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Arthouse Hejtmánek
Lot 118

ART DECO BRILLIANT BRACELET First half of 20th century Platinum 900/1000, gold 750/1000, diamonds 18,5 cm, 27.9 g Elegant link bracelet with ten links made of 900/1000 purity platinum with a 750/1000 gold alloy safety chain. The bracelet is set with 30 natural diamonds of old European brilliant cut and 120 simple diamond Antwerp rosettes with a diameter of 1.2 - 1.7 mm. The central diamond measures 4.98 x 3.07 mm with a weight of 0.51 carat, the remaining diamonds have a total calculated weight of 3.75 carats. The opinion of the forensic expert Dr. Jaroslav Hrouz.

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Arthouse Hejtmánek
Lot 139

JAN ZRZAVÝ 1890 - 1977: QUEEN OF THE SEAS 1948 - 1950 Tempera on plywood 69 x 109 cm Signed: Lower left "Jan Zrzavý 48", on revers "Královna moří Tempera 1948 Loď domalována 1950 J.Z." The Golden Beauty or the Queen of the Seas - the masterpiece of a series of ports and barges by Jan Zrzavý. On the back of the picture is an inscription by Dr. František Dvořák: "Chochola and I visited Zrzavý one evening in 1950. He had a mixed color on his palette and asked with a smile that was not typical of him if this color was royal enough that the painting was called the Queen of the Seas. We nodded and Red he painted the ship slowly and thoughtfully. He had sucha strong emotional connection to this painting." Jan Zrzavý found his own way of expression, which mirrors the visible reality indirectly, in well-thought-out signs and symbols. Jan Zrzavý's sensory landscapes are a direct reflection of the facts and impressions that his travels left in him. Under the guise of a seemingly material form, an inner tension takes place, evident even under the arch of balance and fulfillment, peace and duration. Jan Zrzavý composes his own spiritual landscape, the landscape of "peace in eternal movement" and the search for the meaning of existence, where he came to a positive answer - understanding, acceptance and acceptance. The Queen of the Seas, like the legendary Argo, is a symbol of the end of the journey. A symbol of finding the meaning of life. Sovereign and coherent painting is a landscape of completely clear to tangible contours. Visible experience.The painting was originally supposed to be called the Golden Beauty and the ship was to be covered with gold leaf. Instead, Jan Zrzavý chose a glowing and exciting orange, a color that, by its very nature, catches the human eye at first sight. The Queen of the Seas is moored in a peaceful landscape at low tide between boulders. In beloved Brittany, where Jan Zrzavý found, in his own words, an intact land, living among the elements and the element itself - the promised land of his painting, an inexhaustible treasure trove of beauty and a source of painterly excitement. The authenticity of the work confirmed by Dr. František Dvořák on a double inscription from behind, also notes by J. Zrzavý. An expert opinion by PhDr. Rea Michalová Ph.D.,PhDr. Jaromír Zemina, PhDr. J. Orlíková, ZoraGrohmanova, radiographyand detailed material research by academic painter and restorer MartinMartan.

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Arthouse Hejtmánek
Lot 18

PAIR OF FLYING ANGELS First half of 18th century Germany Polychrome and gilded wood 60 cm A pair of flying baroque angels in wavy dresses made of dynamic carving with polychromy and gilding. Concentric adoration gestures may indicate that they were part of a larger composition - they accompanied a significant religious scene or altar. Height 60 and 70 cm.

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Arthouse Hejtmánek
Lot 100

FRANTIŠEK KAVÁN 1866 - 1941: POND IN TRHOVÁ KAMENICE ON THE FIRST SNOW Ca. 1920 Oil on cardboard 49 x 63,5 cm Signed: Lower left "Kaván" The peaceful winter landscape interwoven with ponds and wetlands is a harmonious work with the typical handwriting of František Kaván, the author of numerous depictions of the changes in the Czech landscape during the changing seasons. The winter landscape depicting the natural reservation Trhovokamenické rybníky belongs to the author's quieter period, when after 1900 he returned to realism and lived in Vítanov and Železnice. Kaván works influenced by his studies in the landscape studio of Julius Mařák, where he joined in 1889, he lives very modestly and solitarily, and he soon excels in realistic depictions of the landscape above his classmates. Under the influence of the group around the Modern Revue, in 1895 he temporarily deviated from realism and switched to symbolism and decadence. The authenticity of the work confirmed by PhDr. Mgr. Michael Zachař.

