4)

1960s/70s Prog / Psychedelic Rock - A collection of LPs, to include Gentle Giant - Self Titled, 6360020, reissue, (spaceship label), The Missing Piece CHR 1152, Pretentious 6641 629, Civilian CHR 1285, Live (Playing The Fool) CTY 1133, together with Three Friends (cover only) and Acquiring The Taste 6360 041, Gong - Flying Teapot V2002, Angel's Egg OVED 15, Inspiration - Follow The White Line CUSTOM 003, Psychedelic Dream two LP compilation c38026, Silk - Smooth As Raw Silk ABCS-694, Iron Butterfly - In-A-Gadda-da-Vida, K40022 (reissue), Country Joe & The Fish VSD 6545, Steve Hillage, Green OVED 30, The Idle Race, Birthday Party, SLS 50381 (reissue), Beaver Brothers, Ventriloquisms, Aul 701. (16)

Leonhard,K.C.v.: Lehrbuch der Geognosie und Geologie. Stgt., Schweizerbart 1835. Mit 1 gefalt. Farbentafel u. 8 auf 7 gefalt. lithogr. Taf. S. III-XVI (ohne den Reihentitel), S. 5-869, 1 Bl. Vlg.-Anz., XVI S. Hldr. d. Zt. (Etw. berieb. u. best.). (= Naturgeschichte der Drei Reiche, Bd. 3). Erste Ausgabe. - Mit den (meist fehlenden, da separat ersch.) Tafeln. - Fleckig.

Konvolut: von 7 Bl. von versch. Künstlern in versch. Techn., Ende 18.-Ende 19. Jh. Zw. 7 x 6 u. 29,5 x 19,5 cm. Tls. mit dem Namneszug u. tls. Titel im Druckmedium. Meist mont. ╔Zwei Götter auf Wolken.╗ Aquatintarad. n. CN n. A.Primaticio, "Ex Collectione Francisci Fabri Bonon", aus Clemente Nicoli, Dissegni d'Eccellenti Pittori Italiani Incisi di maniere diverse da Clemente Nicoli, Bologna 1786. Plrgr. 23,5 x 28,5 cm. - ╔Ferdinand v. Kobell╗ (1740-1799) zugeschrieben. Der Gefügelhändler. Rad. mit Plattenton. 7 x cm. Mit Nr. 4 im ob. li. Eck. - ╔Franz Edmund Weirotter╗ (1733-1771). Antike Ruinenlandschaft. Radierung. 7 x 18 cm. Mit dem Namenszug i.d. Platte. - ╔Georg Christoph Kilian╗ (1709-1781). Vornehmer Eingang zu dem Rennplatz des Antonins Karakalla. Rad. 14,4 x 20,3 cm. Mit dem Naenszg., Titel u. Nr. 26 i.d. Platte. - ╔Friedrich Harnisch╗ (tätig in Bln. ca. 1898-1930). Einladung zum 25-jährigen Jubiläum Anton v. Werners als Direktor der Kgl. Hochschule, Bln. 1899. Farb. Einblattdruck bei R.Mosse, Bln. Blgr. Gr.Fol. - ╔Die trauernden Polinnen.╗ Kolor. Lithogr. v. Müller bei Zöllner. 4°. - ╔Das Hermanns Denkmal im Teutoburger Walde.╗ Stahlstich v. C.Riedt n. G.Perlberg, um 1880. 4°. - Versch. starke Alters- u. Gebrauchssp. - ╔Neugebauer, Josef╗ (1810 Wien - Melk 1895). Studien zu Frauenbildnissen. - Schloss. 2 Bleistiftzeichnungen. Blgr. 26 x 19 bzw. 13,5 x 19,5 cm. Untereinander auf 1 Karton mont. Das ob. Bl. mit Nachlassst. unt. re. - Leichte Alters- u. Gebrauchssp. - ╔Rössner, Georg Walter╗ (1885 Leipzig - Gundelsby 1972). "Aachen in guten Tagen". Straßenansicht vor dem Elisenbrunnen. Bleistiftzeichnung mit wenig Kolorit. Blgr. 17 x 24 cm. Sign. u. betitelt. Verso Nachlassst. mit U. des Nachlassverwalters (?). Auf Karton mont. D

