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Box of Dresden China

THREE SITZENDORF & DRESDEN PORCELAIN FIGURINES, the former as a pair depicting a young man and woman with game and baskets of flowers in their arms, the Dresden figurine modelled as a young boy with a dove in his hand, 17cms H

VICTORIAN & LATER POTTERY & PORCELAIN, two crates including Fairings and other figurines, late Dresden, Black Wedgwood Jasperware and other items of interest

Ten assorted figures of figural groups including pair of Dresden figures of children feeding some chickens, a Quimper model of Virgin with Child, marked 'Henriot Quimper, France' to base, Staffordshire flatbacks, etc 

A pair of continental pierced porcelain plates, with central floral decoration, and crossed swords marks to base, possibly Meissen or Dresden, diameter 23.5cm (2)

Six continental porcelain figures and a wall bracket, including a pair of male and female figures holding flowers, with underglaze blue and white decoration and Dresden style lace, the wall bracket with crossed swords mark (7)

Dresden style porcelain table mirror, the frame surmounted by cherubs and with applied foliate border, oval mirror plate, wooden easel backing, 32cm; and similar pair of wall brackets, each 18cm. (Qty: 3)

A rare Rockingham square basket with leaf moulded corners painted by William Willis Bailey. With rustic crossed-twig handle, applied Dresden flowers and seaweed gilding. Painted to the centre with a titled landscape vignette, Steephill (Castle, Isle of Wight). Printed puce griffin mark, titled to the front c.1830-42, 26.5cm wide. Some slight loss to the applied work only.

A Rockingham scent bottle with pear-shaped body and flared tapering neck. With gilt bands, flower spike stopper and applied to the body and neck with Dresden type flowers coloured in enamels. Printed puce griffin mark and Cl 2 in red c.1830-42, 16.5cm. Some slight loss to the applied work only.

A Rockingham scent sprinkler and cover formed as a miniature baluster coffee pot. With rustic crossed-twig handle, three acanthus scroll feet and applied with Dresden flowers coloured in enamels. Unmarked c.1830-42, 9.5cm. Restored cover and spout.

A small Rockingham circular basket applied with Dresden flowers and raised on four acanthus moulded feet. Painted to the centre with a romantic river landscape vignette incorporating a cottage. Printed puce mark and Cl 3 in gilt c.1830-42, 10.5cm wide. Handle lacking and repaired here and to some of the applied work.

A Rockingham small square basket with indented sides and having gadroon and acanthus moulded rim and twist formed handles. Applied to the centre with Dresden flowers coloured in enamels. Printed puce griffin mark and Cl 2 in red c.1830-42, 11cmm wide. One handle re stuck. Crack to one corner.

A Rockingham novelty trinket box and cover in the form of a butterfly. Painted to the top with green and orange enamels and applied to the sides with Dresden flowers. Printed puce griffin mark and Cl 2 in red c.1830-42, 8.5cm wide. Cover broken and restored.

A rare Rockingham miniature scent bottle of hemispherical form. Decorated with applied Dresden flowers coloured in enamels and the stopper having a flower spike finial. Cl 2 in red c.1830-42, 6cm. Some loss to the applied work and gilt wear.

An uncommon Rockingham diamond-shaped scent bottle and stopper. Ornamented with applied Dresden flowers coloured in enamels, with gilt bands and a border of trailing berries. Printed puce griffin mark and Cl 2 in red c.1830-42, 8cm high. Stopper re glued. Some loss to the applied work.

A Rockingham elongated octagonal basket with rustic crossed-twig handle, moulded to the border with primrose leaves and applied with Dresden flowers. Finely enamelled with a titled coastal landscape vignette of North Lodge, St Leonards. Unmarked but with script title in red title c.1830-42, 23cm wide. Some slight loss to the applied work and gilt rubbing only. No repair.

A pair of Helena Wolfsohn Dresden pedestal salt sellers. Decorated in the Meissen style after Herold with harbour scenes. AR mark in underglaze blue, 9.5cm wide, 6cm high. One with a hair crack. No repair.