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Arthouse Hejtmánek
Lot 124

ZDENĚK RYKR 1900 - 1940: A CAFE 1930 Oil on canvas 84 x 95 cm Signed: Upper right "Rykr 30" Zdeněk Rykr was one of the peculiar solitaires who, despite theadversity of the fate, did not hesitate to devote himself to art. He was never accepted at the Academy of Fine Arts, but received his doctorate from the Faculty of Philosophy, where he studied art history and classical archeology. He approached art very thoroughly, mastering a considerable number of styles, until he was often criticized for not creating a more coherent opinion. The opposite was true, Zdeněk Rykr approached his own path through art methodically and sought the path himself and did not downplay it in any way. His friend Jaromír Funke understood its variability in such a way that he reached every goal very easily, so he lost interest in him. Thanks to his talent for creating advertising design and free graphics, he was not dependent on the sale of his works. He believed that advertising should cultivate the viewer, and we still buy some of his designs on the packaging today - for example, the star of Orion (Czech chocolate factory). His success allowed him to paint completely unobtrusively. Café darkness and still lifes with thonets inspired Zdeněk Rykr to transform a civilian theme into a play of lines and shadows. It mimics a familiar environment shortly before the first customers arrive, or shortly after the last one leaves. Such a still life is a harbinger or reverberation of movements, sounds and perceptions hidden in absolute silence. It creates tension in the middle of a moment of rest.From the expert assessment byPhDr. ReaMichalováPh.D.: "The dominant line reflects the author's joy of painting, summing up the impression evoked by sensory experience, Rykr enjoyed entertainment, socialized, danced and also traveled, and the painting "Cafe" is the result of the author's extremely happy life and creative constellation in the early 1930s."

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Arthouse Hejtmánek
Lot 37

BEDŘICH (FRIEDRICH) WACHSMANN 1820 - 1897: MOUNTAIN LANDSCAPE 1852 Munich Oil on canvas 68 x 101 cm Signed: Lower left "F. Wachsmann" Bedřich Wachsmann (nee Friedrich) first made a living from lithographic works, but in 1848 he moved to Innsbruck and painted landscapes steadily. His works were well received and he also became a teacher of painting. He often worked for the church and noble families. Among his most important clients were the Archbishops of Prague Bedřich Schwarzenberg and Cardinal František Schönbornand his work was appreciated by Pope Leo XIII. The mountain landscap is one of Wachsmann's most important works, which is almost a prime example of his precise manuscript. The composition is balanced, brought to the smallest detail and at the same time represents a dramatic play of light on the road in the middle of the mountain massif.

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Arthouse Hejtmánek
Lot 11

JAN KAŠPAR HIRSCHELY 1695 - 1743: PAIRED FLORAL STILL LIFES First half of 18th century Oil on wood 35,5 x 25 cm Signed: Unsigned The cabinet still life comes from the calmperiod of Hirschely's work, when the author does not use luxury objects and expensive mannerist vases to compose still lifes, but arranges live flowers in simple glass flasks to highlight their natural beauty. When painting floral still lifes, Hirschely emphasized the aesthetic tone of the work. The painter created a rich mannerist arrangement with strong color tones appearing in the foreground and tried to meet the requirements of the time for the archaization of form. Later, he devoted himself to other motifs in his work, such as fruits and birds. The botanical composition of the bouquets often went beyond one season. In one case, they control the color range of red chrysanthemums and yellow feather tulip. In the background are small-flowered daffodils and deep blue Aquilegias. In second case around the central motif of a variegated tulip with delicate petals, the author concentrates carefully selected variations of daffodils, Aquilegias, iris, roseand amaryllis.Works consulted with PhDr. Hana Seifertová.

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Arthouse Hejtmánek
Lot 151

JIŘÍ BRADÁČEK 1922 - 1984: A FORMATION 1966 Sandstone 84 cm Signed: On the bottom "Bradáček 66" Jiří Bradáček graduated from the State School of Ceramics in Prague in the studio of Václav Vokálek. In 1939 he wasaccepted to the School of Applied Arts, where he studied in the years 1939 - 1944 in the studio of Karel Dvořák. Bradáček first worked in the Duchcov porcelain factory Royal Dux, for which he designed small sculptures. At the beginning of his work, Bradáček was influenced by Otto Gutfreund's cubism and social civilism and Emil Filla's sculptures. In the spirit of modernism, the presented sandstone sculpture, which bears the typical features of his exterior works.

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Arthouse Hejtmánek
Lot 89

CARLO BUGATTI 1856 - 1940: A CHAIR Ca. 1900 Ebonized walnut, tin inlay, hammered and patinated brass, bone, painted rawhide, sisal 92 x 32 x 45 cm A unique example of a chair on the Czech market from the workshop of the famous designer Carlo Bugatti. Highly ornamental structure with turned legs and pewter inlay performed first by carving and then filling with molten metals. The backrest is decorated with wrought pieces of brass with star motifs, patinated into acopper-like look. Padded with parchment, hand-painted backrest with bamboo motifs.

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Arthouse Hejtmánek
Lot 40

BIEDERMEIER CABINET Kolem 1830 Central Europe walnut, maple, blackened pear wood, brass 177 x 109 x 59 cm Timeless design of a model from the Biedermeier period with an elegant high class with a semicircular structure with three drawers. Sophisticated geometric layout of the lower drawers and a box with fittings in the indicated arch, above it a secret drawer. The bright root interior consists of a set of drawers and a portal with pilasters and hooks. The quality of workmanship corresponds to the most prestigious Central European furniture manufacturers of the first half of the 19th century. Photographs of the condition before restoration are available. Restored.