Ruscelli,G.: Il Rimario, nel quale con fondata, e facile maniera si prescriuo il modo di comporre perfettamente in versi nella lingua italiana. Col vocabolario. In cui oltre... In questa ultima impressione ampliato d'infinitissime voci cauate da moderni autori segnate con questo segno. Venedig, Tivani 1698. Kl.8°. 533 S. Flex. Prgt. d. Zt. mit hs. Rtitel. Seltene Ausgabe, nur 1 Eintr. im KVK (Univ. of Oxford Library). - Gebrauchsspuren, tls. etw. wasserrandig, hs. Besitzverm. auf Innendeckel.

Mavignier, Almir da Silva: (1925 Rio de Janeiro - Hamburg 2018). 2 Entwürfe für Briefmarken zum 100. Geburtstag von Paul Klee. Östlich-Süß (1928) und Landschaft mit gelben Vögeln (1923). 1979. Jew. Farboffsetdruck 47,5 x 67 cm. Griffelkunst 1976-2000, Bd.1 214 A1 und A2 (214. Wahl II. Quartal 1979). R

Montenglaut, Henriette von,: Schriftstellerin, Schauspielerin, Sängerin u. Übersetzerin (1768-1838). Eh. Brief mit Unterschrift "Montenglaut", dat. Potsd(am), am Oster Abend (18)24. Gr.8°. 1 Bl., 1 S. beschrieb. Mehrf. gefalt. An den Hofrat Winckler (Karl Gottfried Theodor Winkler, Pseud. Theodor Hell) in Dresden: "Herzlich erfreute mich die Nachricht, daß meine Clientin Sophie Dorothee vor ihrem Richterstuhl absolvirt worden...". Weiter wegen Beiträgen für die Penelope und für die Abendzeitung, die Übersetzung von Casimir de la Vigie etc. "Noch mancherlei hätte ich Ihnen zu sagen, aber da die Post geht: so muß ich mich begnügen, Sie recht dringend um die Aufnahme der beigehenden Anonce zu ersuchen...". - Etw. beschäd. duch Öffnen u. etw. fleckig. D

Rakauer Katechismus.: Catechesis Ecclesiarum, quae in Regno Poloniae et magno Ducatu Lithuaniae,... Rakau, (Sebastian Sternacki) 1609. 12°. Mit Holzschn.-Titelbordüre. 6 Bl., 317 S., 2 Bl., 1 w. Bl. - ╔Angebunden: (Schmalz,V.)╗ Warhafftige Erklerung aus grundt der Heiligen schrifft, von des Herren Jesu Christi Gottheit. Ebda. (ca. 1612). 48 nn. Bl. - ╔(Radecke, Matthäus)╗ Examen, Welche die sint die da verleucknen Jesum den Herrn, sampt einer bekentnis der Brüder in Polen... O.O.u.Dr., nach 1600. 66 Bl. Prgt. unter Verwendung einer alten Hs. (Fehlen die Schließbänder). I. Kawecka-Gryczowa 90. - Die sehr seltene erste lateinische Ausgabe, erkennbar an der Holzschnitt-Titelbordüre, welche den Londoner Nachdrucken (laut Titelbl. ebenfalls Rakau 1609, mit 317 S.) von 1614 bzw. nach 1635 fehlt. - Die polnische EA erschien 1605, die erste dt. Übers. von Valentin Schmalz 1608. Die 1569 gegründete Stadt Rakau (polnisch: Rakow) war von Anfang an als Ort religiöser Toleranz gedacht und entwickelte sich in kurzer Zeit zum Zentrum der sozinianischen Bewegung in Polen-Litauen. Ende des 16. Jh. entstand in der Stadt eine sozinianische Druckerei, in welcher der Rakauer Katechismus gedruckt wurde. Im Jahre 1639 wurden alle Bewohner der Stadt vertrieben. - II. VD 17, 23:650182 K. Erstmals 1593 mit 30 Bl. ersch. - III. VD 17, 7:719423X (falsche Verfasserangabe J.Stegmann). Alle drei sozinianische Schriften selten. - I. Stellenweise zahlr. Unterstr. mit Tinte, S. 259-262 angerändert, Titelbordüre mit Schabspur (etw. Abrieb). Vorderschnitt mit Markierungslinien. - 3 rare works bound in 1 volume. First work with woodcut title border. Vellum volume (ties missing).