An uncommon Rockingham scent bottle of hexagonal form and with flower moulded finial. Each facet decorated in alternating styles with applied Dresden flowers and gilt sprigs. Cl 2 in red c.1830-42, 13cm. An uncommon Rockingham scent bottle of hexagonal form and with flower moulded finial. Each facet decorated in alternating styles with applied Dresden flowers and gilt sprigs. Cl 2 in red c.1830-42, 13cm.

A late 19th century Dresden basket. With a gilt openwork border and painted in the Meissen style with a bird, flowers and insects. Underglaze blue crossed swords mark, 30cm. Slight wear. No damage or repair.

Selection of figurines, Japanese figures, Dresden lace dress figures, 10 x Hummell, Goebel figures, 2 Murano glass clowns, Oriental bowl and a Spanish pottery Goose.

Pair Victorian Davenport Imari pattern cups & saucers, Dresden hand painted floral plate, Aynsley George V commemorative mug, Shelley Melody mug, Royal Worcester commemorative candles and other commemorative wares Condition Report Click here for further images, condition, auction times & delivery costs

Eleven small Dresden crinoline ballerina figures and other similar ladies H13cm max (11) Condition Report Click here for further images, condition, auction times & delivery costs

Six Dresden Crinoline dancers, H20cm max (6) Condition Report Click here for further images, condition, auction times & delivery costs

Eight Dresden crinoline Ballerinas, one mounted on pierced musical base, H24cm max (8) Condition Report Click here for further images, condition, auction times & delivery costs

Continental porcelain jar and cover with blue cross sword marks to base, together with two Dresden porcelain cups and a saucer, (4)

A DRESDEN LEAF-SHAPED PICKLE DISH, painted with a floral spray and sprigs within a gilt border, blue painted mark to base. 13cmHandle repaired and with a small rim chip.

A PAIR OF POTSDAM/ZECHLIN PRESENTATION WINE GLASSES c. 1734-41, for Marshall von Munnich, elaborately wheel engraved and gilded, of funnel shape, the armorial shields with quarters of swans and busts of monks centred with the double-headed eagle, the arms encircled by the Order of St. Andrew and surmounted by a coronet, flanked by Prussian eagles as supporters standing on military trophies, on tapering faceted stems and circular feet cut and gilded with scallops and flutes. 15.2cm and 15.6cmNote: the arms are of the German noble family Von Munnich, together with the Russian Order of St. Andrew. This identifies these as having been made for Burchard Christoph Graf von Munnich, a German-born Field Marshall and statesman.He entered the service of Augustus the Strong in 1716 and quickly became General Inspector or Polish troops and Commander of the Royal Guard. In 1721 he entered the service of Czar Peter the Great and under Peter II von Munnich became General of the Infantry. He was ennobled as a Russian count in 1728. Under Czarina Anna Ivanovna he was appointed Privy Councillor, Minister of War and in 1732, Field Marshall. He was awarded the Order of St. Andrew in 1734. His fortunes turned and, following the palace coup of 1741, he was exiled to Siberia by Czarina Elizabeth. There he remained for twenty years until rehabilitated by Peter III. He resumed high office and died in 1767 during the reign of Catherine the Great who commented at his death, "Even if he wasn't a Son of Russia, he was one of its Fathers".A Meissen porcelain service bearing the same arms was probably a gift to von Munnich from the Saxon Elector, Friedrich Augustus in gratitude for his role in the War of the Polish Succession (1733-38), which resulted in the Elector becoming Augustus III of Poland. While it is possible that these glasses were commissioned by Augustus III from a Saxon (Dresden) glass house, they follow Potsdam (Berlin) traditions and are more likely to have been a gift from Friedrich Wilhelm of Prussia. One with shallow chip to the rim.One foot has probably been ground, which would explain the slightly difference in height.One foot rim with minute flea bite.Minor loss to gilded rims.In generally good condition, commensurate with age and use.

