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Royal Doulton Desert Orchid on plinth DA 134, Limited Edition No 3039/7500

Royal Doulton; a limited edition figure 'Red Rum' 133/7500, on plinth base. DA 218

A framed and mounted Da Vinci Print of The Last Supper, 38 1/4" x 25".

Weihrauchbrenner aus Bronze - China, Qing-Dynastie, zylindrische leicht konkav eingezogene Wandung mit seitlichen Handhaben, gegossene Vierzeichen-Siegelmarke "Da Ming Xuande Nian Zhi", H.ca.6cm Dm.ca.7cm, ca.592 g

Weihrauchbrenner aus Bronze - China, Qing-Zeit, unregelmäßig runde Form da herstellungsbedingt verzogen, seitliche Schlaufenhenkel, Bronze, teils goldfarben, apokryphe Sechszeichen-Xuande-Marke auf Boden, Breite mit Henkel ca. 17 cm, H.ca. 6 cm, Gewicht ca. 1580 g

Grand Tour Daktyliothek des Giovanni Liberotti "Incisore di Camei"Holz, Papier und Gips. Stapelkasten mit vier Ebenen. Darin vollständige Folge von insges. 102 Gipsmedaillons, nach Meisterwerken von der Antike bis zum 19. Jh. aus großen europäischen Sammlungen in Rom, Florenz, Neapel, Mailand und Paris der Grand Tour. Darstellungen z. B. des Barberinischen Fauns, das Mosaik Tauben auf dem Rand des Wassergefäßes von Soso, das letzte Abendmahl von Leonardo da Vinci, Szenerien mit Amor und Psyche, der Diskobolos von Myron, die Madonna della Sedia von Raffaello Santi, Herkules und der Zentaur von Giovanni da Bologna sowie die Laokoon-Gruppe. Gemmenabdrücke mit schwarzer Fassung und heller Nummerierung über helltürkis-grünem Grund. Teilw. alte Inventaretiketten. Im Deckel Herstelleretikett. Altersbedingte Gebrauchsspuren. H. 13 cm. 23,5 cm x 15 cm.A comprehensive Italian Grand Tour collection of 102 cameo plaster casts in its original wooden box with maker's label and partly inventory labels. Numbered. Age-related signs of use.Italien. Rom. Giovanni Liberotti. Um 1840.

Jan Brueghel der Jüngere und Hendrick van Balen (1601 Antwerpen - 1678 ebenda bzw. um 1575 in Antwerpen - 1632 ebenda) "Allegorie der Fruchtbarkeit"Ende der 1620 Jahre in Antwerpen entstandenes, großformatiges Werk, wobei Jan Brueghel die Landschaft, Blumen und Früchte malte, Hendrick van Balen hingegen die großen Figuren. Geschildert wird, wie Engel und Nymphen dem antiken, mit Ernte und Fruchtbarkeit sowie Sommer und Herbst verknüpften Götterpaar Bacchus und Ceres, die unter einem Baum mit rotem Stoffbaldachin thronen, verschiedenste Früchte, Weintrauben und Ähren darbringen. In Rückenansicht wird die sitzende Venus geschildert, die sich Ceres und Bacchus zuwendet. Die flämische Landschaft des Hintergrundes bezieht sich mit einem Erntemotiv und dem Getreidefeld thematisch auf die Hauptszene mit Ceres. Bei diesem Gemälde ist gut erkennbar, wie der höchst begabte Figurenmaler Hendrick van Balen zuerst die allegorischen bzw. mythologischen Figuren schuf, um danach durch Jan Brueghel mit seinen Früchten, Blumen und der Landschaft in einen Gesamtzusammenhang eingebunden zu werden. Obgleich hier zwei unterschiedliche Maler bei dieser Komposition am Werk waren, so erscheint es durch die kongeniale Zusammenarbeit doch gleichsam wie aus einem Guss, nur von einem Einzigen geschaffen. Wie Jan Brueghel d. Ä., der keine großen mythologischen oder christlichen Figuren malen konnte, war auch Jan Brueghel d. J. auf die Zusammenarbeit mit anderen Künstlern angewiesen. Da Hendrick Balen schon für seinen Jan Brueghel d. Ä. tätig gewesen war, war es auch nach dessen plötzlichem Tod im Jahr 1625 folgerichtig, dass er auch mit Jan Brueghel d. J. zusammenarbeiten würde. Die Mehrzahl ihrer späteren gemeinsamen Arbeiten kann daher zwischen 1626 - 1634 datiert werden. Eine solche Zusammenarbeit zweier oder mehrerer Künstler war insbesondere in der 1. Hälfte des 17. Jhs. ein häufiges Phänomen in der flämischen Malerei. Für eine Datierung Ende der 1620er Jahre sprechen sowohl der durch Peter Paul Rubens beeinflusste, füllige Figurenstil Hendrick van Balens als auch die feinen Details in den Blumen und Früchten Jan Brueghel d. J.: Eine deutlich kleinere Version der hier vorliegenden Komposition, die lediglich im Hintergrund abweicht, wurde 2007 bei Sotheby's in London versteigert. Die Figuren-Gruppe von Bacchus, Ceres und Venus kehrt überdies in abgewandelter Weise auch bei mehreren anderen Werken Hendrick van Balens mit thematisch vergleichbaren Bachanal-Szenen wieder, Öl/Lwd.; 167,5 cm x 215 cm. Rahmen.Beigefügt: Gutachten von Dr. Klaus Ertz, 17.07.2022.Oil on canvas. Accompanied by an expertise from Dr. Klaus Ertz, 7th of July 2022.

