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Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Ölfarbe. 1963. Öl auf Papier mit gerissenem Loch. Unten mittig signiert und datiert. Verso signiert, datiert und bezeichnet 'Ölfarbe'. Auf Velin (mit Wasserzeichen Z Mattpost). 23 x 21 cm (9 x 8,2 in). [EH]. • Das Loch als eine in die Tiefe und Weite gerichtete Dimension. • Die durchbrochene Fläche beschäftigt Beuys immer wieder. • Das Blatt fordert in seiner radikalen Einfachheit zur Auseinandersetzung mit Sichtbarem und Unsichtbarem. • 1981 wird Beuys das Loch auch als Wanddurchbruch in der Düsseldorfer Kunsthalle realisieren. PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Das Thema der mit Ölfarbe eingestrichenen Papiere, in deren Mitte ein Loch ausgerissen ist, greift Beuys mehrfach auf. In seinem bedeutenden Zeichnungskonvolut „The secret block for a secret person in Ireland“ (Sammlung Marx, Berlin) finden sich mehrere, formal unterschiedliche Blätter. Zunächst unter dem Titel „Loch“ 1961 und später auch „2 Schafsköpfe (Loch)“ 1975 und 1976 als Edition unter „Painting Version 1–90“ (Schellmann 186 u. 187) herausgegeben. Joseph Beuys experimentiert bereits früh mit Ölfarben, darunter gibt es mehrere Werke mit ähnlich dichter, dunkler Farbigkeit. Das Loch, die Öffnung, ist die entscheidende Idee, die Beuys 1981 auch als Wanddurchbruch in der Kunsthalle Düsseldorf realisiert. Durch die Öffnung einer bemalten oder gemauerten Fläche verbindet sich die dahinterliegende Realität mit einem Kunstwerk oder einem Ausstellungsraum, die beide auf Wirklichkeit lediglich reflektieren. Oder wie Beuys über das Loch sagt: „[..] eine in die Tiefe und weite gerichtete Dimension, eine Höhlung [..]“ (zit. nach: Ausst.-Kat. Joseph Beuys, The secret block for a secret person in Ireland, Martin-Gropius-Bau, Berlin, 1988, S. 18). Eine in das Werk „The secret block ..“ aufgenommene Zeichnung von 1961 mit einem geschnittenen Loch in der Mitte nennt Beuys auch in Anspielung auf die erste Lochkamera, die Camera obscura, 'Kamera'. (a. a. O., Nr. 335). [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.12 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Ölfarbe. 1963. Oil on paper with a torn hole. Signed and dated in bottom center. Verso signed, dated and inscribed 'Ölfarbe'. On wove paper (with watermark Z Mattpost). 23 x 21 cm (9 x 8.2 in). [EH]. • The hole as a dimension extending into depth. • Beuys was occupied with the broken surface time and again. • In its radical simplicity the sheet asks for an examintion of the visible and the invisible. • In 1981 Beuys realized a hole in form of a wall breakthrough at the Kunsthalle Düsseldorf. PROVENANCE: Private collection Germany (acquired directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Beuys took up the theme of paper coated with oil paint and with a hole in the middle on several occasions. The significant group of drawings “The secret block for a secret person in Ireland” (Marx Collection, Berlin) comprises several formally different sheets. First published under the title “Loch” in 1961 and later also as “2 Schafsköpfe (Loch)” in 1975 and in 1976 as an edition named “Painting Version 1-90” (Schellmann 186 and 187). Joseph Beuys experimented with oil paints from early on, among them we find several works with similarly dense, dark colors. The hole, the opening, is the decisive idea that Beuys also realized in 1981 in form of a wall breakthrough at Kunsthalle Düsseldorf. By forcing a painted or brick-built surface open, the underlying reality connects with a work of art or an exhibition space, both of which merely reflect on reality. Or as Beuys said about the hole: '[.] a deep and far-reaching dimension, a cavity [.]' (quote from: ex. cat. Joseph Beuys, The secret block for a secret person in Ireland, Martin-Gropius-Bau, Berlin, 1988, p. 18). Beuys called a drawing from 1961 with a hole in its middle and also part of “The secret block .” “Kamera” - in reference to the first pinhole camera, the Camera obscura. (ibidem, no. 335). [Eugen Blume] Called up: June 19, 2021 - ca. 12.12 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Ohne Titel. 1968. Holz, Gitter, Fett. Verso signiert und datiert. Unikat. 30 x 21 x 6 cm (11,8 x 8,2 x 2,3 in). • Unikat. • 1971 wird Thomkins als Professor an die Kunstakademie Düsseldorf berufen, wo bis 1972 auch Josef Beuys lehrt. • Erstmals auf dem internationalen Kunstmarkt angeboten. PROVENIENZ: Sammlung André Thomkins (direkt von Beuys erhalten). Archiv Nachlass Thomkins. 'nie reime, da kann akademie rein' Palindrom von André Thomkins André Thomkins, aus dessen Nachlass dieses Objekt kommt, und Joseph Beuys kennen sich nicht zuletzt aus ihrer gemeinsamen Professorenzeit an der Düsseldorfer Kunstakademie. André Thomkins gehört mit Spoerri und Karl Gerstner zu den Schweizer Hauptvertretern der FLUXUS Bewegung. Neben seinen filigranen Zeichnungen umfasst sein künstlerisches Schaffen darüber hinaus Bild, Wort und Objekt. Als Freund von Daniel Spoerri ist er schon früh mit der FLUXUS Bewegung verbunden. Zwei Mal, 1972 und 1977, ist er Teilnehmer der Documenta. Und gerade durch seine immense Kombinationsvielfalt von Wort, Bild und Objekt findet sich eine Verbindung zu Joseph Beuys. Ebenso wie Beuys steht er für ein Neudenken des Kunstbegriffes und einen neuen Ansatz des Schaffens. Auch wenn er vielleicht nicht ganz so radikal unmittelbar politisch wirken wollte. Schon 1968, bei der Eröffnung von Daniel Spoerris Düsseldorfer 'Restaurant der Sieben Sinne' hängen an der Außenfassade die bekannten 'Palindrom-Schilder' von Thomkins, die durchaus auch gesellschaftskritisch zu werten sind. Ein Jahr bevor Joseph Beuys vom Kultusminister Johannes Rau 1972 aus dem Dienst entlassen wird kommt André Thomkins an die Düsseldorfer Kunstakademie. Er lehrt 1971 bis 1973 Malerei und Grafik. Zu dieser Zeit fertigt Joseph Beuys immer noch die berühmten 'Intuitions-Kisten', welche seit 1968 im Vice Versand von Wolfgang Feelisch erscheinen. Jede einzelne Kiste wird von ihm signiert. Auch unsere Kiste trägt verso den Stempel der Edition und ist von Joseph Beuys signiert und wie alle Intuitions-Kisten auf '1968' datiert. Diese Intuitions-Kisten sind trotz oder besser gesagt gerade wegen ihrer Auflage von geschätzt 12.000 Exemplaren eine Ikone des Beuys'schen Kunstverständnisses. Sie geben der Kraft des Geistes Raum zu gestalten. Die hier vorliegende 'Intuitions-Kiste' ist mit einer kleinen Komposition aus Holz, Wachs und einem Drahtgitter. Dahinter liegt ein kleines aus Strohhalmen gefertigtes Haus und ein weiteres Holzstück. Das feste Metallnetz trennt die vordere von der hinteren Bildebene: Trennung und Durchlässigkeit werden thematisiert und damit auch die Eingrenzung der Intuition. Genau lässt sich nichtmehr nachvollziehen, wie diese Intuitionskiste in den Besitz von André Thomkins kam. Doch Innerhalb der Künstlerschaft der FLUXUS Bewegung ist das Schenken und Tauschen, wie auch das gegenseitige Ergänzen, durchaus Bestandteil des künstlerischen Selbstverständnisses gewesen. [EH] Aufrufzeit: 19.06.2021 - ca. 12.15 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Ohne Titel. 1968. Wood, grid, fat. Signed and dated on the reverse. Unique object. 30 x 21 x 6 cm (11.8 x 8.2 x 2.3 in). • Unique object. • In 1971 Thomkins was appointed professor at the Düsseldorf academy where Josef Beuys taught until 1972. • Offered on the international auction market for the first time. PROVENANCE: Collection André Thomkins (obtained directly from Beuys). Archive estate Thomkins. André Thomkins, whose estate this object used to belong to, and Joseph Beuys knew each other from, among others, their time as professors at the Düsseldorf Art Academy. André Thomkins, along with Spoerri and Karl Gerstner, is one of the main Swiss representatives of the FLUXUS movement. In addition to his filigree drawings, his artistic work also includes pictures, words and objects. As a friend of Daniel Spoerri, he was connected to the FLUXUS movement from an early point on. He participate in the documenta twice, in 1972 and 1977. And it is precisely through his immense variety of combinations of words, images and objects that he connected with Joseph Beuys. Like Beuys, he stands for a new concept of art and a new approach to creativity. Even if he did not aim at such a strong and direct political impact. As early as in 1968, when Daniel Spoerri's 'Restaurant der Sieben Sinne“ opened in Düsseldorf, Thomkins‘ famous “Palindrome Signs“ - clearly a socio-critical comment - adorned its facade. Thomkins was appointed a year before Joseph Beuys was dismissed by Johannes Rau, Minister of Education, in 1972. At this time the famous 'Intuitionskisten' (Intuition Boxes), published by Wolfgang Feelisch's Vice Versand since 1968, were still produced. Our box also bears the edition stamp on the reverse and is signed by Joseph Beuys and, like all Intuition Boxes, dated '1968'. The intuition boxes are an icon of Beuys’s conception of art despite, or rather because of their circulation of an estimated 12,000 copies. They allow the power of the mind to shape space. This one features a small composition made of wood and a wire mesh with a small house made of straw and another piece of wood behind it. The solid metal net separates the front from the rear image level: separation and permeability are addressed and thus also the containment of intuition. It is no longer possible to precisely identify how this Intuition Box came into the possession of André Thomkins. But within the artists of the FLUXUS movement, giving and exchanging, as well as complementing each other, was an integral part of the artistic self-image. [EH] Called up: June 19, 2021 - ca. 12.15 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf 1a gebratene Fischgräte (Hering). 1970. Fischgräte mit Zwirn befestigt in mit Pappe verkleidetem Objektkasten. Signiert, betitelt '1a gebratene fischgräte [sic] (Hering)', bezeichnet 'Artist proof' und mit einer persönlichen Widmung versehen. Auf der Pappe mit den stark verblichenen Stempeln 'Organisation der Nichtwähler', 'Hauptstrom' und 'Fluxus Zone West'. Unikat. 44 x 31 x 9,5 cm (17,3 x 12,2 x 3,7 in). [EH]. • Der Fisch ist auf sein letztes essenzielles Gerippe reduziert und ermöglicht Assoziationen zu Produktion und Abfall. • 1a gebratene Fischgräte: eine subtile Hinterfragung des geläufigen Wertesystems. • Entstanden in zeitlicher Nähe zu der Aktion 'Freitagsobjekt: 1a gebratene Fischgräte' am 7.11.1970 in der Eat Art Gallery, Düsseldorf. PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.-22.5.2021. LITERATUR: Joseph Beuys, 1a gebratene Fischgräte, Edition Hundertmark, Berlin 1972 u. 2. Aufl. 1982. Uwe M. Schneede, Joseph Beuys. Die Aktionen, Stuttgart 1994, Nr. 24, S. 300. 'Bei gewissen Arbeiten muß die Auflage limitiert sein, einfach weil es sich technisch garnicht anders machen läßt, denn ich bin nicht daran interessiert, mein Leben lang Fischgräten zu braten' Joseph Beuys, zit. nach: Schellmann/Klüser, Joseph Beuys: Multiples, München 1980, S. 16. Für die am Karfreitag, dem 30. Oktober 1970 aufgeführte Aktion 'Karfreitagsobjekt: 1a gebratene Fischgräte“ in der Düsseldorfer Eat Art Gallery von Daniel Spoerri verwendet Beuys die vollständigen Skelette von fünfundzwanzig gebratenen Heringen. Die Aktion selbst dient wesentlich der Herstellung des gleichnamigen Auflagenobjekts. Beuys hängt zunächst die Gräten auf Schnüre an die Bilderleisten der Galeriewand. Die Gräte, die gewöhnlich als Abfall entsorgt wird, steht hier im Zusammenhang mit dem zum Osterritual gehörenden Karfreitag, an dem das Leiden und Sterben von Jesus Christus im Mittelpunkt steht. Den am Freitag als Fastenritual gegessenen Fisch versteht Beuys als ein Zeichen für Christus und „Daß [..] durch die Karfreitagsvorstellung sich auch ein Armuts-Element darstellt.“ (Zit. nach: Ein Gespräch zwischen J. Beuys und D. Spoerri, in: Joseph Beuys, 1a gebratene Fischgräte, Berlin/Köln 1972, S. 29ff.) Die Gräte soll über das Materielle hinausführen. In einem Gespräch mit Daniel Spoerri sagt Beuys über seine Aktion: '[…] nicht nur sich physisch ernähren, sondern sich auch geistig ernähren, also einfach von der Sache eine Idee zu haben [..]' (Beuys 1972, S. 51). Bevor Beuys etwa zwei Stunden auf einen Stock gestützt in der Galerie steht, hat er sein Gesicht mit Holzkohle und Asche eingefärbt. Das bekannte, von ihm zitierte Sprichwort 'Asche auf das Haupt streuen' kommt von orientalischen und altägyptischen Klageritualen. Während der Aktion zerreißt Beuys das Pergamentpapier, in das die Heringe verpackt sind, und signiert die Blätter, während Spoerri sie beschriftet und nummeriert. Sie dienen den fünfundzwanzig Objekten als 'Certificate', die Titel, Signatur sowie unterschiedliche Stempel aufweisen und sichtbar in das für jede Fischgräte angefertigte Behältnis eingelegt werden. Diese Multiples zeigen eine mittig an einer Schnur aufgehängte Fischgräte in einem Holzkasten, der in seiner Bauart, allerdings mit einer Glasscheibe abgedeckt, an die 'Intuitions-Kiste' von 1968 erinnert. Bei der vorliegenden Fassung handelt es sich um den Prototyp in einem Karton, den Beuys mit dem für Drucke außerhalb der Zählung üblichen 'Artistproof' bezeichnet und widmet. Beuys und Spoerri einigen sich im Verkauf des Objekts auf einen Unkostenpreis von 200 DM. Beuys sagt im Gespräch mit Spoerri scherzend: 'Wenn ich den Stromverbrauch, alles dazu rechne, dann kommen eben Sümmchen raus, die noch ganz anders aussehen.' (Beuys 1972, S. 46). [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.17 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf 1a gebratene Fischgräte (Hering). 1970. Fishbone mounted with yarn in a cardboard-clad object box. Signed, titled '1a gebratene Fischgräte [sic] (Hering) and inscribed 'Artist proof'. Board with faded stamps 'Organisation der Nichtwähler', 'Hauptstrom' and 'Fluxus Zone West'. Unique object. 44 x 31 x 9.5 cm (17.3 x 12.2 x 3.7 in). • Reduced to its bare skeleton, the fish allows for associations with production and waste. • Made in context of the performance Freitagsobjekt 1a gebratene Fischgräte on November 7, 1970 at the Eat Art Gallery, Düsseldorf. • '1a gebratene Fischgräte' subtly questions the common value system. PROVENANCE: Private collection Germany (acquired directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 - May 22, 2021. LITERATURE: J.Beuys, 1a gebratene Fischgräte, Edition Hundertmark, Berlin 1972 and 2nd edition in 1982. Uwe M. Schneede, Joseph Beuys. Die Aktionen, Stuttgart 1994, no. 24, p. 300. 'Certain works require a release in limited edition, as there is no other technical option, and I don't want to spend the rest of my life frying fishbones' (J.Beuys in: Schellmann Klüser, Joseph Beuys Multiples, Munich 1980, p. 16. Beuys used the complete skeletons of twenty-five fried herrings for the action “Karfreitagsobjekt- 1a gebratene Fischgräte” at the Eat Art Gallery of Daniel Spoerri in Düsseldorf on Good Friday on March 27, 1970. The action itself essentially served for the production of the edition of the same name. Beuys first put the bones on strings on the picture rails in the gallery. The bone, which is usually disposed of as garbage, is related to Good Friday, which is part of the Easter ritual that puts focus on the suffering and death of Jesus Christ. Beuys understands the fish eaten on Friday as a fasting ritual, a symbol for Christ and: “That the concept of Good Friday also has an element of poverty.” (Quote from: Ein Gespräch zwischen J.Beuys und D.Spoerri, in: Joseph Beuys, 1a gebratene Fischgräte, Berlin / Cologne 1972, pp. 29ff). The fish-bone should go beyond the material aspect. In a conversation with Daniel Spoerri, Beuys said about this campaign “… not only nourishing yourself physically, but also nourishing yourself spiritually, that is to simply have an idea of the matter ..” (Beuys 1972, p.51). Before Beuys stood in the gallery for about two hours he had colored his face with charcoal and ashes. During the action, Beuys tore the paper the herrings were wrapped in apart and signed the pieces while Spoerri inscribed and numbered them. They served as “certificates” for the twenty-five objects, bearing title, signature and stamps and were visibly placed in the object box of each fish-bone. These multiple show a fish-bone suspended on a string in a wooden box, the design of which, however, is reminiscent of the “Intuition Box” from 1968. The present version is the prototype in a cardboard box that Beuys labeled as “artist proof” and dedicated to the restorer Hans Althöfer. Beuys and Spoerri agreed on an sales price of 200 Mark. In an interview with Spoerri, Beuys said jokingly: 'If I add all the electricity costs and others, the sum would look a little different.' (Beuys 1972 , p. 46). [Eugen Blume] Called up: June 19, 2021 - ca. 12.17 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Fotografie von Lothar Wolleh: Joseph Beuys im Moderna Museet, Stockholm (Schwarzer Rand). 1971. Schwarz-Weiß-Fotografie von Lothar Wolleh auf Fotoleinen. Unten mittig von Joseph Beuys signiert. Eines von ca. 4 Exemplaren. 112 x 104 cm (44 x 40,9 in), Blattgröße. Die Aufnahme entstand während des Ausstellungsaufbaus der ersten Beuys- Ausstellung im Ausland im Moderna Museet, Stockholm, Januar 1971. Die damals aufgenommenen Fotos finden noch in weiteren Veröffentlichungen Verwendung: so im Künstlerbuch 'Beuys. Eine Dokumentation von Lothar Wolleh', 1971, dem Unterwasserbuch-Projekt 1972 und in der '3 Tonnen Edition ' (Schellmann 74) 1973-85. Das Motiv ist in wesentlich kleinerem Format (40 x 39,5 cm) in der Veröffentlichung 'Düsseldorf art Scene' 1971 in einer Auflage von 150 Exemplaren erschienen. • 'Joseph Beuys. Aktioner teckningar och objekt. 1937–1970. Ur samling van der Grinten' ist die erste internationale Einzelausstellung von Joseph Beuys. • Seltener großformatiger Abzug auf Fotoleinen der Fotografie von Lothar Wolleh. PROVENIENZ: Privatsammlung Deutschland. AUSSTELLUNG: Kunstpalast Düsseldorf (Dauerleihgabe vom 19.6.2008–1.11.2020). Spot on, Museum Kunstpalast Düsseldorf, 14.6.–9.11.2008. Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Anlässlich des Aufbaus der Ausstellung „Joseph Beuys. Aktionen Zeichnungen und Objekte aus der Sammlung van der Grinten“ im Moderna Museet (vom 16. Januar bis zum 18. Februar 1971) in Stockholm begleitet der mit ihm befreundete Düsseldorfer Fotograf Lothar Wolleh Joseph Beuys und dokumentiert das Aufbaugeschehen fotografisch. 'Wolleh stellte diese „Stockholm-Fotos“ in seinem 1971 konzipierten Künstlerbuch 'Beuys. Eine Dokumentation von Lothar Wolleh' zusammen. Die Fotos führten auch zu einer gemeinsamen Initiative, der Publikation des sogenannten Unterwasserbuches, bestehend aus 51 auf PVC gedruckten Wolleh Fotos, ergänzt durch ein Multiple von Beuys. Das Projekt wurde aufgrund technischer Probleme nie abgeschlossen, auch wenn einige Exemplare des Buches existieren. Die Fotografien von Wolleh auf PVC erhielten jedoch ein „zweites Leben“ als 3 Tonnen Edition (1973) - unter Bezugnahme auf das Gesamtgewicht der für die Bindung als Unterwasserbuch bestimmten Blätter; auch da ein Teil von ihnen individuell von Beuys „überarbeitet“, signiert und gestempelt wurde. Unter demselben Titel Unterwasserbuch (1972), gestaltete Joseph Beuys auch ein zusammengesetztes Werk in geringer Auflage, bestehend aus Lothar Wolleh’s in PVC ausgeführtem Buch und einer Tauchertaschenlampe, die in ein Becken mit Wasser getaucht sind.' (Zitiert nach: https://www.lothar-wolleh.com/de/stories/joseph-beuys-in-den-archiven-lothar-wollehs/). Auf unserem ikonischen Foto steht Beuys zwischen den Bahnen von 'Elastischer Fuß“ aus dem Jahr 1969, im Vordergrund die Schlitten aus „The Pack (Das Rudel)“, ebenfalls von 1969. Beuys trägt während des Aufbaus einen Pelzmantel, der als sichtbares Zeichen einer Huldigung an den Norden und dessen Mythen zu verstehen ist. Der Mann im Pelz tritt als ein Schamane in den Raum, der rituell seine Werke (Instrumente) für eine Séance zu ordnen scheint. [Eugen Blume/EH] Aufrufzeit: 19.06.2021 - ca. 12.21 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Fotografie von Lothar Wolleh: Joseph Beuys im Moderna Museet, Stockholm (Schwarzer Rand). 1971. Black and white photograph by Lothar Wolleh on photo canvas. Signed in bottom center by Joseph Beuys. From an edition of 4 copies. 112 x 104 cm (44 x 40.9 in), size of sheet. The photograph was made during the setup of Beuys' first international exhibition at the Moderna Museet in Stockholm in January 1971. Wolleh and Beuys later conceived the 'Unterwasserbuch' (Underwater Book 1971), for which select photographs made in Stockholm were presented in a tub filled with water. In 1971 the motif was relased in a smaller size (40 x 39.5 cm) in the publication 'Düsseldorf art Scene' in an edition of 150 copies. • 'Joseph Beuys. Teckningar och objekt. 1937-1970. Ur samlimg van der Grinten' was Joseph Beuys' first international solo show. • Rare proof on photo canvas of the photograph by Lothar Wolleh (1930 - 1979). PROVENANCE: Private collection Germany. EXHIBITION: Kunstpalast Düsseldorf (permanent loan from June 19, 2008 - November 1, 2020) Spot on, Museum Kunstpalast Düsseldorf, June 14 - November 9, 2008. Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. On the occasion of the set-up of the exhibition 'Joseph Beuys. Teckningar och objekt. 1937-1970. Ur samlimg van der Grinten' at Moderna Museet in Stockholm (January 16 to February 18, 1971), Joseph Beuys was accompanied by his friend Lothar Wolleh who photo-documented the set-up. Wolleh presented these 'Stockholm photos' in his 1971 artist book 'Beuys. Eine Dokumentation von Lothar Wolleh' . The photos also led to a joint initiative, the publication of the so-called underwater book, consisting of 51 Wolleh photos printed on PVC and a Beuys multiple. The project was never completed due to technical problems, even if a few copies of the book exist, but Wolleh's photographs on PVC were given a “second life” as “3 Tonnen Edition“ (1973) - in reference to the total weight of the sheets intended for binding as an underwater book – especially since Beuys had some of them 'revised', signed and stamped. Under the same title “Unterwasserbuch“ (1972), Joseph Beuys also designed a composite work in a small edition, consisting of Lothar Wolleh's book made of PVC and a diving torch in a basin with water.' (Quote from: https://www.lothar-wolleh.com/de/stories/joseph-beuys-in-den-archiven-lothar-wollehs/). In our iconic photo, Beuys stands between the tracks of 'Elastischer Fuß' from 1969, with the sledges from 'The Pack', also from 1969, in the foreground. During the set-up Beuys wore a fur coat, which has to be understood as a homage to the north and its myths. The man in fur enters the room as a shaman who seems to arrange his works (instruments) for a séance. [Eugen Blume / EH] Called up: June 19, 2021 - ca. 12.21 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Hasenblut. 