Vinci, Leonardo da: (1452 Anchiano - Amboise 1519), nach. Groteske Köpfe. 5 lavierte Tuschezeichnungen. 17. Jhd. Jeweils unter Passep. Groteskes Profil eines älteren Mannes nach rechts mit Kopfbedeckung (vgl. Zöllner/Nathan 217). 10 x 8 cm. Verso: "SEU 1503". 217) - Zeichnung eines älteren Mannes nach links mit groteskem Profil (vgl. Zöllner/Nathan 218). 9,8 x 8 cm. Verso: "SF(...)60", "SEU 152". - Ältere Frau mit groteskem Profil nach rechts. 10 x 7 cm. Verso: "SEU 163". - Ältere Frau mit groteskem Profil nach links. 10 x 8 cm. Verso: "(...) 178", "SEU 106". - Mann mit groteskem Profil nach rechts. 9,9 x 7,4 cm. Verso: "(...) 183". - After. Grotesque heads. 5 washed ink drawings, each under passepartout. D

Constans de Castellet,(J.B.).: Istruzioni circa il modo di coltivare i gelsi, di allevare i bachi da seta, e di filar le sete, con nuove applicazioni, e riflessioni il tutto tradotto dall'originale francese... Turin, Soffietti 1778. Mit gest. Front. XVI, 190 S., 1 Bl. Hldr. d. Zt. mit Rsch. (Berieb. u. best., ob. Kap. beschäd.). Einaudi 941. Erste italienische Ausgabe. - Über Maulbeerbäume, Seidenraupen, Herstellung der Seide mit allen dazugehörigen technischen Angaben. Das seltene Werk erschien in franz. u. ital. Ausgabe, keine Übersetzung aus dem Franz. - Frühes Werk zur Seidenherstellung. - Tls. etw. fleckig, Front. mit Wasserrand. Vors. mit hs. Eintr. - Exlibris Rodolfo de Pestalozzi.

Biblia latina.: (Biblia cum pleno apparatu summariorum concordantiarum et quadruplicis repertorii sive indici. Paris, Philippe Pigouchet für Jean Petit 1507). 4°. Fragment. Blindgepr. Ldr. d. Zt. über Holzdeckeln mit hs. Rsch. und Resten der Schließen. (Gebrauchssp., mit Fehlstellen u. wurmstichig, die Schließen fehlen). Moreau I, 221, No. 22. - Sehr schöne lateinische Bibel, gedruckt von Philippe Pigouchet für Jean Petit, mit gothischen Lettern in zwei Spaltens, mit ganzseit. Figur an Schluß der Einführungsstücke und der Druckermarke von Jean Petit vor den Erklärungen. Gewidmet ist die Auflage an Alberto da Castello und Adrien Gemeau. - Fragment; es fehlen der Titel, die beiden ersten Inhaltsverzeichnisse und der Anfang des Dritten, die Bl. 273, 331-347 und 19 Blätter der Erklärungen. Feuchtigkeitsfleckig u. wurmstichig sowie mit einigen alten Reparaturen.