Italienischer Maler (Tätig im 17. Jh.)Gott Saturn (Chronos oder auch Kronos) verschlingt seine KinderImposantes Barock-Gemälde mit eindrucksvoller, szenischer Darstellung aus der Mythologie. Saturn entspricht dem Chronos bzw. Kronos der griechischen Mythologie. Geschildert wird Saturn als geflügelter, vollbärtiger Greis mit seinen Attributen Sense und Stundenglas, der hier eines seiner Kinder verschlingt. Diesem wurde prophezeit, dass ihn eines seiner Kinder eines Tages stürzen würde, woraufhin er fünf seiner Kinder verschlang, um dies verhindern. Lediglich Jupiter (bzw. Zeus) kann von seiner Mutter gerettet werden, da sie statt seiner einen Stein in eine Windel legte. Nach vielen Jahren unbemerkten Betrugs konnte Jupiter mit List und Gewalt jedoch seinen Vater stürzen, welcher seine Kinder und den Stein wieder ausspuckte. Die mythologische Erzählung wurde seit der Renaissance zu einem wichtigen Motiv in der europäischen Kunst - ließ sich hierin nämlich eine gesteigerte Dramatik mit der Möglichkeit Schrecken zu schildern, Entsetzen sowie Schaudern zu evozieren, verbinden. Zu den berühmtesten Darstellungen zählen u. a. Werke von Hendrick Goltzius, Maarten van Heemskerck, Peter Paul Rubens, Giulia Lama, Giambattista Tiepolo, Francisco de Goya. Öl/Lwd.; 131 cm x 104 cm. Rahmen.Provenienz: Auktion Dorotheum Wien, 20.03.1995, Lot 248; Norddeutsche Privatsammlung.Italian painter active 17th C.; Oil on canvas.

Francesco Trevisani (1656 Capodistria - 1746 Rom) Umkreis/Nachfolger des 18. Jhs. Hl. Familie mit Johannes dem Täufer als KnabeDarstellung Mariens mit dem schlafenden Kind in den Armen, dessen linker Fuß von Johannes geküsst wird. Johannes wird in Halbfigur im Profil wiedergegeben, geschultert hält er einen Kreuzstab mit dem Schriftband "AGNUS DEI" als Symbol der zukünftigen Passion. Das Gemälde gehört zu den zahlreichen Kopien des 18. Jhs., in mehreren Versionen von Trevisani selbst und seiner Werkstatt ausgeführten, nach der um 1710-1730 offenbar höchst beliebten Komposition (u.a. im Landesmuseum für Kunst und Kulturgeschichte in Oldenburg, im Art Institute of Chicago und im Nationalmuseum in Valletta/Malta). Trevisani war ein Schüler von Antonio Zanchi in Venedig, 1678 ging er nach Rom, wo ihn Carlo Maratta, Guido Reni, Paolo Veronese und Pietro da Cortona beeinflussten und er zu einem der angesehensten Künstler wurde. In Rom arbeitete Trevisani insbesondere für den bedeutenden Mäzen Kardinal Pietro Ottoboni, dem Neffen Papst Alexander III. und wohnte im Palazzo della Cancelleria, der Residenz des Kardinals. Öl/Lwd, doubl.; 105 cm x 78 cm. Rahmen.Provenienz: Norddeutsche Privatsammlung.Circle or follower of Francesco Trevisani (1656 - 1746). Oil on canvas, relined.

Henry Malfroy (1895 Martigues - 1944)Südfranzösische HafenstadtUnter wolkenlosem Himmel der Blick auf eine kleine, von zahlreichen Fischerbooten belebte Hafenstadt am Mittelmeer, wohl Martigues. Spätimpressionistische, mit breitem Pinselstrich und in virtuos wiedergegebenem Lokalkolorit gemalte, charakteristische Marineansicht des Künstlers. Henry Malfroy war vermutlich ein Sohn des Malers Charles Malfroy, mit dem er oft verwechselt wird, da er wie dieser mit Vorliebe die Mittelmeerorte der Departements Bouches-du-Rhône und Var an der provenzalischen Côte d’Azur malte. Henry Malfroy stellte regelmäßig im Salon des Artistes Français und im Salon des Indépendants in Paris aus. Öl/Lwd.; L. u. sign. 22 cm x 27 cm. Rahmen. Oil on canvas. Signed.

Milan Mölzer (1937 Prag - 1976 Düsseldorf)SchnittbildUm 1973-1975 entstandene, seltene Arbeit aus dem kleinen, bedeutenden Oeuvre des tschechischen Künstlers. Mölzer, der in der Tschechoslowakei als Pantomime tätig gewesen war, emigrierte 1968 mit seiner Familie nach Deutschland. Dort studierte er Malerei an der Kunstakademie Düsseldorf bei Gerhard Hoehme, einem Vertreter des Informel. Seine um 1973-1975 geschaffenen Schnittbilder lassen sich jedoch ohne Lucio Fontana und die Kunst der "Zero-Gruppe" (Günther Uecker, Otto Piene und Heinz Mack) als Inspirationsquelle nicht denken, da sie die abstrakte Malerei in die Dreidimensionalität brachten und erweiterten, Licht und Bewegung einbezogen. 1974 hatte Mölzer seine erste Einzelausstellung in Deutschland, nach seinem frühen Tod wurden die optisch-poetischen Werke "Reiseheft" und "Reisetagebuch" von ihm auf der documenta 6 in Kassel gezeigt. Bemaltes, weißes und chamoisfarbenes, geschnittenes und collagiertes Papier auf gelbem Grund, in einen Acrylglas-Objektkastenrahmen mit Holzrückwand montiert. Verso mit einer handschriftlichen Bestätigung von Zouna Mölzer "aus dem Nachlass von Milan Mölzer". Ges.-Maße 29,7 cm x 29,7 cm x 5,5 cm.Provenienz: Aus dem Nachlass des Künstlers.Collage of painted and cut paper mounted in acrylic glass display frame (box) with wooden back panel. Handwritten certificate of authenticity by Zouna Mölzer from the artitst's estate.

Tristan da Cunha, Queen Elizabeth II, Diamond Jubilee 22-Carat Gold Half-Sovereign Coin, 2012. Tristan da Cunha, Queen Elizabeth II, Diamond Jubilee Double Portrait 22-Carat Gold Half-Sovereign Coin, 2012, The London Mint Office, diameter 19.3mm, struck in 22-carat gold, in original presentation box of issue with certificate.

Remembrance Day 22-Carat Gold Proof £1 Coin. Tristan da Cunha, Queen Elizabeth II, Remembrance Day 22-Carat Gold Proof £1 Coin, 2016, Jubilee Mint, weight 8.00g, diameter 22.00mm, struck in 22-carat gold, in original presentation box of issue with certificate of authenticity.