1972. Collage. Plastiktasche mit Hasenblut, gestempelt, mit Heftpflaster auf Tuschzeichnung montiert. Verso auf der Pappe signiert, datiert und betitelt 'Hasenblut (Hare's blood)'. Auf gräulichem Karton unter Glas mit Heftpflaster umlaufend gerahmt. 40,5 x 40,5 cm (15,9 x 15,9 in). [EH]. • 'Der Hase ist mein Tier' (Zit. Joseph Beuys nach: M. Angerbauer, Beuys-Kompass, S. 224). • Der Hase kommt in vielen Aktionen und Werken von Joseph Beuys vor. • Auch als Kühlerfigur hat ein Hase Joseph Beuys’ Bentley S1 geschmückt. • Hasenblut steht auch für Agilität, Pflaster verweisen auf Fragilität. PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erhalten). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.-22.5.2021. Die keilförmige Folientüte mit Hasenblut ist ursprünglich für die Vorzugsausgabe des Fotobandes „Art scene Düsseldorf“ von Lothar Wolleh entstanden, in dem, neben anderen Künstlerporträts, auch die Fotografie von Beuys 1971 im Moderna Museet in Stockholm zum ersten Mal veröffentlicht ist. Der Hase ist gleichsam das Wappentier von Beuys, das in mehreren spektakulären Aktionen eine zentrale Rolle spielt. Zum ersten Mal 1963 an der Kunstakademie Düsseldorf im Rahmen eines Fluxus-Festivals in der Aktion „Schottische Symphonie 1. Satz“, dann als Hauptfigur in der Aktion „Wie man dem toten Hasen die Bilder erklärt“ 1965 in der Galerie Schmela in Düsseldorf. Für Beuys ist der Hase unter anderem auf die Blutskräfte gerichtet, „[..] mehr nach unten, so hat er starke Beziehung zur Frau, zur Geburt, auch zur Monatsregel, überhaupt zu sämtlichen chemischen Umwandlungen des Blutes [..]“ (zit. nach: Joseph Beuys. Die späte Druckgraphik, S. 15). Die vorliegende Fassung der in Serie produzierten, mit Hasenblut gefüllten Plastiktasche unterscheidet sich durch den als Zeichnung behandelten Karton von dem regulären Multiple. Welche Bedeutung Beuys diesem Werk beimisst, zeigt, dass er es in „The secret block for a secret person in Ireland“ aufgenommen hat. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Hasenblut. 1972. Collage. Plastic bag with hare's blood, stamped and mounted on an India ink drawing with an adhesive plaster. Signed, dated and titled 'Hasenblut (Hare's blood)' on verso of the board. Consistently framed with adhesive plaster on grayish board under glass. 40.5 x 40.5 cm (15.9 x 15.9 in)[EH]. • 'The hare is my animal' (quote from Joseph Beuys in: M. Angerbauer, Beuys-Kompass, p. 224). • The hare plays a key role in many of Beuys' works and actions. • A hare adorned the hood of Joseph Beuys’ Bentley S1. • Hare blood stands for agility while the band-aid stands for fragility. PROVENANCE: Private collection Germany (obtained directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. The wedge-shaped foil bag with hare‘s blood was originally created for the special edition of the photo book 'aus Düsseldorf Art Scene“ (from Düsseldorf Art Scene) in 1971 by Lothar Wolleh, in which, along with other artist portraits, the photograph of Beuys shot at the Moderna Museet in Stockholm in 1971 was released for the first time. The hare is so to speak Beuys' heraldic animal and played a central role in several spectacular actions. For the first time at the Düsseldorf Art Academy as part of a Fluxus Festival in the 'Scottish Symphony 1st Movement' campaign in 1963, then as the main character in the legendary campaign 'How to Explain Pictures to a Dead Hare'at Galerie Schmela in Düsseldorf in 1965. For Beuys, the hare was all about the powers of the blood '.. deeper, it is associated with women, with birth, also with the period, generally with all chemical transformations of the blood ..'. The present version of the plastic bag filled with hare‘s blood differs from the regular multiple in terms of the cardboard, which is treated as a drawing. The importance Beuys attached to this work is underlined by the fact that he included it in his “The secret block for a secret person in Ireland”. Called up: June 19, 2021 - ca. 12.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metallbox, SW-Foto, Agfa Synchro Box Kamera, Filz. Schellmann 72. Unten auf einem in die Kamera eingelegten Papierstreifen signiert und nummeriert. Seitlich auf der Metallbox mit der Editionsplakette. Exemplar aus einer Auflage von 24. 16 x 41 x 31 cm (6,2 x 16,1 x 12,2 in). Die Fotografie zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie 'Raumschiff Enterprise' am 18.11.1972, aufgenommen von Michael Ruetz. Herausgegeben von der Edition Hundertmark, Berlin. [EH]. • 'Jede Edition hat für mich den Charakter eines Kondensationskerns, an dem sich viele Dinge ansetzen können' (Beuys, Dez. 1970, in: WVZ Multiples, S. 15). • Filz als Isolator schützt die Kameralinse. • Der Betrachter betrachtet die Betrachter und wird betrachtet – wenn die Box geöffnet ist. PROVENIENZ: Privatsammlung Deutschland (vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Die Fotografie von Michael Ruetz zeigt die Familie Beuys beim Anschauen der Science-Fiction-TV-Serie „Raumschiff Enterprise“. Im Entstehungsjahr der Fotografie lebt die Familie am Drakeplatz 4, wo Atelier und Wohnung einen gemeinsamen Arbeits- und Lebensraum bilden. Das Objektiv der im Deckel des Kastens montierten Kamera ist von Beuys mit einem Filz-Taler verschlossen, ähnlich wie der Fernsehapparat in seiner Aktion 'Filz-TV', dessen Bildschirm er mit einer Filzplatte abdeckt. Mit diesem Detail reagiert Beuys auf den „mechanischen“ Blick der Kamera und kehrt das nach außen gerichtete Sehen durch den wärmeschützenden Isolator Filz in einen nach innen führenden Blick um. In dem Zinkkasten sind zwei Objekte in der von Beuys oftmals eingesetzten Doppelstrategie von Parallelprozessen montiert, die beide auf unterschiedliche Weise das Sehen thematisieren: das Fernsehen selbst, die von der Kamera und dem Auge des Fotografen gesehene Familie, die wiederum einen Film sieht, der in der Zukunft spielt, und eine handliche Boxkamera, durch die gesehen und Gesehenes eingefangen und dessen Funktion durch Abdeckung des Objektivs verändert wird. Als drittes Element kommt die Frage nach dem Bild selbst und seinen Bedingungen hinzu. Beuys benutzt für das Multiple eine Boxkamera von Agfa, die 1930 auf den Markt kommt und als Synchro-Box-Variante zwischen 1949 bis 1957 produziert wird. Hinzu kommen die Zinkkiste, die mehrfach im Werk Verwendung findet, und der als Titel aufgenommene Name der Serie: Enterprise, zu Deutsch 'Unternehmen', der sich auf Beuys und sein utopisches Unternehmen 'Soziale Plastik' beziehen lässt. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.26 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Enterprise 18.11.1972, 18:5:16. 1973. Multiple. Metal box, black-and-white photograph, Synchro Box Agfa camera, felt,. Schellmann 72. Signed and numbered on a paper strip insert into the camera. With the edition plate on one side of the metal box. From an edition of 24 copies. 16 x 41 x 31 cm (6.2 x 16.1 x 12.2 in). The photography by Michael Ruetz shows the Beuys family watching the science fiction show 'Star Trek' on TV on November 18, 1972. Published by Edition Hundertmark, Berlin. • 'To me each edition has the character of a condensation nucleus to which many things can attach.' (Beuys, Dec.1970 in catalog raisonné Multiples p. 15) • Felt as isolator to protect the camera lense. • When opening the box the observer sees the viewers and is observed. PROVENANCE: Private collection Germany (acquired from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Michael Ruetz's photograph shows the Beuys family watching the science fiction TV series 'Enterprise.' The year the photo was shot the family lived on Drakeplatz 4, where the artist had his studio and apartment. Beuys closed the lens of the camera mounted in the lid of the box with a piece of felt, similar to the television set in his action ‘Filz-TV‘, in which he covered the screen with a piece of felt. With this detail Beuys reacted to the camera‘s “mechanical” look and reversed the outward view through the heat-protecting felt insulator into an inward view. The zinc box contains two mounted objects, a dual strategy of parallel processes that Beuys often employed. Both of these objects address seeing in very different ways: Television itself, the family in front of camera and the photographer's eye, which, in turn, watches a movie that plays in the future, and a box camera that can capture what is seen, however, with a covered lens and thus a disabled function. The third element is the question regarding the picture itself and its preconditions. For the multiple, Beuys used an Agfa box camera, which first came out in 1930. Between 1949 and 1957 it was produced as a synchro-box version. Then there is the zinc box, which the artist used in many his works, and the name of the series, which is part of the title: ‘Enterprise‘, also means company, it is Beuys reference to his utopian concept of the social sculpture. [Eugen Blume] Called up: June 19, 2021 - ca. 12.26 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Soho News. 1979. Zeitung. Farboffset. Schellmann 320. Auf dem Titel signiert und nummeriert. Eines von 25 Exemplaren. Auf Zeitungspapier (Doppelbogen). 38,5 x 28 cm (15,1 x 11 in), Blattgröße. Herausgegeben von der Edition Günther Ulbricht, Düsseldorf (mit dem Stempel auf dem Titel). Auf Seite 8/9 das Essay 'Beuys will be Beuys' von Gerald Marzorati nach einem Gespräch mit Beuys im Solomon R. Guggenheim Museum am 2.1.1980, in dem er Kernpunkte seines Denkens formuliert. Auf Seite 44/45 mit einem Artikel über die Beuys-Ausstellung im Guggenheim Museum, New York, 2.11.1979–2.1.1980. [EH]. • In all of Europe there is only Joseph Beuys (Soho News, S. 44). • 'Diese Ausstellung übertrifft nach Anspruch und Umfang nicht nur jede je gezeigte europäische Beuys-Schau, sondern auch alles, was andere deutsche Künstler sich an Resonanz nur erträumen können.' (Der Spiegel, 5.11.1979, über die Beuys Ausstellung im Guggenheim Museum, New York). PROVENIENZ: Privatsammlung Deutschland (direkt vom Künstler erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Die Einladung an Joseph Beuys, als erster deutscher Künstler in New York eine Retrospektive zu veranstalten, nimmt die Presse 1979 als spektakuläres Ereignis auf. Der bis dahin in weiten Kreisen als Scharlatan bezweifelte Beuys erlangt gleichsam über Nacht Weltruhm. Entsprechend reagieren die Journalisten, sowohl die Soho News als auch der Spiegel zeigen Beuys 1979 auf der Titelseite. In New York titelt der Journalist Gerald Marzorati „Beuys will be Beuys“, und der Spiegel im traditionellen Ressentiment „Der Größte. Weltruhm für einen Scharlatan?“ Als Multiple gibt der Sammler Günther Ulbricht, Düsseldorf (Stempel auf dem Titel) die Soho News in einer Auflage von 25+V heraus. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.47 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Soho News. 1979. Magazine. Offset in colors. Schellmann 320. Signed and numbered on the title. From an edition of 25 copies. On newsprint (double sheet). 38.5 x 28 cm (15.1 x 11 in), size of sheet. Published by Edition Günther Ulbricht, Düsseldorf (with the stamp on the title). Pages 8 and 9 with the essay 'Beuys will be Beuys' by Gerald Marzorati based on an interview with Beuys at Solomon R. Guggenheim Museum on January 2, 1980, in which he outlines the core ideas of his art concept, as well as with an article about the exhibition at Guggenheim Museum New York (November 2, 1979 - January 2, 1980 on pages 44/45. [EH]. • In all of Europe there is only one Joseph Beuys (Soho News p. 44). • 'In terms of scope and content, this exhibition does not only excel every European Beuys show ever, it is also a stronger response than the German artist could have ever dreamt of.' (Der Spiegel, November 5, 1979, about the Beuys exhibition at the Guggenheim Museum). PROVENANCE: Private collection Germany (acquired directly from the artist). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. The press saw Joseph Beuys‘ invitation to be the first German artist to honored in a retrospective in New York in 1979 as a spectacular event. Beuys, who had previously been a widely controversial figure and was even called a charlatan, achieved world fame overnight. The journalists reacted accordingly. Both Soho News and Spiegel magazine had Beuys on their cover in 1979. While the journalist Gerald Marzorati of the New York magazine titled “Beuys will be Beuys”, the Spiegel asked in traditional resentment “The Greatest. World fame for a charlatan?” The collector Günther Ulbricht, Düsseldorf (stamp on the cover) published the Soho News as a multiple in an edition of 25 + V. [Eugen Blume] Called up: June 19, 2021 - ca. 12.47 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Fritz Koenig - - 1924 Würzburg - 2017 Altdorf bei Landshut Korona. 1961. Bronze mit grauschwarzer, teils rotbrauner Patina. Clarenbach 257. Auf der Standfläche monogrammiert. Einer von 3 Güssen. Ca. 29,5 x 22,5 x 10 cm (11,6 x 8,8 x 3,9 in). Ein weiterer Guss befindet sich im Besitz der Fritz- und Maria Koenig Stiftung, Landshut. • Erstes auf dem internationalen Auktionsmarkt angebotenes Exemplar aus einer Auflage von 3. • Über die New Yorker Staempfli Gallery erworben, die 1961 die erste Einzelausstellung des Künstlers in den USA zeigt. • Um 1970 entwirft Koenig die verbindende, weltkugelartige Bronze „The Sphere“ zwischen den Türmen des World Trade Centers. • 2018 widmeten die Uffizien, Florenz, dem deutschen Bildhauer eine spektakuläre Retrospektive. Wir danken Herrn Dr. Dietrich Clarenbach, Gauting, für die wissenschaftliche Beratung. PROVENIENZ: Staempfli Gallery, New York (direkt vom Künstler). Unternehmenssammlung Philadelphia, Pennsylvania (1976 vom Vorgenannten erworben). Fritz Koenigs internationaler Erfolg setzt 1958 mit der Teilnahme an der XXIX. Biennale in Venedig ein. 1959 ist Koenig auf der documenta II in Kassel vertreten und die Galerie Günther Franke in München zeigt seine erste Einzelausstellung. Die erste Ausstellung von Koenigs Werk in den USA wird 1961 von der Staempfli Gallery in New York präsentiert, die dem Künstler aufgrund des großen Erfolges fortan bis 1973 regelmäßig Einzelausstellungen widmet. Über die bedeutende Galerie des gebürtigen Schweizers George William Staempfli kommt auch die schöne frühe Arbeit 'Korona' nach Amerika, die durch die aufragende Gesamtanlage und die Zergliederung der ausgreifenden, kronenartigen Kopfform bereits zentrale Elemente des späteren bildhauerischen Schaffens von Fritz Koenig vorwegnimmt. Besonders schön ist die seltene Mehrfarbigkeit der Patina, die neben graugrünen auch goldene und rotbraune Partien harmonisch vereint. Dem Einsatz der Staempfli Gallery für das Schaffen Koenigs ist es schließlich zu verdanken, dass der Architekt des World Trade Centers Minoru Yamasaki auf das beeindruckende plastische Schaffen Koenigs aufmerksam wird und ihn anstelle von Henry Moore mit einer Skulptur für die Austin Tobin Plaza zwischen den Türmen des World Trade Centers beauftragt. Die von 1967 bis 1971 geschaffene Arbeit ist ursprünglich dem 'Weltfrieden durch Handel' gewidmet und basiert auf der geometrischen Grundform der Kugel. Seit den Anschlägen des 11. Septembers 2001, bei denen die unter dem Namen 'The Sphere' bekannte Arbeit stark beschädigt wurde, gilt sie als bedeutendes Mahnmal der amerikanischen Metropole und wird im Jahr 2001 schließlich vom Regisseur Percy Adlon im Film 'Koenigs Kugel. Der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero' porträtiert. [JS] Aufrufzeit: 19.06.2021 - ca. 14.39 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFritz Koenig -1924 Würzburg - 2017 Altdorf bei Landshut Korona. 1961. Bronze with gray-black, partly auburn patina. Clarenbach 257. Monogrammed on the base. From an edition of 3 casts. Ca. 29.5 x 22.5 x 10 cm (11.6 x 8.8 x 3.9 in). Another copy is in possession of the Fritz and Maria Koenig Foundation, Landshut. • Rare early work that already suggests the key characteristics of Koenig's sculptural creation. • First copy from the edition of 3 that is offered on the international auction market. • Acquired from the New York Staempfli Gallery, which showed the artist's first U.S. solo show in 1961. • Around 1970 Koenig received the spectacular commission for 'The Sphere', a monumental globe-shaped bronze erected between the two towers of the New York World Trade Center, today it is a world-famous memorial for the 9/11 attacks. • In 2018 the Uffizi Gallery in Florence showed a grand retrospective exhibition in honor of the artist. • Works by the artist are in many renowned collections, among them the Museum of Modern Art, New York, the Guggenheim Collection, Venice, and the Pinakothek der Moderne, Munich. We are grateful to Dr. Dietrich Clarenbach, Gauting, for his kind expert advice. PROVENANCE: Staempfli Gallery, New York (directly from the artist). Corprate collection Philadelphia, Pennsylvania (acquired from aforementioned in 1976). Called up: June 19, 2021 - ca. 14.39 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Andy Warhol - - 1928 Pittsburgh - 1987 New York After the Party. 1979. Farbserigrafie. Feldman/Schellmann/Defendi II.183. Signiert und nummeriert. Eines von 1000 Exemplaren. Auf Velin von Arches. 54,5 x 77,3 cm (21,4 x 30,4 in), blattgroß. Gedruckt von Rupert Jasen Smith, New York (mit dem Trockenstempel). Herausgegeben von Grosset and Dunlap, Inc., New York. [SM]. • Ein Exemplar dieser Serigrafie befindet sich in der Sammlung des Museum of Modern Art, New York. • Andy Warhol ist der erste Künstler des 20. Jahrhunderts, der den Siebdruck als Ausdrucksform der bildenden Kunst legitimiert. PROVENIENZ: Privatsammlung Süddeutschland. Aufrufzeit: 19.06.2021 - ca. 15.54 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAndy Warhol -1928 Pittsburgh - 1987 New York After the Party. 1979. Silkscreen in colors. Feldman/Schellmann/Defendi II.183. Signed and numbered. From an edition of 1000 copies. On Arches wove paper. 54.5 x 77.3 cm (21.4 x 30.4 in), the full sheet. Printed by Rupert Jasen Smith, New York (with the blindstamp). Published by Grosset and Dunlap, Inc., New York. [SM]. • A copy of this silkscreen is part of the collection of the Museum of Modern Art, New York. • Andy Warhol, master pop artist of the 20th century, is one of the first artists in modern times to legitimize the screenprint as a fine art technique. PROVENANCE: Private collection Southern Germany. Called up: June 19, 2021 - ca. 15.54 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Andy Warhol - - 1928 Pittsburgh - 1987 New York Northwest Coast Mask. 1986. Farbserigrafie. Feldman/Schellmann II.380. Signiert und nummeriert. Aus einer Auflage von 250 Exemplaren. Auf festem Büttenkarton. 91,5 x 91 cm (36 x 35,8 in), blattgroß. Blatt 8 aus der Mappe 'Cowboys and Indians'. Gedruckt bei Rupert Jasen Smith, New York (mit dem Trockenstempel) und herausgegeben von Gaultney, Lineman Art Inc., New York (verso mit dem Stempel, teils handschriftlich bezeichnet). [EH]. • Nur sehr wenige Serigrafien Warhols zeigen Motive der First Nations. • Mit den beiden Portfolios 'Cowboys and Indians' (Feldman/Schellmann 373-376, 377-386) zeigt er ein Jahr vor seinem Tod Persönlichkeiten und Motive der Ureinwohner Amerikas. • Northwest Coast Mask führt Andy Warhol auch als Gemälde aus. • Warhols auffällige und plakative Schöpfungen gelten als Ikonen der amerikanischen Pop-Art. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 19.06.2021 - ca. 15.59 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAndy Warhol -1928 Pittsburgh - 1987 New York Northwest Coast Mask. 1986. Silkscreen in colors. Feldman/Schellmann II.380. Signed and numbered. From an edition of 250 copies. On firm board. 91.5 x 91 cm (36 x 35.8 in), the full sheet. Sheet 8 from the portfolio 'Cowboys and Indians'. Printed by Rupert Jasen Smith, New York (with the blindstamp) and published by Gaultney, Lineman Art Inc., New York (verso with the stamp and inscription). [EH]. • Very few of Warhol's silkscrens show motifs of the First Nations. • A year before his death Andy Warhol showed motifs of American Natives in the two portfolios 'Cowboys and Indians' (Feldman/Schellmann 373-376, 377-386). • Andy Warhol also made Northwest Coast Mask as a painting. • Warhol's striking creations are icons of American pop art. PROVENANCE: Private Collection Norhern Germany. Called up: June 19, 2021 - ca. 15.59 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Erwin Wurm - - 1954 Bruck an der Mur - lebt und arbeitet in Wien und NewYork Untitled. 2018. Aluminium, silbern gefasst. Eines von 5 Exemplaren. Höhe: 80 cm (31,4 in). [SM]. • Nach der Gewürzgurke wird die Wurst zur Kunst - Alltagsgegenstände werden vom Künstler umgedeutet und auf eine andere Ebene gehoben. • 'Die Wurst ist ja quasi eine mitteleuropäische, eine österreichische Ikone', E. Wurm. • Erstmals auf dem internationalen Auktionsmarkt angeboten. Aufrufzeit: 19.06.2021 - ca. 17.44 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONErwin Wurm -1954 Bruck an der Mur - lebt und arbeitet in Wien und NewYork Untitled. 2018. Aluminum, in silver. From an edition of 5 copies. Height: 80 cm (31.4 in). [SM]. • After the pickle, he made the sausage an art object - everyday objects are reinterpreted by the artist and taken to another level of meaning. • 'The sausage is practically a Central European, an Austrian icon', E. Wurm. • Offered on the international auction market for the first time. Called up: June 19, 2021 - ca. 17.44 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Anke Doberauer - - 1962 Bad Homburg - lebt und arbeitet in Marseille und München Leentje & Sauro. 2014. Farblithografie. Signiert, datiert, nummeriert und bezeichnet. Aus einer Auflage von 50 Exemplaren. Auf Velin. 50,2 x 40,1 cm (19,7 x 15,7 in), Blattgröße. [AM]. • Erstmals auf dem internationalen Auktionsmarkt. • Anke Doberauer ist seit 2003 Professorin für Malerei und Grafik an der Akademie der Bildenden Künste München. • 2006 Teilnahme an der Art Basel 37. Aufrufzeit: 19.06.2021 - ca. 17.53 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAnke Doberauer -1962 Bad Homburg - lebt und arbeitet in Marseille und München Leentje & Sauro. 2014. Lithograph in colors. Signed, dated, numbered and inscribed. From an edition of 50 copies. On wove paper. 50.2 x 40.1 cm (19.7 x 15.7 in), size of sheet. [AM]. • On the international auction market for the first time. • Since 2003 Anke Doberauer has been teaching painting and graphic art in Munich. • In 2006 the artist participated in Art Basel 37. Called up: June 19, 2021 - ca. 17.53 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