Heiligenstaedt, Kurt: (1890 Rossleben - Berlin 1964). Alles in allem, Lucie: wir stehen noch ganz gut da. Wir müssen jedoch anfangen zu rechnen... Gouache auf Karton, ca. 1935. Blgr. 51 x 36,5 cm. Unt. re. sign., unt. re. St. "Drucke für Textierung". Unter Passep. geklebt. Verso St. d. Fliegenden Blätter mit hs. Nr. 9513. R

Baillie, William: (1712 Killbride - London 1792). Die Malerin vor der Staffelei sitzend. Schabkunst von William Baillie nach einem Selbsportrait der Malerin. Um 1765. Id.d. Pl. "SOFONISBA ANGUSCIOLA PITTRICE". Di cui van Dyk ebbe a dire, avere ricevuto piu Lume nella pittura da una CIECA, che dal suo Maestro. - Vide Vasari/S. A. MALERIN, von der van Dyk sagte, er sei von einer BLINDEN in der Malerei mehr erhellt worden als von seinem Meister. - Lebensbeschreibungen des Vasari. Blgr. 38,5 x 28,8 cm. Plgr. 35,4 x 25, 3 cm. Monogr. - Nagler Monogrammisten Bd. 5, S. 313, 1552. R

Heilige Schrift, Die,: des Alten und Neuen Testamentes... Augsburg, Pattloch 1995. 4°. Mit 80 farb. Abb. auf 40 beids. bedr. Taf. 6 Bl., 1184 S., 2 Bl., 353, 39 S. Olwd. mit Gewebebeflockung u. eingelegten metallisierenden Folien, in Opp.-Schuber. Die Bibel in der Einbandgestaltung und mit den Bildern von Friedensreich Hundertwasser. - Jedes Ex. ist ein Unikat, da die Einbandgestaltung jwls. variiert. - (99)

Piloty, Ferdinand d.Ä.: (1786 Homburg - München 1844). Kopf der Mona Lisa. Kreidelithographie n. Leonardo da Vinci. 40 x 31,5, Blgr. 41,5 x 35 cm. Mit den Namensz. im Stein. - Winkler 965, 35.6 I (Gesicht nach viertellinks). - Vereinz. stockfl. R

Canal, Giovanni Antonio, gen. Canaletto,: (1697 Venedig 1768). Santa Giustina in Prato della Vale (!), li. u. re. Seite. Bl. 7 u. 8 der Folge von 31 "Vedute altre prese da i Luoghi altre ideate". 2 Radierungen um 1744. Jwls. Qu.Fol. Beide Bl. mit dem Namenszug u. Titel, das li. Bl. unt. re. "E 2.." i.d. Platte. Unter Passep. u. Glas gerahmt (nicht ausgerahmt). Bromberg 7 u. 8. De Vesme 7 u. 8. Vgl. Rijksmuseum RP-P-OB-207.592. - Tls. etw. stockfl. - 2 etchings c. 1744. Both sheets with the name and title. Framed under passep. and glass.

Calandri,P.: Arithmetica. Firenze, Lorenzo Morgiani e Giovanni Petri da Magonza 1491. 8°. Mit 2 ganzs. Holzschn., 39 Textholzschn., 21 S. mit Holzschn.-Bordüren u. zahlr. geometr. Figuren. 96 (von 104) Bl. (die fehlenden 4 Bl. Sign. "a" aus e. Ausgabe von 1518 ergänzt; ohne Lage b-b8). Ldr. d. 20. Jhts. mit goldgepr. Rckn.-Tit. (Vord. Gelenke eingerissen, berieb. u. best., tls. Kratzspuren). IGI 2352; BMC VI, 681; Choix 4247; Hain 4324; GW 5884; Goff C34; Rhodes 155; Sander 1523; Riccardi I/1°, 208; Smith Rara Arith. 47-49; Warren 298-299. Kristeller, Early Florentine Woodcuts, 77 a. Lippmann, Wood engravings, p. 28. Morgan, no. 1: "This book very few have mentioned at all and fewer still frum inspections". The first edition of the first printed Italian arithmetic with illustrations accompanying problems, and the first to give long diviston in the modern form known to the Italian writers by the name 'a danda'. Pollard in his 'Early Illustrated Bdoks' gives a long description of this book (p.109). - This important work contains tables of exdiange of money, calculations of money and weight and other problems in commercial arithmetic. - Durchgeh. etw. gebräunt u. fl., Ecken durch Gebrauch meist abgerundet. Im ob. Blattrand hs. pag. Durchgeh. etw. knapp beschn. Einige hs. Eintr. Die ersten 4 (ergänzten) Bl. mit kl., anges. Eckabrissen. Ex. mit Gebrauchsspuren, aber trotzdem noch recht ordentlich.