A 1950's RUBY RED GLASS BOWL, PROBABLY WHITEFRIARS, of elliptical form; together with a Dresden porcelain three-light candelabrum, the stem modelled as a fisher boy; a Dresden porcelain figural basket modelled as a putto carrying a floral-encrusted basket, various marks; and a pair of majolica comports, each modelled as a lotus leaf on three naturalistic legs. (5) First 7.5cm by 25.5cm

TWO DRESDEN FIGURES, LATE 19TH CENTURY, each modelled as a lady in 18th Century dress, the first feeding a bird emerging from its cage, the second sitting at a table with a basket of flowers, each bears AR mark and impressed numbers. Taller 14.5cm 

A pair of Dresden figures - 13cm tall, and a pair of Meissen figures, Dresden figures are in good condition - Meissen figures are damaged, please see images

A Dresden floral decorated ice pail - 17.5cm tall, a pair of Dresden inkwells and a Meissen dish decorated with birds and insects, 34x23cm - dish has been repaired, some usage wear to all but apart from the repair generally good

A Dresden cabinet cup painted landscapes, a later matched saucer, and a Dresden shell form trinket pot

A Royal Doulton figure Monica HN1467 (chips to flowers), a Dresden floral encrusted cup (also chipped to flowers), Carlton Ware toast rack a/f and shell form dish

A Dresden Porcelain Oval Table Mirror with foliate encrusted decoration, together with a small collection of other ceramics

A Dresden Porcelain Covered Two Handled Vase, together with a collection of other ceramics to include cups and saucers and a ginger jar

A Continental Porcelain Figure in the form of an Officer, together with other porcelain figures to include Dresden

A Paragon Athena pattern coffee set and five KPM Dresden porcelain plates.

Dresden, Sevres and other decorative Continental ceramics

A late 19th century Dresden vase and cover together with a quantity of continental porcelain etc

A late 19th century Dresden porcelain dessert service, 8 plates, 2 bowls and a comport

A Dresden type porcelain centrepiece in the form of an open basket, above four figures dancing round central flowers and foliage standing on a stepped circular blue and white gilded base, blue crossed swords mark, 37cm high; a Herend porcelain two handled vase, of flared form and painted with birds; a Herend porcelain twin handled 'basket weave' jardinière, decorated in puce with sprigs of flowers; a Herend porcelain two handle bottle cooler, decorated with birds (4)Condition report: Grubby but overall good condition

A quantity of ceramics including Dresden lidded bowl, etc.

A Worcester shell pattern pedestal bowl with old restoration - sold with a Dresden cup with saucer and another - a/f

Dresden - Early 20th Century Hand Painted Porcelain Figural Group - Yardleys Old English Lavender Group for Shop Display. Impressed Dresden Marks to Base. 12.5 Inches - 31.5 cm High.