[MAP OF POLAND AND THE BALTIC STATES] ALBRECHT CARL SEUTTERDucatus Pomeraniae Citerioris et Ulterioris. Principatibus, Comitatibus urbibus suis definitae Nova et Ampla Descriptio geographica. Augsburg, c. 1760. Six sheets joined to one large map, 98 x 167.5 cm. Map and title cartouche coloured. Paper slightly browning. First edition of Seutter’s 6-sheet map of Pomerania, first published in about 1760. The map was later re-issued by Conrad Tobias Lotter, with the title re-engraved. Seutter’s map is a simplified version of Lubben’s map, issued in approximately the same scale, but with numerous revisions and improvements. Showing the region on the south coast of the Baltic shared between Germany and Poland, from the Recknitz River near Stralsund in the west, via the Oder River delta near Szczecin, to the mouth of the Vistula River near Gdansk in the east. Created by Professor Lubben of Rostock University on the orders of Philipp II, Duke of Pomerania, who wanted a large-scale map that would be a comprehensive geography and history of the duchy. Although Lubben had mapped the island of Rugen on the Pomeranian coast in 1609, he had very little geographic information to guide him: the only map to precede this one of Pomerania was a small map by Peter Artopaus (later used by Münster and Ortelius). Lubben spent two years travelling throughout the country taking thousands of measurements, it was then another 6 years before the copperplates were completed, by Geelkerken in Amsterdam. However, although a very small number of the sheets printed in 1618 are known to have been presented to the Pomeranian court, the shortage of paper, and the 30 Years’ War intervened, and no known copies of this printing have survived. It was not until 1757, after Geelkerken’s original copperplates were discovered in the in Stralsund (a town featured in a vignette on the map), that the map was reissued. Lubben’s map was the model for virtually all atlas maps of Pomerania of the seventeenth century, including those of Blaeu and Janssonius, and Hondius dedicated his famous wall map of Asia to Lubben: see Shilder, «Monumenta Cartographica Neerlandica» VI, pp.150-151. It remained the only map of consequence of the region from its inception in 1618 until the Prussian topographical survey of the eighteenth century.