Kuntz, R.: "Barbarische Pferde - Chevaux Barbes" - "Dänischer Hengst - Etalon Danois". 2 Lithographien aus "Abbildungen saemmtlicher Pferde-Racen..." Stgt. um 1832. Taf. bei Velten, Karlsruhe. Je ca. 29,5 x 35,5 bzw. Blgr. ca. 44,5 x 56 cm. Je unt. mittig mit Bleistift num. Je mit Namensz. u. Dat. im Stein. - Nissen, ZBI 2327. - Einzige Ausgabe, selten, da im Eigenverlag erschienen. - Äußere w. Ränder tls. etw. angestaubt, tls. stellenw. Randein- u. -ausrisse.

Piloty, Ferdinand: (1786 Homburg - München 1844). Kopf von Maria und Christus aus der Beweinung des Willem Key, im Gegensinn. Kreidelithographie n. Daniele da Volterra (Ricciarelli). Blgr. 43,7 x 35,7 cm. Mit den Namensz. im Stein. - Winkler 965, 7.6. - Vereinz. Dünnst., tls. mit kl. Fehlst., vereinz. kl. Braunfleckchen, li. Rd. etw. knickf. R

Schedel,H.: Das Buch der Chroniken und Geschichten. Nbg., Koberger für S.Schreyer u. S.Kammermaister (Camerarius) 23.XII 1493. Fol. Restauriertes Exemplar. Mit zahlr. tls. ganz- oder doppelseitigen Holzschnitten von Michael Wolgemuth und Wilhelm Pleydenwurff sowie 2 dpblgr. Holzschn.-Kten. 10 nn. Bl., 286 röm. num. Bl., 1 nn. Bl. (davon 60 der röm. num. Bl. durch Faksimile ersetzt). Neuer Ldr. über Holzdeckeln unter Verwendung des blindgeprägt. Schweinsldr.-Überz. der Deckel u. des Rückens wohl des ursprünglichen Einbands u. 2 neuen Schließen. (Gebrauchs- u. Alterssp.). Hain 14510. BMC II, 437. Goff S.309. Polain 3471. GW M 40796. Erste deutsche Ausgabe, sechs Monate nach der lat. gedruckt, jedoch allg. seltener, da in kleinerer Auflage erschienen. Die am reichsten illustr. Inkunabel, die Holzschn. von hohem künsterlischen Rang. Unter den Holzschnitten vorhanden sind die doppelblgr. Weltkarte u. Karte v. Deutschland, 3 (1 dplblgr.) Ansichten von Konstantinopel, sowie die dplblgr. Ansichten von Krakau, Lübeck u. Neisse u. 2 kl. Ansichten von Jerusalem. - Die fehlenden röm. numer. Bl. 1, 7, 9, 39, 43, 44, 57, 58, 63, 64, 74, 86, 87, 90, 91, 92, 97, 98, 99, 100, 138, 139, 152, 153, 155, 156, 159, 160, 162, 169, 173, 174, 175, 179, 180, 186, 190, 191, 192, 199, 200, 225, 226, 229, 230, 233, 234, 239, 240, 241, 242, 243, 244, 248, 254, 259, 261, 262, 268 u. 285. - Knapp beschnitten, vereinz. mit ger. Text- oder Bildverl. Vorwieg. am Anfang u. Schluß ausgebesserte Randmängel u. zahlr. repar. Einrisse sowie stellenw. wurmstichig. Tls. fleckig u. feuchtigkeitsrandig, tls. etw. gebräunt, vereinz. alte Marginalien. - Gekauft wie besichtigt. - Restored copy. Lacking 60 sheets. Modern leather over wood (worn). Narrowly trimmed (slight text or image loss), partly repaired, partly stained and waterstained, partly somewhat browned. Bought as seen.