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Arthouse Hejtmánek
Lot 138

KAREL ČERNÝ 1910 - 1960: ON A RIVER 1946 Oil on canvas 45 x 38,5 cm Signed: Lower right "K Černý Š 46" From the opinion of PhDr.Rey Michalové Ph.D .: "The judged painting" On the River "is an original, motivically rare and artistically brilliantly expressively felt work by Karel Černý, an unmissable solitaire in Czech modern paintingwhich reflected both his subjective feelings and the climate of the time. His creative development was shaped by very intimate experiences and reflections of the environment. In addition to his melancholic character was added a physical disability - a disorder of the spine. His will to overcome all the obstacles and his fate is probablythe cause of the unique power of his paintings.Relatively a lot of attention is paid in the literature to the Černý's First Residence in Paris (1946), in our context it is important that he also visited Antwerpat the same time. He wrote about Antwerp: "the steamboats themselves, the ships, the sailors, the taverns, the workers and the night - fantastic." Černý was artistically attracted by tightly shaped shapes, suitable for styling and emphasizing solid linear contours. The ship, transformed into a simplistic sign, represents the presence of man, is loaded with humanizing force and symbolizes the painter's loneliness. "

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Arthouse Hejtmánek
Lot 136

ROUND TABLE ART DECO Kolem 1930 Bohemia poplar birdseye, chrome 68 x 70,5 cm The elegant, well-crafted table finished with a brass leg with a storage glazed space, which is held by a chrome rod, represents a representative First Republic style. Restored.

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Arthouse Hejtmánek
Lot 25

CARVED POWDER HORN First half of 18th century Alpine ibex horn, bone, gilded brass 31,5 cm Hunting richly carved powder horn made of the hornof an alpine ibex withbrasscomponents gilded in fire, made by Steinbeck - Salzburg. The horn surfaceis decoratedwith detailed carvings of hunting motifs and animals.

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Arthouse Hejtmánek
Lot 109

MILADA MAREŠOVÁ 1901 - 1987: CHILD IN THE WOODS 1928 Watercolour, paper In frame 24 x 16,5 cm Signed: Lower right "Milada Marešová" Milada Marešová is considered in art to be an independent narrator - a painter of everyday, mostly city life between the wars, but also as an extremely prolific author of illustrations for books, magazines and bibliophilies. Milada Marešová was one of the first women to study at the Academy of Fine Arts in Prague, in 1923 she completed an internship in Paris with František Kupka. The work The Child in the Forest was published in the calendar of the Orbis publishing house in 1928.

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Arthouse Hejtmánek
Lot 67

KAREL LANGER 1878 - 1947: BLOOMING MEADOW Before 1910 Oil on canvas 52,5 x 70,5 cm Signed: Lower left "K. Langer" Academic painter Karel Langer is one of the important representatives of Mařák's school and is a co-founder of Impressionism in our country. He studied in the studio under prof. J. Mařák at the Academy of Fine Arts in Prague, then studied for another three years at the figural specialty under prof. Ottenfeld. Neo-romantic landscape Blooming meadow is a delicate and elegant plein air with idyllic colors and hints of light rays on the flowers. Similar paintings can be found in reproductions of Golden Prague or Světozor in the period before the First World War.

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Arthouse Hejtmánek
Lot 119

PENDANT WITH A DIAMOND First half of 20th century Gold, brilliant cut diamond 2 cm, 2.6 g Pendant with natural old brilliantcut diamond. Total weight 2.60 g with a 4.35 carat diamond. An expert opinion of Dr. Jaroslav Hrouz. Height 2 cm including eyelet, weight of a set with chain 7,9 g.

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Arthouse Hejtmánek
Lot 5

UNKNOWN AUTHOR: A GIRL'S PORTRAIT First half of 17th century Germany Oil on canvas 61,5 x 51 cm Signed: Unsigned Portrait of an unmarried girl according to the text on the top right at the age of 16. The portrait reveals refined taste and is proportional to the fashion of the bourgeois patrician. The painter's virtuosity is manifested in a decent expression and at the same time few hints of the statusof the portrayed girl - fine details such as a collar with sewn Italian reticella, a hair tiara with precious stones and pearls and a richly decorated chain and belt.

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Arthouse Hejtmánek
Lot 62

BENEŠ KNÜPFER 1844 - 1910: SHIPWRECK AT SEA Early 20th century Oil on canvas 41,5 x 33,5 cm Signed: Lower right "B Knüpfer" Beneš Knüpfer first launched his art career at the Academy of Fine Arts in Prague, moving on tothe Academy in Munich tostudy historical painting under Karl von Piloty in 1870. Nine years later he went on astudy trip toRome and remained there, never returning tohis native country. It is remarkable that unlike the flood of young foreign artists who came tostudy in Italy, it was not Classicist or Renaissance art that most visibly influenced Knüpfer's art. What is reflected most in Knüpfer's paintings is the sea, highly romanticized with figures of Naiads, Sirens, dolphins, Tritons and other mythological beings. This particularsubtle format of stormy sea with naiad in the foreground is a typical example of the Painter's handwriting.