GEOFFREY A GODDEN: 3 titles: MINTON POTTERY AND PORCELAIN OF THE FIRST PERIOD 1793-1850, London, Herbert Jenkins, 1968, 1st edition, original cloth, d/w; CAUGHLEY AND WORCESTER PORCELAINS 1775-1800, London, Herbert Jenkins, 1969, 1st edition, original cloth, d/w; RIDGWAY PORCELAINS, Woodbridge Antique Collectors Club, 1985, 4to, original cloth gilt, d/w (3)

GEORGE WOOLISCROFT RHEAD & FREDERICK ALFRED RHEAD: STAFFORDSHIRE POTS AND POTTERIES, London, Hutchinson, 1906, 1st edition, 68 plates including 4 coloured as list, 4to, original cloth gilt, teg + LLEWELLYNN JEWITT: THE CERAMIC ART OF GREAT BRITAIN, London, J S Virtue [1883], new edition revised, original cloth gilt + W MOORE BINNS: THE FIRST CENTURY OF ENGLISH PORCELAIN, London, Hurst & Blackett, 1906, 1st edition, 72 plates including 45 coloured, 4to, original decorative cloth pink, green and gilt, teg + WILLIAM CHAFFERS: MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN, London, J Davy & Sons, 1863, 1st edition, original blind stamped cloth gilt (4)