Football Helmut Schon signed vintage envelope Double PM Munchen 7-7-74. Helmut Schön 15 September 1915 in Dresden, Germany - 23 February 1996 in Wiesbaden, Germany was a German football player and manager. He is best remembered for his exceptional career as manager of the West German national team in four consecutive World Cup tournaments, including winning the title in 1974, losing in the final in 1966, and coming in third in 1970. In addition, his teams won the European Championship in 1972 and lost in the final in 1976. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Mid 14th century AD. A German great helm of later type with the lower part missing, but still visible in its original shape; comprising five plates rivetted together: one plate forming the top, rivetted by fifteen iron studs; two forming the front part, the top occipital plate also rivetted by fifteen iron studs, nine of which are the same rivetted to the top; the lower facial plate still fastened with eight studs, two of them attaching a T-shaped nose-guard raising on the upper plate; the back upper plate fastened by twenty-four rivets, the lower nine ones also rivetting the lower plate; eight holes (two in the upper frontal plate, six in the upper back plate) are visible and were intended for the fixing of the internal padding system; the top of the helmet is convex; the visual system is divided into two parts, and on both left and right parts with remaining holes forming the ventilation system. See Boeheim W.,Handbuch der Waffenkunde. Das Waffenwesen in seiner historischen Entwickelung vom Beginn des Mittelalters bis zum Ende des 18. Jahrhunderts, Leipzig, 1890; Pierzak J. ?redniowieczne he?my garnczkowe na ziemiach polskich na tle zachodnioeuropejskim, Bytom, 2005; Wild W., Unter schrecklichem Knallen barsten die Mauern – Auf die Suche nach archäologischen Spuren von Erdbebenkatastrophen, in Mittelalter, 11, 2006, pp.145-164; Lüken S., Topfhelm, in Aufbruch in die Gotik. Der Magdeburger Dom und die späte Stauferzeit. Band II. Katalog, ed. Puhle, M. Lammert, N., Magdeburg-Mainz, 2009, p.376; Lüken S., Topfhelm, inBurg und Herrschaft, ed. Atzbach R., Lüken S., Ottomeyer H., Berlin-Dresden, 2010, p.74; Žákovský P., Hošek J., Cisár V., A unique finding of a great helm from the Dale?ín castle in Moravia, in Acta Militaria Mediaevalia, VIII, 2011, pp.91-125; the structure of the helm shows similarity with the helmets of Dargen (Žákovský, Hošek, Cisár, 2011, fig.9a) found at the Dargen Castle near Deerberg and kept today in the collections of the Berlin Zeughaus, dating back to the second half of the 13th century (Lüken, 2009, 376, cat. no.VI.13; 2010, 74, cat. no.3.11); with the helmet of Madeln Castle (Žákovský, Hošek,Cisár, 2011, fig.9a) found during the research in 1940, nowadays stored in the collections of the Liestal Museum, dated to the end of the 13th century, with a possible overlap into the turn of the following century, although the helm was probably buried during the devastating earthquake in 1356 AD during which Madeln Castle was destroyed (Wild, 2006, pp.146-147); and other helmets like the ones of Küssnach Castle, Bolzano and Tannenberg (Žákovský, Hošek, Cisár, 2011, figs.9c-9d-9e), dated, respectively at the second quarter of the 14th century, early 14th century and 1350 AD. This item also has parallels with the recently published five plate helmet from Dale?ín castle dated to 1340 AD (Žákovský, Hošek, Cisár, 2011, p.114"). 1.7 kg, 27cm (10 1/2").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.This helm belongs to the category of the Great Helms made of five separate plates rivetted together. The chronological indicator for the Great Helms with five plates, suggested by Žákovský, Hošek, Cisár (2011, p.100), is the shape of the top occipital plate. This plate, flat in older helmets dated to 13th and early 14th century, is convex to hemispherical in the helmets made between 1320 and 1330 AD, followed by a conspicuous rib following the longitudinal axis of the plate. This is the case of the Dale?ín helmet and also of our specimen. The modification of the top occipital plate from flat to convex or hemispherical was better suited to deflecting potential blows of the opponent away, or perhaps responded to the fact that, since the beginning of the 14th century, lighter helmets were worn under the Great Helms to provide the wearer with more comfort, a generally better view and more peripheral vision.Fair condition. Extremely rare.

Mid 10th-mid 11th century AD. A western European long double cutting sword with broad tapering blade with evidence of its use on the battlefield; wide shallow fullers occupy half of the blade's width, inlaid with a simple Greek cross and X within a circle; a long straight guard and a broad short grip, the stout tang ending with the usual plain Brazil nut pommel. See Oakeshott, J. R. E., The Archaeology of the weapons, London, 1960; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Nicolle, D., Arms and Armour of the Crusading Era, 1050-1350, vol I, London, 1999; the sword finds a good parallel with a specimen from Spain, published by Peirce (2002, p.124), with another specimen in Cambridge; a 12th century sword from Germany, in the Wallace collection, London, England (Nicolle, 1999, fig.424); also a sword in Dresden, with the name 'INGELRII' on one side and the phrase 'HOMO DEI' on the other, dated circa 1100 AD; and a sword once in the Oakeshott collection with the mark of Carrocium, dated circa 11th century. 799 grams, 91.5cm (36").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed from Lyon, France; accompanied by an academic report by military specialist Dr Raffaele D'Amato.According to Oakeshott (1960, p.204) the sword of type X, were a development of Viking sword of type VIII with slight modifications. Oakeshott describes such swords as common in the late Viking age (last tenth century) and remaining in use until the first quarter of the 13th century. The evidence in sculptures, shows the pommel being well used into the 12th century, and even until the 1200, as shown by the images of Saint Zeno in Verona, in the scene of Roland and Faragut (Nicolle, 1999, fig.576 A-D").Fine condition, blade tip repaired. Rare.