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Arthouse Hejtmánek
Lot 1

UNKNOWN AUTHOR: THE KISS OF JUDAS Ca. 1450 Central Europe Tempera on partially silvered wood 90 x 61 cm Judas' kiss is an act by which Judas of Iscariot was to betray Jesus to the militants and which led to his immediate arrest. Judas' kiss is a metaphor for a seemingly friendly and devoted gesture, but which does a lot of damage. Perhaps the negative connotation of the motif has contributed to the fact that the image has been changed beyond recognition. The presented painting was hidden under the repainting with the motif of the Madonna for several centuries, and its presence in the lower layer was only revealed by the method of radiography. After a very careful restoration intervention, we have the first opportunity to see a painting that has not been seen by the human eye for several centuries. The morphology of the painting testifies to the dating to the 15th century with a marked Central European influence.This is a very rare example of the technological process of painting with an underdrawing of a Gothic panel painting. Consulted with Zdeněk Preclík.

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Arthouse Hejtmánek
Lot 161

JIŘÍ TRNKA 1912 - 1969: PUPPET OF A SOLDIER Before 1946 Wood, textile, leather, brass, iron sheet, rabbit fur 19 cm The original figurinefor animated film on a textile-covered stand. The puppets were probably created for the first full-length puppet film Špalíček, awarded, among other things, a Gold Medal at the Venice IFF.

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Lehner Kunstauktionen
Lot 217

Cézanne Paul Portrait du peintre Armand Guillaumin au pendu, 1873 Kaltnadelradierung auf geripptem Büttenpapier Blattgröße: 25,1 x 16,3 cm / Plattengröße: 15,5 x 11,8 cm Cézanne hat in seinem Lebenswerk nur 5 Radierungen geschaffen, die alle im Juli 1873 entstanden, als Cézanne mit Camille Pissarro und seinem Freund dem Maler und Poeten Armand Guillaumin in Auvers-sur-Oise in dieser Technik experimentierte. Alle drei haben dabei ein Symbol als Signatur verwendet, Cézanne das Zeichen des Gehängten. In „Guillaumin au pendu“ wird eben dieser Maler von Cézanne portraitiert. Die genaue Auflage der Arbeit ist unbekannt, dürfte bei ca. 1000 Stück liegen. Cézanne hat die Radierungen im Atelier von Dr. Gachet gedruckt, der über eine Radierpresse verfügte. Im Jahr darauf malt Cézanne sein berühmtes Werk „La Maison du Pendu“ (das Haus des Gehängten). Die Idee dazu kündigt sich erstmals in dieser Radierung an. Die Spontanität der Arbeit lässt darauf schließen, dass Cézanne direkt auf der Platte arbeitete. Im Unterrand sowie Verso mit Bleistift-Annotation. Im weißen Rand schwach gebräunt. Sonst guter Gesamteindruck. Cézanne Paul Portrait du peintre Armand Guillaumin au pendu, 1873 Dry point etching on ripped handmade paper Sheet Size: 9,9 x 6,4 in / Plate Size: 6,1 x 4,6 in In his life's work, Cézanne only created 5 etchings, all of which were created in July 1873 when Cézanne experimented with this technique with Camille Pissarro and his friend the painter and poet Armand Guillaumin in Auvers-sur-Oise. All three used a symbol as a signature, Cézanne the sign of the hanged man. In “Guillaumin au pendu” this painter is portrayed by Cézanne. The exact edition of the work is unknown, it should be around 1000 pieces. Cézanne printed the etchings in Dr. Gachet's studio, who had an etching press. The following year, Cézanne painted his famous work “La Maison du Pendu” (the house of the hanged man). The idea for this is announced for the first time in this etching. The spontaneity of the work suggests that Cézanne was working directly on the plate. With pencil annotation in the lower margin and verso. Slightly browned in the white margin. Otherwise good overall impression.

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Lehner Kunstauktionen
Lot 255