MAURICE GRIFFITHS: 5 titles, all signed: SWATCHWAYS AND LITTLE SHIPS, London, George Allen & Unwin, 1971, 1st edition, original cloth, d/w (price clipped); THE MAGIC OF THE SWATCHWAYS, Conway Maritime Press, 1972 reprint, original cloth, d/w (price clipped); THE FIRST OF THE TIDE, Greenwich, Conway Maritime Press, 1979, 1st edition, original cloth, d/w; ROUND THE CABIN TABLE, London, Conway Maritime Press, 1985, 1st edition, original pictorial wraps; LITTLE SHIPS AND SHOAL WATERS, London, Conway Maritime Press, 1985, 3rd impression, original cloth, d/w, all titles vgc (5)

THOMAS PAINE: RIGHTS OF MAN - RIGHTS OF MAN PART THE SECOND, London for Jeremiah Samuel Jordan, 1791, 1792, 1st Jordan edition, first part, 2nd edition, second part, 2 parts in one, both parts bound without half titles, the second part also bound without the adverts, stab holes visible, re-bound half calf marbled boards, spine gilt lettered and dated by W & G Foyle, new end papers

EMILE ERCKMANN-CHATRAIN: 4 titles: THE BLOCKADE OF PHALSBURG - THE INVASION OF FRANCE IN 1814, London, Smith Elder, 1871, 1871, 2 works in one, first work 4 plates as list, second work frontis as called for, contemporary half calf marbled boards worn; THE CONSCRIPT-WATERLOO, London, Smith Elder, 1872, 1871, 2 works in one, both works 4 plates as lists, contemporary half calf marbled boards worn + JULIA PARDOE: THE CITY OF THE SULTAN..., London, G Routledge, 1855, 4th edition, engraved frontis, some water staining, contemporary half calf worn (3)

HORACE WALPOLE: PRIVATE CORRESPONDENCE OF HORACE WALPOLE, EARL OF ORFORD NOW FIRST COLLECTED, London for Rodwell & Martin & Colburn & Co, 1820, 1st edition, 4 vols, vol 1 portfrontis, contemporary half calf marbled boards worn, vol 1 inner joint totally split (4)

Humphreys (Henry Noel). A Record of the Black Prince, London: Longman, Brown, Green, and Longmans, 1849, title in red & black, with early ink presentation inscription to upper margin: L.L. Lifford, from her Father in law James Viscount Lifford, black letter text, six chromolithograph illustrations including some full-page, some tissue guards present, occasional spotting, mainly at front and rear, stitching a little strained, marbled endpapers, front hinge cracked, original moulded and pierced black papier-maché covers, on a crimson ground, dust-soiled, lower outer corners of covers chipped, a few hairline cracks to outer borders, black morocco spine (somewhat rubbed) with embossed title, gilt-decorated turn-ins and edges (rubbed), contained in cloth wallet, 8vo, together with: Ibid., Sentiments and Similes of William Shakespeare, 1st edition, 1851, printed throughout in gold and black, first leaf of text within chromo-illuminated border, some minor spotting, mainly at front and rear, front pastedown with near contemporary ink inscription, hinges strengthened with white cloth tape, all edges gilt, original moulded and pierced black papier-maché covers, on a gold ground, central terracotta oval relief bust of Shakespeare to upper cover, and similar central lozenge with his monogram to lower cover, dust-soiled with a few hairline cracks, rear cover with a couple of small pierced areas infilled, black morocco edges and spine, rubbed and rebacked, gilt-decorated turn-ins and edges, some wear to corners, 8voQty: (2)NOTESMcLean, Victorian Book Design, pp.151-152. Also pp.74-75 "The Black Prince is one of the most successful of all the gift or table books of this period. The binding is the most elaborate yet of the black papier mache kind...." and pp.77-78 (for Shakespeare).

Tabart (Benjamin). [Popular Fairy Tales; or, A Liliputian Library; containing twenty-six choice pieces of Fancy and Fiction, London: Sir Richard Phillips and Co.], 1st edition, 2nd issue, c.1820, 26 hand-coloured engravings on 13 plates as listed (including frontispiece), one uncoloured wood-engraved illustration, lacking title, generally toned with occasional marks or minor spots, lightly affecting plates, a few plates partly detached, front free endpaper detached, stitching somewhat strained, rear hinge cracked, contemporary green boards, worn, gilt-lettered title to front cover, detached front cover crudely re-attached to rear cover (loosely covering mostly detached spine), large 12mo, together with: Sherwood (Mary Martha), The History of Emily and her Mother, by Mrs. Sherwood, 4th edition, London: Houlston and Son, 1831, engraved frontispiece, some spotting, spine crudely strengthened, late 19th century boards, rubbed and dust-soiled, a little wear to extremities, spine sunned, 12mo, plus: Trimmer (Sarah), A Series of Prints designed to Illustrate the Roman History by Mrs. Trimmer, London: Baldwin, Cradock, and Joy..., 1821, 64 engraved plates, generally toned, with some spotting, staining and marks, two plates with loss at head (affecting plate numbers), contemporary brown morocco, rubbed and marked, spine ends a little frayed, short split to foot of rear joint, 16moNOTESPopular Fairy Tales: Moon 166[2]. Rare: one of the most elusive early fairy tale collections, which includes Jack and the Bean-stalk: Tabart had been the first to publish it with that name in 1807. There are several variations of this publication, this present copy contains the full issue of plates. The first issue, with only four plates, was originally thought to have been published in 1818, however Sir Richard Phillips wasn't at Bride Court until 1820.

Blyton (Enid). The Adventurous Four, 4th edition, 1945; The Adventurous Four Again!, 1st edition, 1947, London: George Newnes, inscribed by author 'Love from Enid Blyton' or 'Joy, love from Enid Blyton' to front free endpaper, numerous illustrations, many with juvenile colouring, occasional marks, mainly to the first book, both front free endpapers with additional contemporary ink inscriptions relating to 'Joy', both original cloth, Adventurous Four somewhat rubbed, with some stains to front cover and spine sunned, Adventurous Four Again with some fading and rear cover bowed, 8vo, together with: Shadow, the Sheep-Dog, 3rd edition, 1945, inscribed by auther 'Joy, love from Enid Blyton' to front free endpaper (and additional contemporary ink inscription relating to 'Joy'), illustrations with juvenile colouring, a few marks or stains, some losses to blank corners, original cloth, somewhat rubbed and dust-soiled, with some marks, spine sunned, fornt cover lightly creased, 8vo, plus 7 other Enid Blyton, all inscribed by the author, comprising: The Treasure Hunters, 5th edition 1945; The Boy Next Door, 1st edition 1944; The Family at Red-Roofs, 1st edition 1945; Those Dreadful Children, 1st edition 1949 (with dust jacket); The Put-Em-Rights, 1st edition 1946; House-at-the-Corner, 1st edition 1947; The Caravan Family, 1st edition 1945Qty: (10)NOTESProvenance: Joy Clark, thence by descent. Joy Clark (born 1937) grew up in Beaconsfield with her parents Isabella and Cecil Clark. The Clarks ran an ironmongers shop in the town and Enid Blyton was a regular customer. For many years whenever one of her books was published, Blyton would kindly sign and give a book to Joy, who was a small child at the time.