A Collection of Commemorative Silver Proof Coins comprising: UK crown 1977 ‘Silver Jubilee’ with certificate of authenticity, in case of issue FDC; Isle of Man 2 x crowns 2006 ‘The Birth of a Princess’ struck to commemorate the Queen’s 80th birthday, rev. the baby Princess Elizabeth with the King & Queen soon after her birth in 1926, both coins 38.6mm, 28.28g .925 silver, one layered with 24ct gold, FDC; Guernsey 2 x £1: 1995 ‘Queen Mother’s 95th Birthday’ & 2000 ‘Queen Mother’s Centennial’ each 9.5g .925 silver, with certificates of authenticity, FDC; Tristan da Cunha One Pound 2017 ‘100th Anniversary of the House of Windsor 1917-2017, rev. busts of George V, Edward VIII, George VI & Elizabeth II above Windsor Round Tower, with certificate of authenticity, 10g .925 silver, FDC, all individually encapsulated, together with Gibraltar, nickel proof halfcrown 2018 ‘Centenary of the End of WW1,’ a collection of 22 x UK commemorative cupro-nickel crowns & £5 coins comprising: 1951(x2) with certificates, 1953(x2), 1965(x2), 1977(x3), 1980, 1990(x2), 1993, 1996, 1999/2000, 2000, 2002(x2), 2005, 2006, 2007(x2), in wallets or presentation packs, UNC; lot also includes a Britannia £2 1998 1oz fine silver, a National Trust Silver Medal, obv. portrait of Queen Mother, 39mm, 25.5g .925 silver (edge hallmarked), in Royal Mint case of issue, 4 x £2 coins 1986 & 1995(x3), a penny 1967 layered in 24ct gold with colourised reverse & a commemorative bronze medal ‘Coronation 1937’.

Elizabeth II, Silver Proof £5 2008 ‘450th Anniversary of the Accession of Queen Elizabeth I’ FDC, together with 17 x cupro-nickel crowns: 1951(x3), all in boxes of issue, one with certificate, 1953(x2), 1965(x2), 1977(x6), 1980(x2) & 1981(x2), together with Isle of Man silver proof crown 1994 ‘First Atlantic Crossing 1919,’ Gibraltar silver crown 1980 ‘175th Anniversary Death of Nelson’ .925 silver BU, Netherlands 2½ guilders 1937 .720 silver GVF or+ & Tristan da Cunha Five Pounds 2007 commemorating Princess Diana, cupro-nickel, minor handling marks o/wise prooflike BU.

A Large Collection of Cupro-Nickel Coins comprising: Isle of Man, 12 x ‘Diamond Finish’ Christmas 50p 1981-1985, 1986, 1987(x2), 1988(x2) & 1990 & 1 x Gibraltar 50p 1990, each sealed inside a Christmas card, various commemorative reverses, with certificates of authenticity BU, together with Ascension Island crown 1978 ‘25th Anniversary of the Coronation,’ Tristan da Cunha 2 x 50p (crown-size) 1987 ‘Queen’s 40th Wedding Anniversary,’ Isle of Man 3 x crowns 1986 ‘Marriage of Prince Andrew & Sarah Ferguson,’ St Helena 50p (crown-size) 1986 ‘Marriage of Prince Andrew & Sarah Ferguson,’ Australia twelve-sided 50 cents 1981 ‘Charles & Diana’ & Guernsey 2 x square 10 shillings 1966 ‘900th Anniversary - Norman Conquest’ & 38 x UK crowns & £5 coins comprising: 1953, 1960, 1972, 1977(x2), 1980(x3), 1981(x8), 1990, 2001(x12) & 2006(x4), several cased or card-mounted & a set of 5 x card-mounted in a Sandhill case 1965, 1972, 1977, 1980 & 1981, all UNC; lot also includes a set of ‘Britain’s First Decimal Coins’ in blue wallet of issue.