Kaiser-Herbst Carl Cornwall Öl auf Karton Signiert und betitelt rechts unten 30,8 x 46 cm gerahmt Landschaftsmaler in Wien, geb. daselbst 8. 11. 1858. Anfangs zum Architekten bestimmt, entschied er sich früh für die Malerei, besuchte 1878 die Wiener Akad. unter Griepenkerl, hierauf (bis 1886) die Münchener Akad. unter Gysis u. Wenglein. Unternahm in den Jahren 1890–94 ausgedehnte Studienreisen in die Alpen, nach Dalmatien, Kórfu u. England (Cornwall). Stellte seine ersten Landschaftsbilder 1892 in Paris, 1893 in London, 1896 in Glasgow aus. Es folgten Kollektivausstell. im Wiener Kunstsalon Pisko (1900), in der Münchener Galerie Heinemann (1905) u. im Wiener Künstlerhaus (1905), auf letztgen. wurden das Gemälde „Donau-Auen“ für die Staatsgal., einige Studien aus England von Kaiser Franz Josef erworben. 1905/09 lebte K.-H. in England, veranstaltete 1906 eine Ausst. seiner Arbeiten in der Londoner Gal. Mendoza und wurde, 1910 nach Wien zurückgekehrt, von der Gemeinde Wien beauftragt, eine Serie von Bildern aus dem Quellengebiet der 2. Hochquellenleitung für die städt. Samml. zu malen. (aus Thieme-Becker, Bd. Ka-Kl, S. 35) Rahmenspuren an den Bildkanten, minimalste Farbabsp., Ecken bestoßen. Verso Etikett vom Künstler (?) mit Bezeichnung "Out into the West as the sun vent down" Kaiser-Herbst Carl Cornwall oil on board Signed and titled lower right 12,1 x 18,1 in framed Landscape painter in Vienna, b. there on November 8, 1858. Initially determined to be an architect, he decided early on to paint, attended the Vienna academy under Griepenkerl in 1878, then (until 1886) the Munich academy under Gysis a. Wenglein. In the years 1890–94 he undertook extensive study trips to the Alps, Dalmatia, Kórfu etc. England (Cornwall). Exhibited his first landscape paintings in Paris in 1892, in London in 1893, and in Glasgow in 1896. Collective exhibitions followed. in the Viennese art salon Pisko (1900), in the Munich gallery Heinemann (1905) a. in the Vienna Künstlerhaus (1905), on last. the painting "Donau-Auen" for the Staatsgal., some studies from England were acquired by Emperor Franz Josef. 1905/09 lived K.-H. in England, organized an exhibition in 1906. of his work in the London Gal. Mendoza and, after returning to Vienna in 1910, was commissioned by the municipality of Vienna to paint a series of pictures from the source area of ​​the 2nd high spring pipeline for the municipal collection. (from Thieme-Becker, Vol. Ka-Kl, p. 35) Framing marks on the edges of the picture, minimal color reproduction, corners bumped. Verso label by the artist (?) With the inscription "Out into the West as the sun vent down"

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Lehner Kunstauktionen
Lot 268

Krausz Wilhelm Victor Murano Öl auf Platte Signiert rechts unten 42,8 x 53,6 cm gerahmt Als Landschaftsmaler war Wilhelm Viktor Krausz vor allem vor dem I. Weltkrieg auf seinen Reisen durch Europa tätig. Auf den ersten Blick zieht die imposante Brücke die ganze Aufmerksamkeit auf sich. Anschließend gleitet der Blick jedoch weiter zum Wasser, beziehungsweise vor allem auf die Bewegung des Wassers, welche hier besonders gut eingefangen wurde. Die vielfältige Farbgebung der leicht bewegten Wasseroberfläche und der Spiegelung gibt den Eindruck von den Kanälen Muranos auf eine stimmungsvolle Art und Weise wieder. Insgesamt vermittelt das Werk eine sehr ruhige und ausgeglichene Atmosphäre. Krausz Wilhelm Victor Murano Oil on plate Signed lower right 16,9 x 21,1 in framed As a landscape painter, Wilhelm Viktor Krausz was mainly active on his travels through Europe before World War I. At first glance, the imposing bridge attracts everyone's attention. Afterwards, however, the view glides further to the water, or above all to the movement of the water, which was captured particularly well here. The varied colors of the slightly moving water surface and the reflection give the impression of the Murano canals in an atmospheric way. Overall, the work conveys a very calm and balanced atmosphere.

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Lehner Kunstauktionen
Lot 88

Weichberger Philipp All Set, 1973 Acryl auf Leinwand Monogrammiert links unten sowie Verso signiert und betitelt 25,5 x 25,5 cm Um 1950 erste künstlerische Tätigkeit, 18-jährig Umzug nach Paris, dort bis 1959 (als vermutlich jüngster informel arbeitender Künstler) tätig und durch die Galerie Europe vertreten, 1961 kleine Monographie mit Text von Will Grohmann, 1959-1965 in Brüssel, dann New York tätig, 1985 dort Suizid durch Sprung aus dem 15. Stock eines Hochhauses. Arbeiten in Museen: Finch College Museum, New York. Galerie für Moderne Kunst, München. Museum of Stamford, Stamford, CT. Musée D'Art Contemporain de Tanger, Tanger. Amherst College Museum, Amherst, CT Wallraf-Richartz Museum, Köln. Marymount Manhattan College, New York. und in zahlreichen öffentlichen und privaten Sammlungen. Weichberger Philipp All Set, 1973 Acrylic on canvas Monogrammed lower left plus verso signed and dated 10 x 10 in First artistic activity around 1950, At the age of 18 he moved to Paris, where he worked until 1959 (presumably the youngest informal artist) and represented by Galerie Europe, 1961 small monograph with text by Will Grohmann, 1959-1965 worked in Brussels, then in New York, 1985 there suicide by jumping from the 15th floor of a high-rise building. Works in museums: Finch College Museum, New York. Gallery for Modern Art, Munich. Museum of Stamford, Stamford, CT. Musée D'Art Contemporain de Tanger, Tangier. Amherst College Museum, Amherst, CT Wallraf-Richartz Museum, Cologne. Marymount Manhattan College, New York. and in numerous public and private collections.