The 60th Anniversary of the Coronation of Queen Elizabeth II Pure Silver Crown Set and others. The 60th Anniversary of the Coronation of Queen Elizabeth II Pure Silver Crown Set, 2013, Tristan da Cunha, featuring interpretations of the four major coinage portraits of the reign of Queen Elizabeth II, each struck in 99.9 pure silver, in original presentation case of issue with certificate of authenticity, together with three Royal Mint uncirculated coinage sets 1971, 1980 and 2008 Royal Shield of Arms and the 1997 Golden Wedding Crown, all in original presentation card sleeves.

Portugal.- Trade.- Pombal (Sebastiao José de, Marquis de) Estatutos dos Mercadores de Retalho, ?first edition, old ink manuscript numbers to head of title, modern marbled boards, 1757 § Instituiçaõ da Companhia Geral de Pernambuco, e Paraíba, first edition, title soiled and stained with some wear to a couple of letters and tear to head affecting first line (repaired), worming, mostly marginal but with slight loss to two lines of last few leaves, rebound using 18th century vellum French legal document with dates and signatures in manuscript, spine titled in ink, rubbed and soiled, spine ends wormed, [Borba de Moraes p.353; Kress 5786], 1759, both titles with large woodcut arms of King Joseph I and woodcut initials, Lisbon, Miguel Rodrigues, folio (2)⁂ The first is an interesting example of the economic reforms put in place by the Marquis de Pombal, in this case codifying national regulations affecting the retail trade, shopkeepers and merchants. Pombal, secretary of state for internal affairs, and de facto Prime Minister of Portugal from 1750 to 1777, is noted for his swift and competent leadership in the aftermath of the 1755 Lisbon earthquake. He implemented sweeping economic policies in Portugal to regulate commercial activity and standardize quality throughout the country. The present rules of engagement for the retail trade were part of that reform.The second item was an inaugural address to Joseph I, King of Portugal, announcing the establishment by the Pombal government of the Company of Pernambuco and Paraiba, with information on the commerce of Brazil prior to the Company's existence.

Brazil, Bahia.- Eu el Rey. Faço saber aos que este Alvará virem. Alvará, por que Vossa Magestade ha por bem extinguir o Conselho da Fazenda, e o emprehgo de Provedor della na Capitanía da Bahia, e de crear hum lugar de Intendente da Marinha, e Armazens Reaes da mesma Capitanía da Bahia, e de crear hum lugar de Intendente da Marinha, 10pp., printed in Portugese, slightly browned, later wrapper, Ajuda [Portugal], 1770; and another, Through America, pamphlet, 1883, folio (2).

DRAWING MANUAL: PIAZZETTA (Giovanni Battista, 1682-1754): 'Studi di pittura gia dissegnati da...Piazzetta ed con ora l'intalgio di Marco Pitteri...': Venice, Giovanni Battista Albrizzi, 1760: FIRST EDITION. Title page printed in red and black with engraved vignette, decorative head and tail-pieces, 38 plates only (of 48), by Bartolozzi and Pitteri, final 4 cropped and remounted with some repair, scattered foxing and handling marks, 19th century half calf gilt, rubbed and scuffed, oblong folio. For sale with all faults and not subject to return. (1)

A FINE IMARI PORCELAIN ´FLORAL´ DISH, 19th CENTURYJapan, 19th centuryThe shallow sides rising from a short ring foot, painted in underglaze blue, and overglaze green, iron-red, and gold on the show side with a central chrysanthemum roundel surrounded by lotus flowers and scroll, the rim with a blue diapered pattern border. The backside with evenly spaced floral compositions, the recessed base with an apocryphal six-character mark 'Da Ming Jiajing nianzhi' within a double circle. Condition: Very good condition with minimal firing flaws and minor wear. Provenance: Austrian private collection. Weight: 434 g Dimensions: Diameter 23 cm

A family group of medals :- First War pair of medals awarded to No. M2-181292 Pte.J. Jellis A.S.C.; and 1939/45 star, France and Germany star, Italy star and War medal in box of issue with Air Council slip addressed to DA Jellis of Bath Somerset

Cupronickel Crown Size Coins (x37) Comprising:28 coins viz: Barbados, Bermuda, Congo, Cook Islands (x2), Falkland Islands (x2), Gibraltar (x5), Hungary (x4), Jordan, Lesotho, Namibia, New Zealand, Seychelles, Somalia (x2), Tristan da Cunha (x4) Ukraine.Also includes 10 Slightly smaller coins including:Guyana (x2), Hungary (x4), Jamaica (x2).Total 38 Coins

A HULC suit and costume as seen worn by Matt Damon in the role of "Max Da Costa" in Neill Blomkamp's dystopian Sci-Fi film Elysium (2013). The costume ensemble is displayed on a custom-made life-size mannequin of Damon. Together with a "ChemRail" hero gun prop as seen used by him. The suit comprises intricate hydraulic dampers and brackets (made of plastic, rubber, and metal), articulated to allow for Damon's movement in the role. The chest brackets, gloves, and shoes comprise production-made parts, while the plastic cover of the head port screen and the electronics were recreated to complete the look of the display. The costume consists of a shirt and pants, studio-distressed with fake blood stains throughout. The gun is made of plastic and rubber, with meticulous painting and the word "ChemRail" in white along the side. The mannequin features Max's tattoos and is mounted on a rotating base with light-up film logo. In the film, Damon plays Max, a parolee living on an impoverished, dystopian Earth who goes on a freedom mission to steal information from a powerful citizen in Elysium, a luxurious space station inhabited by the wealthy and ruled by a corrupt, fascistic government. Because he is dying of radiation poisoning, the smuggler directing his mission provides him with a surgically installed exoskeleton or "HULC suit" to give him extra strength and stamina, particularly as his body deteriorates. Damon can be seen in a HULC suit and costume of this type throughout the majority of the film, with Max obtaining a ChemRail gun during the action-packed finale on Elysium.Blomkamp's approach to special effects relied on in-camera effects as much as possible: miniatures, models, and mechanical props, as well as location shoots and gray suit performance. New Zealand-based Weta Workshop handled the design and creation of the HULC suits for Max and Kruger (Sharlto Copley), as well as droid and props. Concepts for the HULC suits were created by Aaron Beck of Weta Workshop.Includes a DVD of the film.79 x 26 x 26 inches (mannequin with base); 11.5 x 3.5 x 39.25 inches (gun)PROVENANCE Lot 426, ScreenUsed, "Spring 2016," March 20, 2016