Collection of Hammersley 'Dresden Sprays' cups, saucers and plates.

A.R. Penck ( -) STICK FIGURE signed and editioned 34/50 lithograph printed in colours 250 by 130cm SYMBOLS AND NEO-EXPRESSIONISM IN POST-WAR GERMANY Since A.R. Penck’s death in 2017 there has been considerable interest in his artwork. Posthumous solo exhibitions have showcased his bold, restless work, filled with his own self-created symbols. These include A.R. Penck: Paintings from the 1980s and Memorial to an Unknown East German Soldier, both held at the Michael Werner Gallery in New York in 2018, as well as the acclaimed I think in Pictures, a show of Penck’s featured works from the 1970s and 1980s held at the Ashmolean Museum of Art and Archaeology at Oxford University in 2019. Penck was born Ralf Winkler in Dresden in 1939. He adopted his chosen pseudonym after the paleogeologist Albrecht Penck out of necessity when the East German State Security began to confiscate his works in the 1960s. His art was deemed not to conform to the ideology of the state. In 1969 the Michel Werner Gallery hosted Penck's first solo show, signalling the beginning of a relationship that would be fortuitous and supportive throughout the artist’s career. Exhibiting in New York was only possible because the artist had changed his name, confusing border officials and allowing his work to pass through the Berlin wall. Michel Werner himself smuggled some of Penck’s artworks out of East Berlin, and arranged for friends in the city to deliver art materials to Penck in order for him to continue his practice.Penck’s Standart works are characterised by a myriad of pictographic marks that the artist viewed as the ‘building blocks’ he used to communicate his ideology, leaving clues and riddles for the viewers of his paintings in this lexicon of coded language. The artist began to explore how symbols, signs and numbers could be abstracted, creating a common language which could express the sadness and loss of post-World War II Germany in the Cold War era. An example is the letters ‘A’ and ‘B’ it is understood that he is referencing the capitalist West Germany and communist East Germany. Due to this aesthetic, Penck is often associated with artists Keith Haring and Jean-Michel Basquiat, although it is more likely that the artist’s style emerged spontaneously. He had little access to the work of his Western contemporaries whilst living in East Germany (German Democratic Republic) which heavily censored any influence that threatened the state. There has been a resurgence of interest in A.R. Penck’s work in recent years, at a time when contemporary artists are exploring the tenuous relationship of abstraction and figuration, and personal and recognisable iconographies and symbols. This has resulted in his work gaining momentum on the secondary market.His stick figure was Penck's most common motif and is given precedence in the lithograph Stick Figure, which is part of the artist’s well known Standart works, which he produced over a number of decades. The works in this series evoke graffiti art, cave paintings and Asian calligraphy. Here the colourful stick figure takes centre stage in the composition. The character could not be more typical of Penck’s chosen subjects. In the 1980s, when his career began to take off. Penck began exhibiting widely in London and New York and participated in the 1984 Venice Biennale as well as four editions of Documenta.