Blyton (Enid). The Mystery of the Burnt Cottage, 1944; The Mystery of the Disappearing Cat, 1944; The Mystery of the Secret Room, 1945; The Mystery of the Spiteful Letters, 1046; The Mystery of the Missing Necklace, 1947; The Mystery of the Hidden House, 1948; The Mystery of the Pantomime Cat, 1949, all 1st editions except Burnt Cottage (2nd edition), London: Methuen, all inscribed by the author either 'Joy, love from Enid Blyton' or 'love from Enid Blyton' on the front free endpaper, that to Missing Necklace being on an adhered slip (apparently over incorrect inscription by Blyton), numerous illustrations, many with juvenile colouring, occasional marks and some minor losses to blank corners, mainly affecting the earlier books, Disappearing Cat title with small pen scribble, Spiteful Letters with some underlining to first few pages, four front endpapers with additional contemporary ink inscriptions relating to 'Joy', all original cloth, extremities lightly rubbed, Burnt Cottage & Disappearing Cat spines faded, covers with some marks and stains (Cat front cover creased), Secret Room & Spiteful Letters spines lightly sunned, covers dust-soiled with some minor marks, Necklace, House & Pantomime spines barely faded, House & Pantomime spines a little cocked, Pantomime a couple of small marks, 8voQty: (7)NOTESProvenance: Joy Clark, thence by descent. Joy Clark (born 1937) grew up in Beaconsfield with her parents Isabella and Cecil Clark. The Clarks ran an ironmongers shop in the town and Enid Blyton was a regular customer. For many years whenever one of her books was published, Blyton would kindly sign and give a book to Joy, who was a small child at the time.

Blyton (Enid). The Rockingdown Mystery, 1949; The Rilloby Fair Mystery, 1950, 1st editions, London: Collins, each inscribed by the author 'Joy, love from Enid Blyton' to front free endpaper, numerous illustrations, most with juvenile colouring, original cloth, lightly marked, spines faded, extremities a little rubbed, 8vo, together with: The Secret of Killimooin, 1st edition, 1943; The Secret of Spiggy Holes, reprint 1942, Oxford: Basil Blackwell, each inscribed by the author 'Love from Enid Blyton' to front free endpaper, colour frontispiece to each, numerous illustrations, with juvenile colouring, scattered marks and finger-soiling, Killimooin with some pencilling at front, Spiggy Holes lightly toned throughout, with small losses to a few blank corners and stitching strained, both front free endpapers with additional contemporary ink inscriptions relating to 'Joy', original cloth, both covers loosely attached, Killimooin soiled and a trifle rubbed, Spiggy Holes soiled and stained, spine cocked, 8vo, plus: The Naughtiest Girl in the School, reprint 1940; The Naughtiest Girl Again, 1st edition 1942; The Naughtiest Girl is a Monitor, 1st edition 1945, London: George Newnes, each inscribed by the author 'Joy, love from Enid Blyton' or 'Love from Enid Blyton' to front free endpaper, with additional contemporary ink inscriptions relating to 'Joy', numerous illustrations, with juvenile colouring, some soiling and marks, small losses to a few blank corners, hinges cracked, first title with stitching strained, all original cloth, soiled and marked with some stains, covers loose (that to the first title nearly detached), 8vo, with three other Enid Blyton, all 1st editions and inscribed by the author: A Book of Naughty Children, 1944; The Children's Life of Christ, 1943; Tales from the Bible, 1944Qty: (10)NOTESProvenance: Joy Clark, thence by descent. Joy Clark (born 1937) grew up in Beaconsfield with her parents Isabella and Cecil Clark. The Clarks ran an ironmongers shop in the town and Enid Blyton was a regular customer. For many years whenever one of her books was published, Blyton would kindly sign and give a book to Joy, who was a small child at the time.

* Blyton (Enid, 1897-1968). Autograph letter signed 'Enid Blyton (Mrs Darrell Waters)', Green Hedges letterhead, 22 October 1948, to Mrs Stevens, 'Here are some books more suitable to Philippa's age! I hope she will enjoy them - I think it is such a good thing when a mother reads to a child. Philippa looks such an adorable little thing & has a most beautiful little face. I've never used that name in any of my stories, but I certainly must. It was so nice seeing you & Phillipa & we enjoyed talking to your husband on board. We shall hope to see you again sometime', one page on cream paper, letterhead printed in red, lightly creased, short split to edge of central fold, lower edge very slightly frayed, a couple of small pale marks, 8vo, together with: Autograph letter signed 'K.F. Darrell Waters', Green Hedges letterhead, 25 October 1948, to Mr Stevens, 'Herewith a cheque for the amount of duty undercharged. It was a coincidence that this should have happened after we had been talking about it ... It was very nice to have met your charming wife & your dear little girl. We both send our kind regards', two pages on blue paper, letterhead printed in red, lightly creased, 2.5cm split to central fold, with associated short closed tear, verso lightly toned with a couple of minor marks, 8vo, plus: Five Minute Tales, 16th edition, London: Methuen, 1947, inscribed by the author 'Philippa, love from Enid Blyton' on the front free endpaper, generally toned throughout, some marks and minor stains, one leaf with closed tear at head, small loss to one blank lower corner, stitching lightly strained, original cloth, marked and stained, some wear to extremities, 8vo, and one other related: The Third Holiday Book, half-title inscribed by author as above, defective (lacking cover)Qty: (4)NOTESMr. Stevens was a customs officer and in October 1948 was working on board the Queen Mary as it sailed from New York to Southampton. During this journey he became acquainted with Enid Blyton and her second husband Kenneth Fraser Darrell Waters who were travelling home from the United States. On disembarking at Southampton, Enid went to meet Mrs. Marjorie Stevens and her young daughter Philippa, aged 4 at the time. Accompanying the two letters are two of the books preseumably given at the time to Philippa, as mentioned in the first letter, both with personal inscriptions by Enid Blyton.

Potter (Beatrix). Cecily Parsley's Nursery Rhymes, 1st edition, Warne & Co Ltd, 1922, half-title, colour illustrations throughout, original red boards, with colour illustration inset to upper cover, covers slightly dusty, spine a little faded, bottom spine end slightly cracked, cloth rubbed away top corner of front cover, faint pencil marks on front cover, 12mo, together with: Ginger and Pickles, 1st edition, London & New York, Warne, 1909, half-title, colour and black & white illustrations, pencil inscription to endpaper, closed tear to foot of p. 21, original buff boards, front cover with original pictorial panel, lacking spine, small 4to, plus: The Tale of Benjamin Bunny, 1st edition, Warne, 1904, tape reinforcements to spine and inside front cover, well loved copy, 12 mo, and The Tale of Two Bad Mice, 1st edition, 1904, tape reinforcements to spine and inside covers, another well loved copy, stitching visible, 12 mo, along with 12 reprints of other Potter books and: Uttley (Alison). 20 books including 5 first editions: Water-Rats Picnic, 1943, Grey Rabbit and The Wandering Hedgehog, 1948, Little Grey Rabbit's Birthday, 1944, Little Grey Rabbit to the Rescue, 1945, The Speckledy Hen, 1945Qty: (35)NOTESLinder, page 430; Quinby 26.

Milne (A.A.). Now We Are Six, 1st edition, London: Methuen, 1927, illustrations by E.H. Shepard, a little minor spotting and toning, top edge gilt, original red cloth gilt, spine faded and a little rubbed at ends, together with When We Were Very Young, 3rd edition, 1924, illustrations by E.H. Shepard, pp. 79/80 with closed tear in illustration, occasional soiling and spotting, hinges a little tender, top edge gilt, original blue cloth gilt, joints and edges lightly rubbed, small stains to upper cover, 8vo, plus Winnie-the-Pooh, 3rd edition, 1927, illustrations by E.H. Shepard, light toning to first and final leaves, illustrated endpapers (front endpaper with tiny nick, top edge gilt, original green cloth gilt, spine a little darkened and rubbed at ends, 8vo, with four others by A. A. Milne including When We Were Very Young, 15th edition and Now We Are Six, 6th edition, 1931Qty: (7)

Potter (Beatrix). The Story of A Fierce Bad Rabbit, 1st edition, Warne, 1906, first issue with "London & New York" on the rear cover, 14 colour illustrations with corresponding text leaves bound concertina-style, some light marks, folds rubbed and 3 leaves creased, original wallet-style olive green cloth binding with tab fastening and dark blue lettering, upper cover with mounted colour illustration, some juvenile pencil marks to covers, 16moQty: (1)NOTESLinder, p.426; Quinby 12.

Disch (Thomas M.) The Genocides, 1st UK edition, London: Ronald Whiting & Wheaton, 1967, original cloth, dust jacket, 8voQty: (1)NOTESFine copy of the author's first novel.

Johnson (B.S.) Travelling People, 1st edition, London: Constable, 1963, original cloth, dust jacket, printed price on flap crossed through with 2 later manuscript prices 15/- & 7/6 written beside, tiny nick and tear to front panel, very slight toning to rear panel, 8voQty: (1)NOTESA good copy of the author's first book.

* Jones (Daniel, 1912-1993). Original manuscript score of several songs for Under Milk Wood by Dylan Thomas, circa 1953-54, 8 pages of autograph manuscript music and lyrics for songs included in the original radio production of Under Milk Wood by Dylan Thomas, first broadcast on the BBC third programme on the 25th January 1954, black ink on printed paper with musical stave, with annotations in pencil to margins, including 'Dent Thursday am', the various songs numbered in blue ink from 74153 to 74166, a few marks and occasional minor soiling, sheet size 310 x 245 mm (12.25 x 9.7 ins), contained in old brown manilla envelope with typewritten note to one side 'UNDER MILK WOOD - Dylan Thomas 74153 - 74166'Qty: (1)NOTESThe songs included here are: Johnnie Crack and Flossie Snail, Childrens' Game, Polly Garter's Song, and Mr. Waldo's Song. The 4 songs are divided in the manuscript into 7 parts, each with a page number indicated. A milestone of radio broadcasting, Under Milk Wood, first performed on 25th January 1954, was a 'play for voices' which revealed the hidden lives and dreams of a small Welsh village, Llareggub, in rich poetic and burlesque language and music. The composer Daniel Jones was a friend from boyhood of Dylan Thomas, as charted in his memoir My Friend Dylan Thomas (1977). During the Second World War, Jones had worked at Bletchley Park as a Captain in the Russian-Japanese section. Dylan Thomas never heard the BBC Radio premier (which famously included his friend Richard Burton as the narrator), dying of alcohol poisoning in New York on 9th November 1953 at the age of just 39. The first edition of Under Milk Wood consisting of 101 pages, includes a preface as well as 8 pages of musical score, all of which were provided by Daniel Jones.

Jones (David). In Parenthesis seinnyessit e gledyf ym penn mameu, London: Faber & Faber, 1961, introduction by T.S. Eliot, frontispiece and one illustration at end, top edge gilt, original blue buckram, original acetate wrapper, 8voQty: (1)NOTESLimited edition 8/70, signed by David Jones and T.S. Eliot. First published in 1937, David Jones's First World War poem was described by T.S. Eliot as "a work of genius" and W.H. Auden thought it was "the greatest book about the First World War" and did "for the British and Germans what Homer did for the Greeks and the Trojans". The book, based on Jones's own war experiences follows Private John Ball in the build-up to the Battle of the Somme in 1916.

Rhys (Jean). The Left Bank & Other Stories. With a preface by Ford Madox Ford, 1st edition, London: Jonathan Cape, 1927, contents toned, half-title slightly soiled and with Foyles' Lending Library ink-stamp, recent yellow full morocco by Temple Bookbinders, 8voQty: (1)NOTESThe author's first book, uncommon; the André Deutsch re-issue of 1968 is far more usually encountered.