An original Xenomorph creature head from the production of Ridley Scott’s Alien (20th Century Fox, 1979), from the Carlo Rambaldi Archives.This Xenomorph head is composed of a fiberglass material, polyester resin, and includes a clear acrylic dome. The main structure of the head has been spray-painted with lacquer and acrylic paint to resemble bone, and features matte black components. The head has been mounted to a base for display purposes.  This head casting was fabricated by the famed Shepperton Design Studios from an original design by Academy Award-winning artist H.R. Giger, and featured hand-applied make-up effects enhancements by three-time Academy Award winner Carlo Rambaldi. Rambaldi was also engaged to project the mechanical retractable mouth of the Xenomorph head. This exact head can be seen on the set of the film in various vintage black & white photographs taken during the production phase of Alien at Rambaldi's effects lab. This photo shows the head coated in a slime-like substance, indicating that it was likely used to test different special effects techniques to achieve the effect seen in the final production of the film.  This prop was photo-matched to on set photos of Carlo Rambaldi working on the head during production.  The slime, the broken tubing, the uniquely cut neck and other details match these photos provided by the Rambaldi Archives.  Comparison side-by-side photos are provided showing the on set photos compared to the pre-restoration photos.  During the restoration process completed in 2023, the slime features were removed to restore the prop to its intended film appearance.This original Xenomorph head casting has been fully restored by the expert team at Blok4, who’s highly detailed process has preserved this piece for years to come. The team began by stripping and cleaning the Xenomorph head of its post-production applied visual effects in the form of paint and debris. Blok4 then began recreating from another original production example important snap clips for minor components that were missing or that needed to be replaced. Using a skilled fiberglass craftsman, the team was able to strengthen the integrity of the head and repair the worn interior. After the repair stage had been completed, the head was then sanded and spray-painted, closely following the original design direction from the film. Also added during the restoration was a new clear dome, also cast from an existing original production used example.This Xenomorph head, which was cast during the production of the film, was referred to by Rambaldi as a “Long Shot Head." Science fiction and horror fans alike will agree that Alien defined an era and set the tone for future films in the genre. The film's accolades include a 1980 Academy Award for Best Visual Effects, and a nomination for Best Art Direction, a Saturn Award for Best Direction for Ridley Scott and Best Science Fiction Film, among other nominations. Space-themed films such as Star Wars - A New Hope (Lucasfilm Ltd., 1977), released just two years prior, would set the bar for the scale of production expected for the film. As audiences poured in, opening in ninety theaters across the United States, and setting over fifty records, it's safe to say that Alien is what people were craving. The iconic Xenomorph was unlike anything that viewers had seen up to that point before, and some viewers were still left traumatized from Steven Spielberg's Jaws (Universal Pictures, 1975). Unlike that family-friendly Star Wars film, Alien's combination of horror and sexual themes earned it an "R" rating in the United States, and an "X" rating in the United Kingdom. Ridley Scott said about H.R. Giger's original model for an Xenomorph in an interview with Fantastic Films Magazine in 1979, “I'd seen conceptual drawings that other artists had tried rendering of the Alien. They always seemed to be of scaly bodies with claws, or huge blobs that would move across the floor. There was no elegance to them, no lethalness. What emerged was a H.R. Giger-designed humanoid with distinctively bio-mechanoid tendencies. I mean, really, how many creatures in horror films have actually worked for you? People only accept them because that's what they're seeing. When we finally had something acceptable, we stood back and looked at him. For better or worse, we were committed to that thing as the beast. He was great on paper, and when Giger put the model together, he looked terrific.”This striking, production-made Alien head has been displayed at various museum exhibits over the years, including most recently at the Palazzo delle Esposizioni (Exposition Palace) in Rome, Italy, titled “La Meccanica dei Mostri: da Carlo Rambaldi a Makinarium (The Mechanics of Monsters: From Carlo Rambaldi to Makinarium)” and was a part of the personal archive of Rambaldi for over four decades.  This prop has never before been offered at auction.  Rambaldi was a legendary special effects artist, who first rose to prominence with his work on Italian horror classics like Mario Bava’s Planet of the Vampires (Italian International Film, 1965), considered by many critics to be a prominent influence on Alien, and Dario Argento’s Deep Red (SEDA Spettacoli s.p.a.-Rome, production, 1975). His mutilated dog animatronics for Lucio Fulci’s film A Lizard in a Woman’s Skin were so convincing that Fulci was brought to trial for animal cruelty, and Rambaldi had to demonstrate the effects work in court to save the director from two years in prison.  Rambaldi became most well-known for his work on several of the most beloved American blockbusters of all time, including John Guillerman’s King Kong (Paramount Pictures, 1976) and Steven Spielberg’s Close Encounters of the Third Kind (Columbia Pictures, 1977), and E.T. The Extra-Terrestrial (Universal Pictures, 1982). Rambaldi won a Special Achievement Academy Award for Best Visual Effects for King Kong, and Academy Awards for Best Visual Effects for Alien and E.T. The Extra Terrestrial. Includes a DVD of the film. 33.25 x 13 x 15.75 inchesPROVENANCE From The Carlo Rambaldi Archives

12th-13th century A.D. Circular in plan with remains of suspension loop, the thick flan bearing a design composed of a central standing bird looking backwards and raising one wing, surrounding Latin legend '+ SIGILL ThOME DA VVERSGVRD' or, 'Seal of Thomas Wersgurd'; accompanied by an impression. 35.2 grams, 42 mm (1 5/8 in.). Found Berkshire, UK. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.BERK-40C486. [No Reserve]

Dated 1977 A.D. Obv: profile bust with QUEEN ELIZABETH THE SECOND 1952-1977 legend. Rev: ship with TRISTAN DA CUNHA TWENTY FIVE PENCE legend; in capsule and case of issue with certificate. 109 grams total, 77 x 77 mm including case (3 x 3 in.). Property of an Essex, UK, gentleman. [No Reserve]

2nd-1st millennium B.C. or later. Steatite or talc with two columns of cuneiform text, un-drilled: -num, son of Ad-da-al(?)-a/za(?); possibly unfinished. See Teissier, B., Ancient Near Eastern Cylinder Seals in the Marcopoli Collection, Berkeley, 1984, for discussion. 6.06 grams, 30 mm (1 1/8 in.). Acquired 1970s-1996. Property of a North American collector, collection no.083. London collection, 2016. [No Reserve]

World stamps, including Tristan da Cunha, Austria, Brazil, Cayman Islands, Cuba, Denmark, France, Brunei, Southern Rhodesia, Jamaica, etc, housed in 'The Imperial Postage Stamp Album' and six loose leaf albums

An early 17th Century Provincial rat tail silver spoon. Makers' mark only 'DA'. Approx. 17 grams. Est. £20 - £30.