A.R. Penck ( -) STALIN WAR UR EIN SPIEL artist's signature inscribed into the frame on the reverse Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Museum für Gegenwartskunst, Basel, 1992 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Städtische Galerie im Städel, Frankfurt am Main, 1992 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Staatliche Kunstsammlungen Dresden Gemäldegalerie Neue Meister, 1993 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972, illustrated on P90 PROVENANCEAccompanied by Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk. Gemeinschaftsbilder.Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972. Signed by the artist. Schmerbach Collection, Berlin 123 by 84cm SYMBOLS AND NEO-EXPRESSIONISM IN POST-WAR GERMANY Since A.R. Penck’s death in 2017 there has been considerable interest in his artwork. Posthumous solo exhibitions have showcased his bold, restless work, filled with his own self-created symbols. These include A.R. Penck: Paintings from the 1980s and Memorial to an Unknown East German Soldier, both held at the Michael Werner Gallery in New York in 2018, as well as the acclaimed I think in Pictures, a show of Penck’s featured works from the 1970s and 1980s held at the Ashmolean Museum of Art and Archaeology at Oxford University in 2019. Penck was born Ralf Winkler in Dresden in 1939. He adopted his chosen pseudonym after the paleogeologist Albrecht Penck out of necessity when the East German State Security began to confiscate his works in the 1960s. His art was deemed not to conform to the ideology of the state. In 1969 the Michel Werner Gallery hosted Penck's first solo show, signalling the beginning of a relationship that would be fortuitous and supportive throughout the artist’s career. Exhibiting in New York was only possible because the artist had changed his name, confusing border officials and allowing his work to pass through the Berlin wall. Michel Werner himself smuggled some of Penck’s artworks out of East Berlin, and arranged for friends in the city to deliver art materials to Penck in order for him to continue his practice.Penck’s Standart works are characterised by a myriad of pictographic marks that the artist viewed as the ‘building blocks’ he used to communicate his ideology, leaving clues and riddles for the viewers of his paintings in this lexicon of coded language. The artist began to explore how symbols, signs and numbers could be abstracted, creating a common language which could express the sadness and loss of post-World War II Germany in the Cold War era. An example is the letters ‘A’ and ‘B’ it is understood that he is referencing the capitalist West Germany and communist East Germany. Due to this aesthetic, Penck is often associated with artists Keith Haring and Jean-Michel Basquiat, although it is more likely that the artist’s style emerged spontaneously. He had little access to the work of his Western contemporaries whilst living in East Germany (German Democratic Republic) which heavily censored any influence that threatened the state. There has been a resurgence of interest in A.R. Penck’s work in recent years, at a time when contemporary artists are exploring the tenuous relationship of abstraction and figuration, and personal and recognisable iconographies and symbols. This has resulted in his work gaining momentum on the secondary market.In 1971 Penck was a founding member of the artist’s group GAP, along with Steffen Terk, Wolfgang Opitz and Harald Gallasch. GAP existed until 1976. Stalin War Nur Ein Spiel is an acrylic on board work in which Penck incorporated a number of found objects including pieces of wood, playing cards and a book about Stalin. The book has been adhered to the board only by the back cover, making it possible to turn the pages. Thus making the information potentially available. The playing cards allude to games and a magician’s tricks. A literal work, all elements directly link to the title, which translates from German to mean Stalin Was Just a Game.