Tolkien (J.R.R.) The Hobbit or There and Back Again, 1st edition, 2nd impression, London: George Allen & Unwin, 1937, colour frontispiece, colour and monochrome plates and illustrations, map endpapers (slightly toned), original green pictorial cloth, spine a little toned and rubbed at ends, slight lean, 8voQty: (1)NOTESThe second impression, published in the same year as the first, and the first with the colour plates.

Wodehouse (P.G.) Piccadilly Jim, 1st US edition, New York: Dodd, Mead, 1917, 8 colour illustrations by May Wilson Preston, light toning to textblock, a few spots, one or two short closed marginal tears, previous owner name, rear endpaper renewed, front hinge reinforced, original cloth, spine neatly strengthened, joints and edges a little rubbed, 8voQty: (1)NOTESMcIlvaine A20a. Precedes the first UK edition, which was published in 1918.

Wodehouse (P.G.) Something New, 1st US edition, New York: D. Appleton and Company, 1915, 4 monochrome illustrations by F. R. Gruger, a few minor spots, front endpaper partially toned with 2 'Hotel Leighton' ink stamps, front hinge strengthened, rear hinge broken, original cloth, spine faded, 8voQty: (1)NOTESMcIlvaine A18a. Precedes the first UK edition which was titled Something Fresh, (1915), and the first of the 'Blandings' novels.

Golden Cockerel Press. Napoleon's Memoirs, edited by Somerset de Chair, 2 volumes, Golden Cockerel Press, 1945, wood-engraved title vignettes by John Buckland-Wright, map endpapers, top edge gilt, original green cloth gilt, a few faded areas, folioQty: (2)NOTESLimited edition 233/500. Presentation inscription to volume I frontispiece verso: "Presented to Dr G.E. Burton, as a token of appreciation and esteem by the Sawbridge A.R.P. First Aid Parties 1939-1946."

Shakespeare (William). The Works..., The text of the First Folio with Quarto variants and a selection of modern readings: edited by Herbert Farjeon, 7 volumes, Cambridge: Nonesuch Press; New York: Random House, 1929-1933, top edge rough gilt, remainder untrimmed, original terracotta brown morocco gilt, 8voQty: (7)NOTESLimited edition 60/1600.

Essex House Press. An Endeavour Towards the Teaching of John Ruskin and William Morris, by C.R. Ashbee, Essex House Press, 1901, wood-engraved illustration and initials, some toning to endpapers, previous owner signature, original limp vellum, a few small light marks, 8vo, together with American Sheaves & English Seed Corn. Being a Series of Addresses Mainly Delivered in the United States, 1900-1901, by C.R. Ashbee, Essex House Press, 1901, printed in red and black, wood-engraved initials, first initial printed in red, occasional faint spotting to a few margins, original vellum, slight bowing to covers, 8voQty: (2)NOTESTomkinson 16 & 21. Limited edition 308/350 & 25/300. First work: "This was the first book printed in the pica type designed by C.R. Ashbee and known as the 'Endeavour' type." (Tomkinson).

Essex House Press. An Endeavour Towards the Teaching of John Ruskin and William Morris, by C.R. Ashbee, Essex House Press, 1901, wood-engraved illustration and initials, slight toning to endpapers, small bookplate, original vellum, covers slightly bowed, 8vo, together with American Sheaves and English Seed Corn. Being a series of addresses delivered in the United States, 1900-1901, by C.R. Ashbee, Essex House Press, 1901, printed in red and black, wood-engraved initials, first initial printed in red, a little faint spotting to a few margins, bookplate (detached) of Ken Tomkinson, original vellum, a few small marks, 8voQty: (2)NOTESTomkinson 16 & 21. Limited edition 91/350 & 122/300. Ken Tomkinson was the son of Geoffrey Stewart Tomkinson (1881-1963) private press collector and author of A Select Bibliography of the Principal Modern Presses Public and Private in Great Britain and Ireland (1928), his collection of private press books were sold in these rooms in July 2016.

Essex House Press. The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture, Essex House Press, 1898, 11 monochrome plates, illustrations, a few minor stains, original green cloth, spine faded with tiny tears at ends, one or two small stains, 4to, limited edition 274/600, together with The Last Records of a Cotswold Community: Being the Weston Subedge Field Account Book for the Final Twenty-Six Years of the Famous Cotswold Games, Hitherto Unpublished, and now Edited with a Study of the Old Time Sports of Campden and the Village Community of Weston, by C.R. Ashbee, Essex House Press, 1904, wood-engraved illustrations, original cream buckram, spine toned, a few small marks and stains, 4to, limited edition 47/75, plus The Trinity Hospital in Mile End. An Object Lesson in National History, by C.R. Ashbee, The Guild School of Handicraft, Essex House, 1896Qty: (3)NOTESTomkinson 2 and 50 for the first two books respectively.

Fry (Roger). Twelve Original Woodcuts, 1st edition, Hogarth Press, 1921, 12 full-page woodcuts to alternate rectos, titles printed in red, advertisement leaf, light spotting to plate VII title leaf, light marginal toning to title and advertisement versos, original hand-decorated marbled wrappers, paper label to upper wrapper, some wear to spine and edges, 8voQty: (1)NOTESWoolmer 13. 150 copies printed. "Virginia Woolf in her diary entry for 25 November 1921... states, "Roger's woodcuts, 150 copies, have been gulped down in 2 days. I have just finished stitching the last copies - all but six." This suggests that the first impression may have been distributed by the end of November. In a letter to Vanessa Bell dated 13 November 1921... Virginia states, "By the way, Rogers [sic] cover paper was not designed by Carrington, I get it from a little man in Holborn; it is clearly an imitation of the Kew Gardens cover." " (Woolmer).

Humphreys (Henry Noel). Parables of our Lord, 1847, & The Miracles of our Lord, 1848, 16 thick card leaves to each, richly chromo-illuminated in gold and colours, margins lightly toned with some pale spotting, 2 leaves of printed notes to rear of second volume (dampstained and spotted), Parables final leaf with mark to lower margin, Miracles title a trifle finger-soiled, and preliminary blank with ink manuscript inscription dated 1871, marbled endpapers, all edges gilt, both with gutta-percha perished, loose in original moulded papier maché boards, dust-soiled with hairline cracks, rear cover to Parables lower outer corner chipped, Miracles front cover chipped, black morocco embossed spines (rubbed), with embossed lettering to each, both 8voQty: (2)NOTESMcLean, Design (2nd edition), pp.99-105; McLean, Bindings in Paper, pp.51 & 53. '... one of the first of the so-called "papier-mache" bindings, contrived to look like carved ebony ... the result was splendidly gothic and impressive ... Noel Humphreys' designs ... are very warm and natural, in comparison with the more intellectual abstractions of Owen Jones'.

Kelmscott Press. The Story of the Glittering Plain, which has been also called the Land of Living Men or the Acre of the Undying, by William Morris, London: Kelmscott Press, 1894, 23 wood-engraved illustrations after designs by Walter Crane, text printed in red and black, ornamental woodcut borders and initials by William Morris, a few faint spots to last two leaves, presentation label to front pastedown, original limp vellum, silk ties (2 ties lacking), a little minor soiling, 4toQty: (1)NOTESPeterson A221; Tomkinson 22. One of 250 paper copies. "This has the odd distinction of being the only title printed twice... Morris was so eager to get the first edition [i.e. 1891] into print that he would not wait for Crane's illustrations" but later related by Morris's secretary Sydney Cockerell that "Morris was no less dissatisfied than [Philip] Webb with Crane's illustrations to his Glittering Plain & thought this volume his one Kelmscott Press Failure" (Peterson). Provenance: 'From the Library of James Granville Legge, given by his daughter C. Mireio Legge in memory of her visit to South Africa in 1929 with the British Association', printed presentation label. James Granville Legge (1861-1940) was a British author and educationalist.

Nash (Paul). Six leaves of proof illustrations for Seven Pillars of Wisdom, by T.E. Lawrence, circa 1923-26, 5 colour lithograph proof illustrations, and one monochrome wood engraving on wove paper, one (Rocky Landscape) with pencil annotations by Paul Nash giving corrections for printing, sheet size 252 x 190 mm, a few light marks, loosely contained in old plain cream paper envelope, marked in pencil 'Paul Nash Corrections of proofs 7 Pillars of Wisdom', torn with consequent fraying, and some light soilingQty: (1)NOTEST.E. Lawrence selected some of the best artists of the day to produce illustrations for his Seven Pillars of Wisdom, which was first published in a subscriber's edition in 1926. Paul Nash delivered his illustrations to Lawrence in early January of 1924, and on 13th January Lawrence wrote to the artist 'They've come and I like the two pale ones of Jidda and the sandstone hills are gorgeous, and the palm grove is as a palm grove should be and the courtyard of the little palace at Azrak is the courtyard. Even the puff-puff gladdens me, though I did blow it up the poor thing. The waterfall is magnificent.' The present group includes 3 copies of Rocky Landscape (one of which is annotated in pencil by the artist), 2 copies of Mountains, and one sheet containing 2 printings on a single sheet of the railway engine Dhat el Haj.

St. Dominic's Press. Plays for Puppets, by H.D.C.P. (Harry Douglas Clark Pepler), Ditchling, Sussex, St. Dominic's Press, 1929, several wood-engraved illustrations to text, untrimmed, original quarter black cloth-backed printed boards, with wood-engraved vignette of a puppet cow to upper cover, 12mo, printed in an edition of 450 copies, together with: Ethel M. Mairet, Vegetable Dyes being a book of recipes and other information useful to the dyer, first published in 1916 it is now revised and reprinted for the fifth time, Ditchling, Sussex, St. Dominic's Press, 1931, several wood-engraved illustrations to text, partly untrimmed, original black cloth-backed patterned boards, small 8voQty: (2)

The Centenary of the First World War three coin gold set, issued by Gibraltar in 2014, each 22ct gold £5 coin measuring 38.61mm diameter and weighing 39.94grms, with a certificate of authenticity noting a limited edition of 11/45, encapsulated in a presentation case.

3 Harry Potter first edition books includes the order of the phoenix, the half blood prince and the deathly hallows

CORGI; three boxed Heavy Haulage models comprising 18001 Econofreight Heavy Transport Ltd, limited edition no.2225/4100 with certificate, 31003 Chris Miller AEC Ergomatic Articulated and 16601 Pickfords Scammell Highwayman (3).Additional InformationSome wear to boxes, particularly the first model, but otherwise appear good and complete, although we cannot guarantee the presence of all components and accessories.

BRITAINS; a group of boxed figures including 1997 Collectors Club edition The Queen's Colour Squadron Royal Airforce Regiment, limited edition The Band of the Royal Marines set with certificate number 463, 8856 Princess Patricia's Canadian Light Infantry, 48007 First Battalion Queen's Own Cameron Highlanders (79th), 50000C Cold Stream Guards Colour Party, 20017 Zulu War British 24th Foot and Barricade no.1, 36026 British 42nd (Black Watch) Highlander, ,etc, a further loose figures include Britains and Dell Prado examples, and a group of unpainted Britains models including mounted examples.Additional InformationBoxes generally worn, internal models appear good although bidder must satisfy themselves either by viewing or requesting further images, loose figures with play wear and some accessories, components, some bent and misshapen, accessories, components such as swords and guns. Postage on this lot would be a medium box.