GEORGE V 1925 Britain's Last Currency Sovereign 8 grams boxed, together with Elizabeth II 2009 St George and the Dragon Tristan Da Cunha Gold One Crown 1.24 grams boxed (2) Condition Report:Available upon request

Five Folio Society volumes: 'The Notebooks of Leonardo da Vinci' boxed set of three (2019); Jacob Bronowski 'The Ascent of Man' (2012); Richard Fortey 'The Earth - An Intimate History' (2011) (with slip cases) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

KLEINER ALBARELLO MIT KRIEGER Italien, Venedig, Werkstatt Domenico da Venezia, 2. Hälfte 16. Jh. Majolika, sandfarbener Scherben, polychrom bemalt. H. 14 cm. Auf kleinem Stand zylindrische Form, in der Mitte eingezogen. Wandung reich dekoriert mit bunter Blumenmalerei. Auf Schauseite ovales Medaillon mit halbfiguriger Darstellung eines jungen Mannes mit Helm. Rest., am Rand best. Literatur: Zum Motiv vgl. Bojani, Gian Carlo; Guidotti, Carmen Ravanelli; Fanfani, Angiolo: La Donazione Galeazzo Cora. Ceramiche dal Medioevo al XIX secolo. Milano 1985, S. 315, Kat. Nr. 812.

KLEINER ALBARELLO MIT HERRENBILDNIS Italien, Venedig, Werkstatt Domenico da Venezia, 2. Hälfte 16. Jh. Majolika, heller Scherben, polychrom bemalt. H. 13,5 cm. Auf rundem Stand zylindrische Form, in der Mitte eingezogen. Wandung reich dekoriert mit bunter Blumenmalerei auf blauem Hintergrund. Auf Schauseite ovales Medaillon mit halbfigurigem Profilbildnis eines jungen Mannes, nach links schauend. Part. rest., am Rand best. Literatur: Zum Motiv vgl. Bojani, Gian Carlo; Guidotti, Carmen Ravanelli; Fanfani, Angiolo: La Donazione Galeazzo Cora. Ceramiche dal Medioevo al XIX secolo. Milano 1985, S. 314, Kat. Nr. 809.

HISTORISMUS SCHREIBTISCH MANTOVANI MIT DARSTELLUNG DER RAUB DER SABINERINNEN Mailand um 1870/1880 Ebenholz, detaillierte gravierte Elfenbeinintarsien. H. 110, B. 80, T. 82 cm. Auf der Platte unten rechts sig. 'L. Mantovani inc'. Rechteckiger Korpus auf vier Balusterbeinen, eine Schublade, in der Tischplatte eingearbeitet der Raub der Sabinerinnen nach Pietro da Cortonas Gemälde in der Pinacoteca Capitolina in Rom, gestochen von Luigi Mantovani. In der Platte und den Ecken Portraitmedaillons. Auf der Unterseite der Zarge Sammlungs-Etikett 'U' unter Krone und Inventar-Nr. 798. Part. best., an einem Bein ein intarsiertes Bein min. besch.. Literatur: Vgl. Meinrad Maria Grewenig: Macht & Pracht, Europas Glanz im 19. Jahrhundert, Annweiler 2006. Expertise: Gutachten von Hans-Martin Schmitz, Köln (05.02.2023), CITES Genehmigung liegt vor. Provenienz: Privatsammlung Rheinland.

VIOLINE WOHL ANTONIO SGARBI Rom, 1899 Zweiteilige Fichtenholzdecke und stark geflammter Ahornboden, dunkelbrauner Lack. 4/4 Geige, L. 59,5 cm, Korpusl. 35,5 cm. Geigenzettel: 'Antonio Sgarbi da Finale-Emilia Fece in Roma Anno 1899'. Part. best und ber., an der Decke besch., Stimmung erforderlich.

UMKREIS ODER SCHULE DES LEONARDO DA VINCI('Eigentlich Lionardo di ser Piero da Vinci')15. April 1452 vermutlich in Anchiano (bei Vinci) - 2. Mai 1519 Schloss Clos Lucé (Amboise)MADONNA MIT KIND Öl auf Pappelholztafel (parkettiert). 75 x 56 cm (R. 94 x 75 cm). Oben links kleiner Ausbruch an der Holztafel, min. altrest., leichte Altretuschen, verschmutzte Oberfläche. Rahmen. Provenienz: Berliner Privatsammlung.

WAHRSCHEINLICH SCHULE ANTONIO DA CORREGIO('Eigentlich Antonio Allegri, kurz Correggio oder il Correggio)')August 1489 Corregio - 5. März 1534 EbendaDIE MYSTISCHE HOCHZEIT DER HEILIGEN KATHARINA MIT DEM HEILIGEN SEBASTIAN Öl auf Leinwand (altdoubl.). 102 x 103,5 cm. Verso: Auf dem Keilrahmen mit alter Londoner Auktionsnummer des Auktionshauses Christie's 'I87V'. Weiterhin auf altem Papierlaibel bezeichnet: 'Miss Wal...ing..ton'. Part. min. altrest., leichte Altretuschen. Cecil Gould erwähnt eine Reihe von Wiederholungen zu dem hier angebotenen Gemälde. Neben Gorolamo da Carpi und Annibale sowi Agostino Carracci gibt es auch eine Wiederholung von Bernardino Gatti. Eine Wiederholung war in der Sammlung Charles I, eine in der Kunstsammlung des Bridgewater House. Literatur: Zu den Wiederholungen vgl.: Gould, Cecil: The painting of Correggio. London, 1976; S. 237. Provenienz: Rheinische Privatsammlung.

GILARDO DA LODI (ATTR.)1690 - 1724 Tätig in der LombardeiLANDSCHAFT MIT WASSERFALL, STILLLEBEN MIT FISCHEN, FRÜCHTEN, PILZEN UND FEDERVIEH. IM BILDZENTRUM EINE DEN LEBENSFADEN SPINNENDE NORNE Öl auf Leinwand (doubl.) (oval). 75 x 63 cm (R. 91 x 78 cm). Part. min. altrest., leichte Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.