Tristan da Cunha Gold Proof Piedfort One Crown 2008, issued to commemorate the 250th anniversary of the birth of Admiral Lord Nelson, obv. Queen Elizabeth II, rev. Lord Nelson, 13.92mm, 2.488g, 22ct gold, with certificate of authenticity, individually encapsulated, FDC as struck; together with a USA 'Peace' Dollar 1926, obv. laureate head left, rev. eagle within half wreath, Fine; 5 x Nightingale Island crown 2005 'The Life of HM Queen Elizabeth the Queen Mother', in The London Mint Office case; and 9 x cupro-nickel crowns.

Tristan da Cunha Gold Proof Five Pounds 2008, issued to commemorative the 60th Birthday of H.R.H. Prince Charles, obv. Queen Elizabeth II, rev. three busts of Prince Charles, 38.6mm, 35g, 18ct gold, with certificate of authenticity, encapsulated, FDC as struck.

Tristan da Cunha, Elizabeth II Quarter Sovereign 2018, rev. Spitfire and legend DEFENDING BRITAIN'S SKIES FOR ONE HUNDRED YEARS; a miniature replica Liberty Dollar 1849 (stamped COPY), 14ct gold, weight 0.5g; a 14ct medallion 'Year of the three kings 1936', weight 0.5g; and a miniature replica 20 marks 1918 (stamped COPY), 8ct gold, weight 0.5g; and a USA half dollar 1965, AEF; together with 30 x base metal coins and medallions.

Collection of Commemorative Coins, Medallions and Exonumia, to include: Cook Islands 1 dollar 2013 'Marilyn Monroe', obv. Rank-Broadley portrait of the Queen, rev. partially coloured relief depicting Monroe, 24 carat gold, 0.5g, encapsulated in case of issue with certificate of authenticity; 6 x Fiji brass commemorative 1 dollar 'Great Cities of the World' featuring Berlin, London, Tokyo, Sydney, Moscow and New York, individually encapsulated in case of issue, Prooflike; Elizabeth II silver proof 50p 1994 '50th Anniversary of the Normandy Landings', encapsulated in Royal Mint case of issue (lacking certificate); 2 x USA 'Kennedy' half dollar 2011, obv. colourised to commemorate the Battle of Bull Run 1861, individually encapsulated and cased; Jersey, Elizabeth II silver proof £5 2010 'Revolution to Restoration', rev. Prince Rupert, encapsulated (lacking case of issue and certificate); Elizabeth II 50p 1973, UNC; Cook Islands, Elizabeth II 1 dollar 1995 'Queen Mother'; 2 x Australia Diamond Jubilee medallion 2012, rev. crown superimposed on map of Australia with emu and kangaroo below, UNC; Elizabeth II crown 1980 commemorating the birthday of HM Queen Elizabeth the Queen Mother, in original Royal Mint packet, UNC; Isle of Man, Elizabeth II crown 2000 'The Centenary of her Majesty the Queen Mother' medallic first day postal cover, UNC; Elizabeth II 50p 1994 '50th Anniversary of the Normandy Landings' in original Royal Mint packet, UNC; UK 1991 coin set, 1p to £1, UNC; Tristan da Cunha coinage plate 2008 '250th anniversary of the birth of Admiral Lord Nelson, UNC; 3 x Britain's First Decimal Coins; 11 x cupro-nickel crowns and other commemorative coins and medallions.