Cartier. A Limited Edition 18K gold manual wind reversible rectangular wristwatchModel: Tank Basculante 150th Anniversary 'I Love Cartier' Collection Privee, Limited Edition No.18/150Date: Purchased 25th May 1997Movement: Jewelled manual windDial: Silvered with guilloché engraved centre, black Roman numerals, secret signature at 7, black inner minute track with 5 minute markers, blued steel sword handsCase: Brushed and polished reversible rectangular, cabochon set below 6, personal engraving to reverse, No.A109227Strap/Bracelet: Burgundy Cartier alligator leatherBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 23mm x 37mm Accompaniments: Cartier box, outer card, International Guarantee Certificate, instruction bookletFootnotes:The Tank Basculante was first designed in 1932 and was aimed at an elite clientele looking to protect their timepieces from impact whilst predominantly playing sport. The case is composed of 3 parts allowing the central body to be inverted in order to present a smooth solid case back thus protecting the more vulnerable glass side. Due to its similar first introduction date, the Tank Basculante is often compared with the 1931 Jaeger-LeCoultre Reverso. Although sharing a similar goal and developed by the same company Spécialités Horlogers, the Basculante differs from the Reverso in several key ways. In particular the method used to invert the case on the Basculante is via a swinging frame that pulls the central body out towards you before flipping and replacing. In comparison the Reverso is set within a track that allows you to slide the body out to the side before turning over.The original production of the Basculante was quite limited before being briefly revived in the 1990s. The current example hails from the late 90s and was presented in celebration of the 150th Anniversary of Cartier.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Patek Philippe. A fine and rare Limited Edition lady's 18K rose gold and diamond set World Time wristwatch with central moon phaseModel: World Time MoonphaseReference: 7175R-001Date: Purchased 10th March 2015Movement: 35-jewel Cal.240 HU LU automatic, Gyromax balance, adjusted to heat, cold, isochronism & 5 positions, gold micro-rotor, stamped with the Seal of Geneva, No.5869216Dial: Black star spangled central disc, champagne chapter ring with silvered dot hour markers, outer champagne and matte silvered revolving diurnal and nocturnal 24-hour chapter, further outer silvered revolving chapter bearing the names of 24 world cities, pierced rose gold handsCase: Polished round with unusual bombé lugs, snap on back, world time adjusting button in band, No.6018192Strap/Bracelet: Associated strapBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 38mm Accompaniments: Patek Philippe 175th Anniversary presentation box, outer card, Certificate of Origin, setting tool, brochures, original 18K rose gold folding clasp and spring barsFootnotes:The Reference 7175 was made in 2014 to celebrate the 175th Anniversary of Patek Philippe. It was launched as part of a 'his and hers' set of World Time references with the 5575 forming the other half of the pairing. Whilst the 5575 was limited to 1300 pieces, the 7175 was produced on an even smaller scale of just 450 pieces and was available exclusively in rose gold. It is this rose gold combined with diamonds and a centred moon phase that makes this model such an exquisite timepiece to behold exuding pure class.Housed within this reference was the new Cal.240 HU LU explicitly developed to achieve a smooth synthesis between the world's 24 time zones and the lunar cycle. To acknowledge Patek Philippe's heritage, Central European Time is represented by the city of Geneva.Patek Philippe first employed the World Time complication in its wristwatches during the 1930s, when the complication was first invented by Swiss watchmaker, Louis Cottier (1894-1966). Cottier's classic World Time wristwatch depicted 24-time zones simultaneously, with the local time zone of the wearer controlled through a pusher in the case whilst automatically correcting the position of the 24 hour dial.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Girard-Perregaux. A fine and unusual 18K rose gold Limited Edition automatic skeletonised rectangular tourbillon wristwatch with three gold bridgesModel: Vintage 1945 Tourbillon BridgesReference: 9987, Limited Edition No.95Date: Circa 2015Movement: 30-jewel Cal.GP9600C automatic, one minute tourbillon, No.95Dial: Silvered guilloché engraved barrel and fine tourbillon carriage all mounted under distinctive three bridges, polished dagger handsCase: Brushed and polished rectangular, back secured by 4 screwsStrap/Bracelet: Black alligator leatherBuckle/Clasp: Signed 18K rose gold folding claspSigned: Case, dial & movement Size: 32mm Accompaniments: Girard-Perregaux box, outer card, Certificate of Authenticity, instruction bookletFootnotes:Constant Girard (1825-1903) designed a Tourbillon with three gold bridges in the mid 1860's for which he won a medal at the 1867 Paris Universal Exhibition. Only about twenty examples of this proprietary design were ever manufactured with the last first generation triple-bridge tourbillon made in 1911.Fast forward over half a century and in 1981 Girard-Perregaux re-introduced the movement for a Limited Edition of twenty pocket watches. Ten years later, to celebrate their 200th anniversary, the manufacture again launched the movement but this time housed in a wristwatch. In order to fit, Girard Perregaux miniaturized the movement and re-positioned the triple bridge tourbillon from the back of the watch to the front.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Ralph Chubb (British, 1892-1960)The Heavenly Cupid or the True Paradise of Loves... Designed, Illustrated, Composed & Printed in Script by the Author, FIRST AND ONLY EDITION, NUMBER 36 OF 45 COPIES, lithographed throughout on hand-made Hayle Mill paper, frontispiece (signed and dated 'R.N. Chubb 1944' beneath image), large vignette on title, full-page plates and numerous illustrations throughout, 4 printed sheets of publisher's advertising materials (2 versions of a hand-printed prospectus; order form with perforated section intact; sheet of press notices) loosely inserted, publisher's half morocco over green corduroy, spine sun faded [Reid A10], folio (390 x 280mm.), Fair Oak, near Kingsclere, by the Author, [1933]Footnotes:ProvenanceJohn Raymond Danson (1893-1975), bookplate designed by Stephen Gooden. Danson served in both World Wars, and was made a Lieutenant Colonel commanding the Fourth Battalion Cheshire Regiment at Dunkirk during the Second World WarLIMITED TO ONLY 43 COPIES, SIGNED BY THE AUTHOR. 'One day in this corporeal age there appear'd to me a lovely youth. He seem'd of fifteen years: he was naked. In face and form he was loveliest of all flesh I had ever beheld'. The most lavishly illustrated, and one of the most forthright, of Ralph Chubb's idiosyncratic self-published works on the attractions of male youth. This copy includes four rare pieces of advertising ephemera for the publication, comprising two prospectuses, order form and printed notice of reviews. The Times Literary Review drew comparisons with the visionary illustrated books of William Blake, but notes that Chubb's ''Sybilline Book' devotes more space to sexual than to mystical problems, though the two are inextricably mixed...'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Ralph Chubb (British, 1892-1960)The Sun Spirit. A visionary Phantasy, FIRST AND ONLY EDITION, NUMBER 2 OF 30 COPIES, this one of 24 uncoloured copies, printed on Hollingworth paper, one page printed in red, 7 full-page lithographed plates and other illustrations by Chubb (some full-page), original half morocco over cloth, the upper cover gilt-stamped with the title and the figure of nude boy [Reid A9a], folio (385 x 280mm.), Fair Oak, near Kingsclere, Designed & Decorated by the Author, 1931Footnotes:The first edition of one of Ralph Chubb's self-published, Blake-inspired visionary works of Uranian literature, this one printed in an edition of only 30 copies. Dedicated to 'you true visionary lovers of the boyhood divine', Chubb proclaims that 'God is Love & Love is a Naked Nuptial Adolescent Youth without Blemish'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Ralph Chubb (British, 1892-1960)Manhood, a Poem... Designed and Engraved by the Author, second edition (of approximately 25 copies, the first edition of approximately 200 copies appearing in the previous month), woodcut frontispiece, and illustrations (including vignette on title), type set by Ethel Chubb, publisher's pictorial wrappers, edges frayed with a few small losses, Curridge, Printed by L.J. Chubb 'with the hand-press made by him', March 1924; A Fable of Love & War. A Romantic Poem, NUMBER 186 OF 200 COPIES, signed with initials on the colophon, the first issue with an additional illustration on the upper cover, woodcut illustrations by the author [Reid 3], publisher's grey wrappers printed in green, edges a little creased, Curridge, Printed by E.R. Chubb for R.N. Chubb, 1925; A Book of God's Madness, NUMBER 82 OF 95 COPIES, SIGNED BY THE AUTHOR on the colophon, woodcut vignette on the title, 2 full-page woodcut plates by the author, publisher's red wrappers, printed title label on upper cover, edges frayed with a few small losses, Written A.D. 1923 and Only Now for the First Time Privately Printed A.D. 1928, 8vo(3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Jean Genet (French, 1910-1986)Querelle de Brest, first edition, AUTHOR'S PRESENTATION COPY, inscribed by Genet filling the dedication leaf and with a shorter inscription on half-title, ONE OF 40 COPIES ON PAPIER VÉLIN reserved for 'les amis de Querelle', signed and numbered by Genet, from an overall edition of 525, 29 erotic illustrations by Jean Cocteau, black half calf by Patrick Loutrel, original wrappers bound in, slipcase, 4to, [Paris, Paul Morihien, 1947]Footnotes:'CE LIVRE EST COMPOSÉ AVEC DES CENTAINES DE GARÇONS QUI SONT MES MAÎTRES': Genet's astonishing, candid dedication to the brothers Hervé and Gérard Mille, within his celebrated Cocteau-illustrated novel. 'This book,' he writes, 'is written with the help of the hundreds of boys who are my masters. Each encounter with them is a celebration for me... They are its origin' ('Chaque rencontre avec eux m'est une fête... Eux, c'est l'origine').Written in 1946, the novel Querelle de Brest presents the depraved actions of the attractive bisexual sailor, thief, traitor, drug dealer, and murderer Georges (Jo) Querelle in the port city of Brest. This first edition was clandestinely published by Paul Morihien in 525 copies of which this is one of forty copies signed and numbered by Genet 'Pour les amis de Querelle'. With its explicit homoerotic illustrations by Cocteau, the book was prosecuted for affront to public decency in 1954, but later cleared on procedural grounds (Indiana University, 'Banned Books' web site).Hervé Mille co-founded Paris Match and became editorial director of Marie-Claire, and lived with his brother Gérard, a decorator, in rue de Varennes. There, they entertained the beau monde - Coco Chanel, Colette, Serge Lifar, André Malraux, Edith Piaf, Charles Aznavour, and indeed Cocteau and Genet. In his long inscription, Genet thanks them for their hospitality and friendship; he is clearly touched that two such affluent gentlemen should have welcomed into their home a man who had been in and out of prison for theft, vagabondage, and lewd acts. He acknowledges their offer to buy a copy of his book, and expresses his delight that it has ended up in such good hands. He ends, 'je vous aime beaucoup'.While presentation copies of Genet's works are not uncommon, such a dedication - revelling in the sexual genesis of Querelle - is almost unparalleled.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

[*] Ruscha, Edward -- Every Building on the Sunset Strip. Black and white photographs in 9 sections tipped together and folded as a leporello. 18 x 14,5 cm. Original white wrappers (corners bumped, spine with creases, front cover slightly soiled), with original silver paper covered slipcase (bumped along lower and upper edges, cracked along edges, creases, some light rubbing). Los Angeles, Edward Ruscha, 1966.First edition, second issue (as issued, without rear flap). The Open Book. Hasselblad Center. pp. 198-201. "Ruscha's books and the photos in them have had a greater influence on younger artists and photographers than his paintings" (101 Books). – Two pages with small light brown stain (double page with Weatherly cross street), otherwise very good copy inside.

A good collection of children's books on art, cookery and others to include a series of Alison Uttley Little Grey Rabbit and other stories including Little Grey Rabbit Goes to the Sea 1954 First Edition, Kathleen Hale Orlando the Marmalade Cat books, Kay Thompson's Eloise in Paris First Edition, The Golliwog News, The Book of the Clock illus by Margaret TarrentLocation: 1:2/3

A Herend porcelain first edition cup and saucer in original box, together with three crystal decanters, two silver spirit labels and a set of six painted glass tumblers, 9:2