Dated 19th November 102 A.D.. Bifacial discharge plaque honesta missio, for a soldier from Commagene serving under Emperor Trajan; Side A: diplomatic text in fourteen lines of seriffed capitals:[IMPERATOR CAESAR DIVI NERVAE FILIVS NERVA TRAIANVS AVGVSTVS GERMANICVS DACICVS PONTIFEX MAXIMVS TRIBVNICIA POTESTATE VI IMPERATOR IIII CONSUL IIIIPATER PATRIAE ... QUORUM NOMINA SUBSCRIPTA SUNT IPSIS LIBERIS POSTERISQUE EORVM CIVITATEM DEDIT ET CO] NUBIVM CVM UXORIBVS QVAS TVNC HABVISSENT CVM EST CIVITAS IIS DA-TA AVT SIQVI CELIBES ESSENT CVMIIS QUAS POSTEA DVXISSENT DVM-TAXAT SINGVLI SINGVLASA [NTE] D[IEM] XIII K[ALENDAS] DECEMBR[ES]L[VCIO] ANTONIO ALBO M[ARCO] IVNIO HOMULLO CO[N]S[OLIBVS]ALAE BOSPORANORVM CVI PRAEST C[AIVS] IVLIUS CAPITOGREGALIMARONAE BADDAEI E COMMAGEN[E]DESCRIPT(VM) ET RECOGNIT(VM) EX TABVLA AENEA QVAE FIXA EST ROMAETranslation: The Emperor Caesar Nerva Traianus Augustus, conqueror of Germany, conqueror of Dacia, son of the deified Nerva, pontifex maximus, in his sixth year of tribunician power, four times acclaimed Imperator, four times consul, father of his country, has granted to the ones...whose names are written below, citizenship for themselves, their children and descendants, and the right of legal marriage with the wives they had when citizenship was granted to them, or, if any were unmarried, with those they later marry, but only a single one each. 19 November, in the consulships of Lucius Antonius Albus and Marcus Iunius Homullus (A.D. 102). To Maronas son of Baddaeus, from Commagene, soldier of the Ala Bosporanorum, commanded by Gaius Iulius Capito. Copied and checked from the bronze tablet set up at Rome.Side B: tabulation in two columns of witness names in seriffed rustic capitals:L. TERENTI • NEPOTIS (Seal of) Lucius Terentius Nepotis T. VILLI • [hole for sealing the document] HERACLIDES (Seal of) Titus Villus Heraclides A. LARCI • PHRONIMI (Seal of) A. Larcius Phronimus Q • AEMILI • SOTERICI (Seal of) Quintus Aemilius SotericusP. CAVLI • VITALIS (Seal of) Publius Caulus Vitalis L. PVLLI • [hole for sealing the document]CHARITONIS (Seal of) Lucius Pullus Charitonis P. ATINI • TROPHIMI (Seal of) Publius Atinus Trophimus. 214 grams, 17 cm (6 5/8 in.). Ex old English collection.London art market, 1980s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11858-207740. In the 1st century the Ala Bosporanorum was camped near the Euphrates. It was stationed in Dacia in the 2nd century; stayed for a while in Vecel, from where it went to Maroskeresztúr, where stamped bricks of their building work appear. The unit was also stationed in upper Pannonia in 116 A.D.

Circa 1st-4th century A.D.. Fragment or portion of floor mosaic, showing a composition of alternated patterns of different coloured squares in chequerboard pattern, combined in diagonal rows of light yellow, light blue, off-white, pink, red, light violet, again off-white, light grey, light grey, dark grey, off-white, light yellow (repeated two times) light blue and off-white shadows; on the lower part a red line is edging the composition over an off-white band. Cf. Ling, R., Ancient Mosaics,London, 1998, p.114 (Mosaics from Ampurias,Spain) for parallel; Arce, J., Ensoli, S. & La Rocca, E., Hispania Romana. Da Terra Di Conquista a Provincia dell'Impero, Venezia, 1997, p.314, fig.3 (Mosaic of Quintanilla de la Queza). 82.5 kg, 156 cm wide including frame (61 1/4 in.). Acquired 1970s-1996.Property of a North American collector.London collection, 2016.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11822-207409. The square-decorated mosaics had a strong presence in the Hispanic provinces, with some 1st century A.D. examples in the houses of Ampurias, up to the late imperial examples of the Villa of Palencia (archaeological site of La Tejada) where the main rooms show wall paintings with geometric, vegetal or decorations imitating marbles, and mosaics with simple geometric decorations alternating with elegant decorative motifs such as swastikas, chequered motifs or ropes, and Solomonic symbols. The chequerboard motif was widespread, and it is visible also in the 3rd-4rd century mosaic of the Roman Villa of Brading or in the house found under the Museum of Lincoln, in Britain. [No Reserve]

18th century A.D.. The slender band with a convex outer face and inscription in cursive script to the interior: 'Thy vertue is thy honor' followed by maker's mark 'DA' in a rectangular cartouche. Cf. The British Museum, museum number 1961,1202.361, for a very similar ring with this inscription, dated 17th century; cf. Evans, J., English Posies and Posy Rings, OUP, 1931, p.100, for this inscription. 2.20 grams, 17.11 mm overall, 14.60 mm internal diameter (approximate size British G 1/2, USA 3 1/2, Europe 5.55, Japan 5) (3/4 in.). Acquired in the early 1990s. Property of a Berkshire, UK, gentleman. The maker's mark is possibly a Britannia style mark composed of the first two letters of the surname of one Isaac Davenport, active 1696-1731. [No Reserve]

6th-5th century B.C. Modelled in the round wearing a diadem or headdress, either a Kore or Aphrodite, hollow-formed; accompanied by a custom-made display stand. Cf. similar statuette in the archaeological museum of Komotini, inv. no.??K13512/1323 da Rhodope; Cleveland Museum of Art, no.1926.518. 229 grams, 12 cm (263 grams total, 13.5 cm high including stand) (4 3/4 in. (5 3/8 in.)). Acquired in the 1970s.Ex European private collection. The type belongs to the evolution of the ‘Aphrodite Group’ that was distributed and copied by local workshops in Ionia and the rest of Greece. The figurines of this type are found in sanctuaries of female deities, as well as graves (eg. in Molyvoti). Similar figurines have also been found in Thassos. [For this specific lot, 5% import VAT is applicable on the hammer price]