Japanese porcelain charger overall with double phoenix flying amongst peony blossoms. Iron red six character Da Ming Cheng Hua Nian Zhi mark. Together with a Japanese dish with panels of musicians and hares, prunus sprigs to the reverse. (2) (B.P. 21% + VAT)

2 Märklin Leer-OKs DA 846/3 und 3100, S H0, Z 3

ORLAN (Saint-Étienne, France, 1947)."Disfiguration-Refiguration, Pre-Columbian Self-hybridizations, No. 21, 1999.Photograph. Copy 3/7.Work reproduced on the artist's website.With a bump on the frame.Signed, dated, justified and titled on the back.Size: 90 x 57 cm; 125 x 94 cm (frame).Orlan is known for intervening her own body, carrying out different aesthetic operations on herself. In this particular case, the piece preserves this idea of body modification and manipulation, however, in this work, the artist goes a step further. She not only questions her own identity, but also appropriates another culture. To do so, she makes use of an iconography associated with different pre-Columbian vestiges, such as the necklace, the shape of the hairstyle, the facial tattoos, and even the physiognomy of the nose, which is reminiscent of some profiles found in Aztec reliefs.ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation baroque costumes and was inspired by Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself in black corrugated vinyl and white faux leather. Colour photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictitious hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor of the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists. When the surgeries are completed, she will have the chin of Botticelli's Venus, the nose of Jean-Léon Gérôme's Psyche, the lips of François Boucher's Europe, the eyes of Diana (and the forehead of Leonardo da Vinci's Mona Lisa. ORLAN chose these characters, "not because of the canons of beauty they represent... but because of the stories associated with them".

ISRAEL MELERO (Alfaro, La Rioja, 1986)."Grapes #12".Oil on panel.Signed in the lower right corner.With a certificate of authenticity issued by the artist. Measurements: 100 x 100 cm.A graduate in Fine Arts from the University of the Basque Country (EHU), Israel Melero furthered his artistic training with an Official Master's Degree in Artistic Production at the Polytechnic University of Valencia, as well as with a training scholarship in London, the latter through the European Leonardo Da Vinci Mobility programme. With the project "Grapes", Melero develops a meticulous, fully elaborated language, in which the artist is interested in the process linked to the experience, in painting for the sake of painting. After a period of research, Melero develops a completely effective technique, based on the elaboration of layers, working the piece from the back to the front. He makes several works at the same time in order to take advantage of the different drying times of the oil paint, with the aim of not mixing certain colours that have to remain separate. Melero makes his works from photographs taken by himself, thus having a visual reference in terms of composition, lighting and colour, also taking advantage of elements typical of photography, such as blurring or the vision offered by macro lenses through the painting. The result, completely realistic works that delve into the beauty of nature, in which Israel Melero deals with the different varieties of grapes, ripening times and their appearance according to the different light conditions. In his evolution we can appreciate a meticulous and precious treatment of light and colour, taking up the teaching of hyperrealism but filtering this legacy through an intimate optic, resulting in a very personal work in which, according to the artist himself, "painting becomes an escape valve, as an experience that brings me back to nature, to the earth, to the minimum elements, to primitive representation".

A Pentax ist D DSLR Camera, powers up, shutter working, with SMC Pentax DA 18-55mm 3.5-5.8 & 17-70mm f/4 AL SDM & Samsung Schneider Kreuznach D Xenon 50-200mmm f/4-5.6 & 15-55mm f/3.5-5.6 lenses, auto focus functions, barrels G, elements G, with hoods, caps, in camera body maker's box

Two Minolta Dynax 7xi SLR Cameras, both power up, shutters working, flashes working, meters responsive, bodies G-VG, with an AF Zoom xi 28-80mm f/4, AF Zoom xi 100-300mm f/5.5-5.6 Macro and a Sigma 400mm f/5.6 AF Tele lens, all auto focus functions, barrels G, elements G, wih caps, a DA Data card, in hard case

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A London mint Tristan da Cunha proof gold sovereign and a similar proof gold Battle of Britain coin, cased with certificates (2)