A.R. Penck ( -) DIE FRAGE NACH DER STAATS... signed with title and a number of inscriptions in pencil and pen on the reverse acrylic with pencil on paper 23 by 31,5cm SYMBOLS AND NEO-EXPRESSIONISM IN POST-WAR GERMANY Since A.R. Penck’s death in 2017 there has been considerable interest in his artwork. Posthumous solo exhibitions have showcased his bold, restless work, filled with his own self-created symbols. These include A.R. Penck: Paintings from the 1980s and Memorial to an Unknown East German Soldier, both held at the Michael Werner Gallery in New York in 2018, as well as the acclaimed I think in Pictures, a show of Penck’s featured works from the 1970s and 1980s held at the Ashmolean Museum of Art and Archaeology at Oxford University in 2019. Penck was born Ralf Winkler in Dresden in 1939. He adopted his chosen pseudonym after the paleogeologist Albrecht Penck out of necessity when the East German State Security began to confiscate his works in the 1960s. His art was deemed not to conform to the ideology of the state. In 1969 the Michel Werner Gallery hosted Penck's first solo show, signalling the beginning of a relationship that would be fortuitous and supportive throughout the artist’s career. Exhibiting in New York was only possible because the artist had changed his name, confusing border officials and allowing his work to pass through the Berlin wall. Michel Werner himself smuggled some of Penck’s artworks out of East Berlin, and arranged for friends in the city to deliver art materials to Penck in order for him to continue his practice.Penck’s Standart works are characterised by a myriad of pictographic marks that the artist viewed as the ‘building blocks’ he used to communicate his ideology, leaving clues and riddles for the viewers of his paintings in this lexicon of coded language. The artist began to explore how symbols, signs and numbers could be abstracted, creating a common language which could express the sadness and loss of post-World War II Germany in the Cold War era. An example is the letters ‘A’ and ‘B’ it is understood that he is referencing the capitalist West Germany and communist East Germany. Due to this aesthetic, Penck is often associated with artists Keith Haring and Jean-Michel Basquiat, although it is more likely that the artist’s style emerged spontaneously. He had little access to the work of his Western contemporaries whilst living in East Germany (German Democratic Republic) which heavily censored any influence that threatened the state. There has been a resurgence of interest in A.R. Penck’s work in recent years, at a time when contemporary artists are exploring the tenuous relationship of abstraction and figuration, and personal and recognisable iconographies and symbols. This has resulted in his work gaining momentum on the secondary market.Penck’s mixed media work, Die Frage nach der Staats Sicherheit zeigt meine eigene falsche Haltung translates to The Question of State Security Shows My Own Wrong Attitude. The artwork is a recto verso: the front side of the paper displays a pencil and acrylic work representing purple mountains with a sunset sky, while the reverse is covered with various pencil and pen inscriptions by the artist in German, including the title of the work. The statement may be that the recto was approved by the German State Security because it was mild, acceptable, benign art. The real artwork is hidden, in this case deliberately, on the reverse of the work. - S.D.A R Penck, Neo-Expressionist Painter Whose Work Reflected on the Postwar German Condition, Dies at 77, Alex Greenberger, ARTnews, accessed 19 January, 2020: https://www.artnews.com/art-news/news/a-r-penck-painter-whose-workreflected-on-the-postwar-german-condition-dies-at-77-8236/A R Penck: I Think in Pictures, Ashmolean, accessed 20 January, 2020, https: //ashmolean.org/event/penckA Tribute to A R Penck, John-Paul Stonard, Apollo:The International Art Magazine, accessed 20 January, 2020: https://www.apollo-magazine.com/a-tribute-to-a-r-penck/

A mixed group to include Dresden style candlesticks, cloisonne match box holder etc.

A pair of Dresden Helena Wolfsohn jars and covers, a pair of Vienna style dishes, a faience drug jar and a Gouda bowl.

A Plaue Schierholz porcelain box and cover, a Sitzendorf cherub-mounted candelabrum and sundry ceramics, including an 'Original Dresden' bowl, a quantity of Staffordshire green and gilt tea wares and a pewter-lidded jug (faults)

Five Dresden, Irish Dresden and other small lace figures, comprising a group of a couple singing and playing a mandolin, another of a gentleman playing a flute and standing by a piano entitled 'Recital' with accompanying figure of a lady playing, another of a seated lady with fan and one of a ballet dancer

An early 20th century Dresden bowl, of pierced oval form, the centre decorated with a courting couple within a landscape, having blue crossed swords mark verso, w.29cm; together with a pair of late 19th century Meissen porcelain plates, each of shaped circular form, decorated with birds and butterflies, having underglaze crossed swords mark verso, dia.24cm; a Dresden inkwell and cover on stand; a pair of German porcelain teacups; and a shell shaped open salt (8)

A quantity of vintage figures including Dresden Ballerina, two Staffordshire, Capo-di-monte, etc.

A Dresden figure of a lady reading to young boy and girl

A quantity of decorative European ceramics including a pair of Dresden vases, etc (two trays)

A cased Victorian silver-gilt christening-set, by Francis Higgins, London, 1867 and 1868, each piece stamped with scrolls on a matted ground and engraved with initials, in fitted case; together with: a German silver-gilt mounted porcelain christening set, by Heinrich Mau, Dresden, late 19th century, the handle of each gilt heightened, in fitted case, the case 23cm wide and smaller (6)The first set: Each piece fully marked. The knife marked on both blade and handle. The piece are in generally good condition with only some minor scratching and wear. The case is scuffed and the cover is detached from the base. The knife is 19cm long and has a filled handle. The spoon and fork weigh 2oz 5dwt. The second set: Each piece marked on the silver-gilt mounts. There is some scratching and wear to the silver-gilt mounts. There is some uneveness to the surface of the handles on some pieces. This is possible due to repairs. The knife 13cm long.