A Collection of 18th and 19th-Century prints, drawings, and watercolours of musical and theatrical subjectsIncluding John Smith (1652-1743) after Domenico Tempesti (Italian c.1655-1737); Frontispiece for Sonate da camera by Nicolo Cosimi; Mezzotint; 24.3 x 33.6cm; 9½ x 13¼in (sheet); Unframed; Georgiana Keate (1771-1850); Edwin in the Character of Caleb; Signed and dated Georgiana Keate 1786 (lower right); Pen and ink with watercolour; 24.7 x 17.2cm; 9¾ x 6¾in; Unframed; George Cruikshank (1792–1878); The Opera Boxes During the time of the Great Exhibition; Etching; 21.9 x 26.5cm; 8½ x 10½in (sheet); Unframed; Thomas Rowlandson (1756-1827); Dr Syntax at Covent Garden Theatre; Aquatint with hand-colouring; 10.7 x 18.1cm; 4¼ x 7in (sheet); Unframed; a playbill for Paganini's Ninth Concert; 33.3 x 21.2cm; 13 x 8¼in (Unframed); and twenty-one further unframed works (26)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

(Art History, Sculpture, Architecture), J.B.L.G. Seroux D'Agincourt: 'Histoire de l'art par les monumens : depuis sa decadence au IVe siecle jusqu'a son renouvellement au XVIe', Paris, Treuttel et Würtz, 1823, vols 1-4, 6 (of 6), 212 engraved plates (of 325), volume 4 with 121 engraved plates (73 architecture, 48 sculpture, mainly Italian), volume 6 with 91 engraved plates Art History including Titian, Raphael, Durer, Da Vinci etc, folio, uniform old half calf worn (5)

Two King Charles III Coronation Proof 24 Carat Gold Five Pound Coins, Tristan da Cunha 2023, ltd ed of 4999, both 0.5g, with CoAs; a 2023 Silver Sovereign "The Love Story" Proof Five-Coin Set, comprising Quintuple Sovereign, Double Sovereign, Sovereign, Half Sovereign, and Quarter Sovereign, in fitted presentation case, with CoA and outer card cover; a UK Silver 50p ad £5 DateStamp Pair of coins, in fitted case, with CoA; a Charles III dual-plated 50p, Isle of Man 2023; and another Charles III 50p coin.Qty: 6

Six 24 carat gold coins commemorating the reign of Queen Elizabeth II and the coronation of King Charles III, each 1/200oz, all with CoAs; two 24 carat gold ten dollar coins commemorating the anniversary of the Queen's Coronation, Solomon Islands 2023, both with CoAs; and two Saint George and the Dragon gold five pound coins, Tristan da Cunha 2022; all in protective plastic cases.Qty: 10

Portugal's Eusebio da Silva postcard collection, featuring colour and b&w postcards of Eusebio, with one signed in black pen to front and another European Cup Final 25th anniversary postcard for Manchester United v Benfica signed by Eusebio in black pen; sold with a postcard and player profile card for Simoes, one signed in blue pen, (13)

A Renaissance bronze figure of a satyress with an infant satyr attributed to the workshop of Severo Calzetta da Ravenna (fl.1496-1543),early 16th century, North Italian, probably Ravenna, modelled seated on a tree trunk ringing a bell, the young satyr standing beside, on a later hexagonal stand,17cm wide15cm deep19cm highProvenance: A private collection, London.Literature: J Warren, The Wallace Collection: Catalogue of Italian Sculpture, London, 2016, vol. 1, pp. 228-237, no. 55.For similar examples, see:The Metropolitan Museum of Art, accession number 1975.1.1393;Wallace Collection, London, inventory number S67;Victoria & Albert Museum, accession number A.20-1971;Sotheby’s, 'European Sculpture & Works of Art', 5 December 2012, lot 38Sotheby’s, 'Old Master Sculpture', 5 July 2016, lot 47The present bronze group, depicting a tender moment between a satyress and child, is one of several casts which are thought to originate from the prolific workshop of Severo Calzetta da Ravenna. Known for creating small studiolo bronzes that could work as both decorative desk items and practical objects to hold candles or ink, the satyress is one of the more popular models they produced. Several other similar versions of this example exist in the collections of several prestigious museums around the world, including the Victoria and Albert Museum, London, and the Metropolitan Museum of Art, New York.Condition ReportOverall the condition of the bronze is good with minor dirt and wear to the surface consistent with age. Wear to the original lacquers and areas of reddish patina. Round casting flaw or historic damage and repair to the satyress' right shoulder. Small hairline crack or casting flaw to the satyress' tail. The figures, tree trunk and base probably associated and altered over time. The hexagonal base has a small loss to the back/underside. The bronze figure on it's own is 7cm wide, 8cm deep, 15.5cm high.

Attributed to Antonio da Ros for Cenedese, Murano Sommerso glass model of an owl, signed to the base Cenedese, Murano, 14cm highApart from the usual scuff marks and scratches to the base there is only one other prominent mark/scratch above the beak

Monchrome print Leda, after Leonardo da Vinci together with a further engraving Virtumnus and Pomona (2)

TWO CASED COINS, to include a 'Prince Of Wales investiture Medal 1969' silver coin, 'Y DDRAIG GOCH DDYRY CYCHWYN, ARWISGIAD CHARLES TYWYSOG CYMRU CAERNARFON 1969', hallmarked London, approximate gross weight 70.6 grams, together with a cased Queen Elizabeth II The Second 1952-1977, Tristan Da Cunha Twenty Five Pence', in a protective capsule