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Petrides Auctions
Lot 87

N.M. PENZER, The Harem: An account of the Institution as it existed in the Palace of the Turkish Sultans with a history of the Grand Seraglio from it's foundation to the present time. First published 1936 by George G. Harrap & Co Ltd. 182 High Holborn, London, W.C.1

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Wilson55 Auctioneers & Valuers
Lot 66

A late 19th century enamel and diamond watch chain or Léontine, comprising a circular brooch, centrally set with rose cut diamond within a red and black star enamel surround, suspending a chain with kite shape enamel and rose cut diamond spacers and spring clasp, length 10.1cm, gross weight 8.2g. Pictured in How the Watch was Worn by Genevieve Cummings, plate 404. Cummings states this piece closely matches Vever's description of a Léontine as a brooch with a short chain for a watch: "For a while it was fashionable to replace the 'baton' or the hook which secured the chain to the corsage with a flat circular brooch that matched the watch case. The brooch was worn prominently and was...often centred with a small decorative motif or a gemstone. This variety of chain was called 'Léontine' after a successful actress." p.138.Condition report: Overall condition good to fairSome scratches and abrasion to enamel, visible under magnification - first enamel link on chain from brooch is missing a portion of enamelling, visible with the unaided eyeWith hoops to reverseLocalised scratching to the reverse of one of the chain linksPin in working orderDiameter of brooch approx 1.8cmDiameter of principal rose cut diamond approx. 4.2mm

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Wilson55 Auctioneers & Valuers
Lot 240

A George III swivel mourning ring, with black enamel panel inscribed 'Honble Diana Walpole Ob:26 July 1784 Ae: 20' and hair panel to reverse, ring size H, gross weight 5.1g. The Hon. Mrs. Diana Walpole, neé Grosset, married the Hon. Robert Walpole on 8th May 1780. Robert Walpole (1736 - 1810) was the fourth son of Horatio Walpole, 1st Baron Walpole of Wolterton, and nephew of Robert Walpole, 1st Earl of Orford, who is considered the de facto first Prime Minister of Great Britain.

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Wilson55 Auctioneers & Valuers
Lot 63

Two gem-set brooches, the first designed as an old cut diamond and circular shape ruby floral cluster atop a curb link bar, the second designed as an opal bar brooch, estimated total diamond weight 0.15ct, lengths 4 and 4.6cm, gross weight 6.8g.Condition report: Overall condition good to fairCurb link brooch - base metal pin, possible replacement, rubies with some abrasion to facet edges, visible with magnification, diamond bright with inclusions visible only under 10x magificarionOpal brooch - One outer opal with chip to edge

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Bushey Auctions
Lot 239

A quantity of vintage postcards to include an album, loose cards and first day covers

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Bushey Auctions
Lot 241

A quantity of GB and foreign stamps and first day covers

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Thomson Roddick Auctioneers & Valuers
Lot 128

GILBERT JAMES (Pubs).  The Comic Magazine. First Series. Cartoon plates. 12mo. Rubbed qtr. morocco. 1832; also 2 other vols.  (3).

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Thomson Roddick Auctioneers & Valuers
Lot 121

King Penguins.  36 various vols. List of books:Bayeux Tapestry (x 3) - K10Birds Of The Sea - K24John Gilpin - 70A Book Of Scripts - 48 Woodland Birds - 74Mountain Birds - 67British Birds (x 3) - K1Birds Of La Plata - 66Wild Flowers Of The Chalk (x 2) - K37Flowers Of Marsh And Steam (x 2) - K27Edible Fungi (x 2) - K13Poisonous Fungi (x 2) - K23Mosses (x 2) - 57English Ballet (x 3) - K2Heraldry In England (x 2) - K22Elizabethan Miniatures - ?Fishes Of Britain - K11Popular Art In The US - 50Edward Gordon Craig - K40Woodcuts Of Durer - K39VR, The First Phases - K25John Speed's Atlas - 61Tulipomania - 44A Prospect Of Wales - K43 

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Hermann Historica
Lot 10352

Preußen - Überrock für einen Oberleutnant, um 1900 Feines dunkelblaues Tuch mit rotem Kragen und Vorstößen, zwei Reihen gelbe Knöpfe ("Extrafeine Qualität"), rot gefütterte preußische Schulterstücke im Rang eines Oberleutnants, feines schwarzes Seidenfutter, Brustklappen rot gefüttert. Teilweise kleine Fehlstellen, leicht beschädigt, Altersspuren. Zustand: II Prussia - an overcoat for a First Lieutenant, circa 1900 Feines dunkelblaues Tuch mit rotem Kragen und Vorstößen, zwei Reihen gelbe Knöpfe ("Extrafeine Qualität"), rot gefütterte preußische Schulterstücke im Rang eines Oberleutnants, feines schwarzes Seidenfutter, Brustklappen rot gefüttert. Teilweise kleine Fehlstellen, leicht beschädigt, Altersspuren. Condition: II

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Hermann Historica
Lot 10241

Kaffeetasse mit handgemaltem Portrait des Zaren Alexander I., komplett mit Untertasse, russische Porzellanmanufaktur Safronov, erstes Drittel 19. Jhdt. Weißes, glasiertes Porzellan, Goldrand und Dekor, fein gemaltes Portrait des Zaren Alexander I. mit St. Andreas-Orden, goldenes Floraldekor, inseitig vergoldet. Im Boden der Untertasse blau unterglasierte Marke "C" für Safronov. Höhe der Tasse ca. 6,5 cm. Durchmesser der Untertasse 12,7 cm. Sehr gute Qualität und Erhaltung. Zustand: I A coffee cup with hand-painted portrait of Tsar Alexander I, complete with saucer, Russian porcelain manufactory Safronov, first third of the 19th century Weißes, glasiertes Porzellan, Goldrand und Dekor, fein gemaltes Portrait des Zaren Alexander I. mit St. Andreas-Orden, goldenes Floraldekor, inseitig vergoldet. Im Boden der Untertasse blau unterglasierte Marke "C" für Safronov. Höhe der Tasse ca. 6,5 cm. Durchmesser der Untertasse 12,7 cm. Sehr gute Qualität und Erhaltung. Condition: I

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Hermann Historica
Lot 10102

Erster Weltkrieg - Gruppe Auszeichnungen Eisernes Kreuz 2. Klasse, mehrteilig gefertigt, in seltenem Holzetui mit Bändern und drei Miniaturen sowie Verwundetenabzeichen und Frontkämpfer-Ehrenkreuz. Trage- und Altersspuren. Zustand: II First World War - a group of awards Eisernes Kreuz 2. Klasse, mehrteilig gefertigt, in seltenem Holzetui mit Bändern und drei Miniaturen sowie Verwundetenabzeichen und Frontkämpfer-Ehrenkreuz. Trage- und Altersspuren. Condition: II

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Hansons Auctioneers and Valuers
Lot 588

Mixed collection of books, some first editions, to include The Old Man and Mr Smith, by Peter Ustinov, first edition, London: Michael O'Mara, 1990, signed by the author, hardback, well-preserved with dust-jacket; Love of Seven Dolls, by Paul Gallico, first edition, London: Michael Joseph, 1954, signed by the author, hardback, well-preserved but slight wear to d.j., some shelf-lean; Shooting an Elephant, by George Orwell, first edition, London: Secker and Warburg, 1950, contents generally good but lacking d.j., cloth discoloured, wear to endpapers; Menagerie Manor, by Gerald Durrell, first edition, London: Rupert Hart-Davies, 1964, bearing armorial bookplate for Sir Val Duncan, pasted photograph to ffep, good with some pale spotting and light wear to d.j.; The Darling Buds of May, by H. E. Bates, first edition, London: Michael Joseph, 1958, good with light wear to headcaps, offsetting to endpapers, wear to d.j.; My Uncle Silas, by H. E. Bates, illustrated by Edward Ardizzone, first edition, London: Jonathan Cape, 1939, good with some wear/loss to d.j., and others, condition varied as found (32)

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Hansons Auctioneers and Valuers
Lot 675

Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents good, clean, bright; usual light toning to page edges; pale dampstain through top of opening leaves; a couple of tiny scuffs to edges of text-block; some dust and very pale spotting to top edge; binding good, tight, solid, laminate entirely present, boards bold and vibrant; some discolouration/fading to spine; very light wear and bumping to corners and extremities; heavier bumping with very slight loss at top of spine; incredibly faint rubbing to laminate with a couple of light creases to upper board. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries - this being one of the more desirable 200

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Hansons Auctioneers and Valuers
Lot 693

Kipling, Rudyard. Kim, first edition, London: Macmillan, 1901. Red & black title page, frontispiece, all plates as called for, two pages of publisher's advertisements at rear. Octavo, publisher's red cloth lettered in gilt, top edge gilt. Contents good, clean, bright; some light spotting to protective tissue-guard and title; some discolouration and offsetting to endpapers; owner inscriptions for 1901 and 1915; binding solid with discolouration and wear to extremities and headcaps

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Hansons Auctioneers and Valuers
Lot 343

A 1920's Globe Wernicke Co Ltd library stacking book case, being a stack of three shelves with cornice and base, each shelf section having fall front glass fronts and metal handle, Ivory label with "Globe Wernicke Co Ltd, London" to the top bookcase. 115cm H x 87cm W x 27cm DGlobe-Wernicke was first established in 1899 when Otto Wernicke, owner of Wernicke Furniture Co bought the Globe Company. Globe Wernicke had factories building furniture in the United States, Canada, United Kingdom, France and Germany. Condition Report:In good overall condition with signs of scratches to the top and signs of loss to the side of the shelf.