Lou Albert-Lasard. (1885 Metz - 1969 Paris). Selbstportrait. Vermutlich 1950er Jahre. Aquarell auf weißen Grund und auf blauer Leinwand. 65 x 50,5 cm. Verso mit Stempelsignatur auf der Leinwand. - An den Kanten und im unteren Bildbereich mit Kratzern und partiellem Verlust der Farb- und Grundierschicht. Insgesamt in noch gutem Zustand und mit frischen, deckenden Farben. Lou Albert-Lasard war eine deutsch-französische Malerin. Ihre Ausbildung erhielt Sie an privaten Kunstschulen, da es Frauen zum damaligen Zeitpunkt noch nicht erlaubt war, an Staatlichen Schulen zu studieren. Sie war an Kunstschule von Heinrich Knirr und schloss in München Kontakte zu Alexej von Jawlenksy, Marianne von Werefkin sowie den Mitgliedern des Blauen Reiters, Wassily Kandinsky, Franz Marc und Paul Klee. Lou Albert-Lasard lebte eine Zeit mit dem Dichter Rainer Maria Rilke zusammen. Nach einer zehnjährigen Station in Berlin, wo Sie sich der avantgardistischen Künstlervereinigung "Novembergruppe" anschloss, ließ Sie sich ab 1928 in Paris wieder und bewegte sich in der Künstlerszene von Montparnasse. Währenddessen baute Sie Freundschaften zu Henri Matisse, Alberto Giacommetti und Robert Delauny auf. Ihr Werk hat Anklänge im Expressionismus, ist jedoch weniger spitz und grafisch, sondern organischer und von Farbenfreude geprägt und wird der sog. "Verschollenen Generation" zugeordnet. Watercolour on white ground and on blue canvas. Verso with stamp signature on the canvas. - With scratches at the edges and in the lower part of the picture and partial loss of the paint and primer layer. Overall still in good condition and with fresh, opaque colours.

Italy, officially known as the Italian Republic, is a country located in Southern Europe. It is known for its rich history, cultural heritage, stunning landscapes, and delicious cuisine. Here's some information about Italy:1. History and Art: Italy has a long and influential history, with ancient civilizations like the Romans and Etruscans leaving behind remarkable ruins and archaeological sites. The country is also renowned for its Renaissance art, with famous masterpieces by artists such as Leonardo da Vinci, Michelangelo, and Botticelli found in museums and churches throughout Italy.2. Landmarks and Cities: Italy is home to numerous iconic landmarks and cities. Rome, the capital city, boasts attractions like the Colosseum, Roman Forum, and Vatican City with St. Peter's Basilica and the Sistine Chapel. Florence is known for its Renaissance architecture and art, including the Florence Cathedral and the Uffizi Gallery. Other notable cities include Venice with its canals, gondolas, and St. Mark's Square, and Milan with its fashion and design scene, as well as the famous Duomo.3. Beautiful Landscapes: Italy offers diverse and breathtaking landscapes. The Amalfi Coast is famous for its stunning coastal views, colorful cliffside villages, and crystal-clear waters. Tuscany is known for its rolling hills, vineyards, and picturesque countryside dotted with charming villages. The Italian Lakes, including Lake Como and Lake Garda, offer tranquil settings surrounded by mountains. The Dolomites in northeastern Italy are a UNESCO World Heritage site known for their dramatic peaks and outdoor activities like hiking, skiing, and mountaineering.4. Cuisine and Wine: Italian cuisine is renowned worldwide, and each region has its specialties. From pasta, pizza, and risotto to gelato and tiramisu, Italian food is beloved for its fresh ingredients and flavorful combinations. Italy is also known for its wine production, with regions like Tuscany, Piedmont, and Veneto producing world-class wines such as Chianti, Barolo, and Prosecco.5. Festivals and Celebrations: Italians love to celebrate, and the country is home to numerous vibrant festivals and events. The Venice Carnival is famous for its elaborate masks and costumes, while the Palio di Siena is a thrilling horse race held in the historic city of Siena. Other notable festivals include the Verona Opera Festival, the Feast of St. Mark in Venice, and the infiorata flower festival in Spello.Italy's rich cultural heritage, diverse landscapes, and culinary delights make it a captivating destination for travelers. Whether you're exploring ancient ruins, indulging in delicious food and wine, or simply enjoying the beauty of the countryside, Italy offers a wealth of experiences and a warm hospitality that is sure to leave a lasting impression.Measures 42 x 56.

'Schijndel Memorial Maquette' artist's proof, sculpted by Alan Beattie Herriot DA ARBS, with certificate of authenticity. 47cm (a/f)

Warre's 1984 Quinta da Cavadinha Vintage Port (one bottle), Warre's 1984 Late Bottled Vintage Port (one bottle), Delaforce 1984 Quinta da Corte Vintage Port (two bottles), Quinta da Carvalheira 1984 Vintage Port (three bottles) (7)

Warre's 1986 Quinta da Cavadinha (one bottle), Dow's 1986 Quinta do Bomfin Vintage Port (one bottle), Dow's Crusted Port, bottled 1986 (one bottle), 1988 Crusted Port (one bottle), Graham's Crusted Port, bottled 1987 (two bottles), Graham's 1989 Late Bottled Vintage Port (two bottles), Graham's 1991 Late Bottled Vintage Port (one bottle) (9)

Christine Aitchison DA (Contemporary) ScottishStill life of lemons in a blue bowlSigned, oil on canvas, and a companion (2) (unframed) 40cm by 41cm (unframed)

Warre’s Vintage Port 4 bottles Mixed Lot Warre’s Vintage Port comprising : 2 bottles Warre’s Late Bottled Vintage Port 1974 (Bottled 1978), 1 bottle Warre’s Quinta da Cavadinha Vintage Port 1984 (3 bottles i/n) together 1 bottle Warre’s Vintage Port 1966 (mus).Qty: 4Wilson55 can help with delivery! Click on the shipping tab for more details.

AFTER BENVENUTO TISI DA GAROFALO (1481-1559) 'St Catherine of Alexandria' 20th century copy by Charles Morrison 1977, oil on canvas, label verso, 50cm x 40cm, in a polychrome frame

Banco Nacional Ultramarino, Mozambique, 5 Mil Reis, 2 January 1908, serial number 137477, Alfredo Mendes da Silva signature, ship seal Type I, repaired but still presentable and in PMG holder 20 NET, very fine, this 1908 date only used in Mozambique and extremely rare in issued form, with only two notes graded by PMG, both in the same condition Pick 31a, BNU MZ26d £1,200-£1,600

BILL WRIGHT RSW RGI DA (Scottish 1930-2016) *ARR* Shore Dance Mixed media, signed lower right, 58cm x 76cm, frame 87cm x 105cm.

XIX secolo Leggio da tavolo in legno sorrentino XIX secolo cm 28x42Provenienza: Sorrento