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Hansons Auctioneers and Valuers
Lot 661

Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, fifth issue, hardback, London: Bloomsbury, 1998, signed by the author in bold blue ink on dedication page, 'To Rory, Sorry I missed you! J K Rowling'. Contents very good, clean, bright; binding tight and solid, boards clean and vibrant with a couple of bumps at lower edges; dust-jacket clean and bold, well-preserved with some light knocks at edges. The second novel in the Harry Potter seriesProvenance: Edinburgh Book Festival, 1998. Vendor was meant to attend with a friend (who took the book along in his absence), hence the inscription from Rowling

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Hansons Auctioneers and Valuers
Lot 641

Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean, bright; a very pale stain at the top edge of a few pages; light owner inscription in pencil; binding tight and solid, very well-preserved (appears unread); faint crease at lower front cover with knock to extreme corner; a couple of very faint marks/scratches to cover. A very good example

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Hansons Auctioneers and Valuers
Lot 534

Kelmscott Press. Morris, William. A Note by William Morris on His Aims in Founding the Kelmscott Press, facsimile of the last book printed at the Kelmscott Press, Irish University Press, 1969. Limited edition numbered 69 of 100 copies bound in vellum by Desmond Smith at the Irish University Press bindery, housed in slipcase. Very well-preserved, clean, bright. Together with Some Hints on Pattern Designing, by William Morris, first edition, London: Longmans, 1899, printed at the Chiswick Press, and Some Great Churches in France, by William Morris and Walter Pater, Maine: Thomas B Mosher, 1903, one of 425 copies printed on Japan Vellum (3)

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Hansons Auctioneers and Valuers
Lot 694

Du Maurier, Daphne. Rebecca, first edition, London: Victor Gollancz Limited, 1938. Octavo, publisher's cloth lettered in gilt. Contents generally good with toning and occasional light spotting; slight wear and small crease to blank leaves at rear; binding solid with light rubbing to spine and light wear to corners; a little dusty

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Hansons Auctioneers and Valuers
Lot 594

Small collection of mid-20th century postcards, including a few earlier examples (three Zeppelin postcards), vintage card games/playing cards (as found), several Brooke Bond albums, and a framed Tolkien First Day Cover (1992), in one carton

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Hansons Auctioneers and Valuers
Lot 763

Classroom posters, 1930s/40s. Teaching in Practice for Infant Schools: Projects and Pictures, complete 60 colour plates (as called for), including one of a young Queen Elizabeth II (as Princess), one of Mickey & Minnie Mouse, one of Bonzo the dog, various world cultures/industry. Plates measuring 36cm by 34.5cm. Housed in original folder bearing printed Index. Generally well-preserved with bold, vibrant colours, some with light creasing from handling, a couple with heavier creasing and marginal wear (first and last plate with short tears at top)

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Hansons Auctioneers and Valuers
Lot 665

Harris, Moses. Natural System of Colours, [second edition, considered almost as scarce as the first], London: Printed by L. Harrison and J. C. Leigh, 1811. Edited by Thomas Martyn and dedicated to the second President of the Royal Academy, Benjamin West. Association copy, originally belonging to Benjamin West but not inscribed. Quarto, half crushed morocco with paper-covered boards and morocco title label lettered in gilt. Title, dedication, address (two pages), text complete in 11 pages, and complete with three hand-coloured plates: Prismatic, Compound, Examples. Loosely inserted sheet of pencil-sketched circles. Contents generally very good, the hand-colouring well-preserved and vibrant; dedication page bearing manufacturer's watermark (J Whatman 1808); some light, even toning (more noticeable in some places than others); protective tissue-guards present for the first two plates; tissue-guards foxed; occasional pale marks/spots in places; very faint creasing and light wear to edges in places; boards rubbed and worn, contents loose, loss to the leather at spineVery scarce. Only a few copies of the first edition are known to exist (including the Royal Academy's copy, which is lacking the third plate). In 1963, Faber Birren published 'a facsimile edition of what is perhaps the rarest known book in the literature of color'. This second edition is considered almost as rare as the firstProvenance: By descent. Vendor's late husband was descended on his mother's side from noted artist Benjamin West PRA (American, 1738-1820). It is known that West was greatly interested in the discipline of colour theoryDr Alexandra Loske has kindly provided the following comments for inclusion in this catalogue:'This is a very exciting book to appear in a public auction. It may be a short work, but it is one the most influential and beautiful books in Western colour history. The entomologist Moses Harris was the first to introduce detailed colour wheels in English literature on colour, in the late 18th century. This splendid second edition, published posthumously in 1811, is evidence of the increasing interest in colour in the 19th century, and in Enlightenment sources. Only a year earlier the German polymath Johann Wolfgang von Goethe had published his substantial Zur Farbenlehre (On the Doctrine of Colours), and shortly after the British "Colourman" George Field wrote his first of many books on colour theory. Fewer than ten copies of the first and second editions of Harris's book are recorded. I have inspected almost all of them, and the quality of the hand-coloured plates in this copy is outstanding.'Dr Alexandra Loske, colour historian and author of Colour: A Visual History (2019), University of Sussex and Royal Pavilion & Brighton Museums

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Hansons Auctioneers and Valuers
Lot 695

Gaskin, Arthur J. (Illus.). Stories by Hans Christian Andersen, in two volumes, London: George Allen, 1893. The influence of William Morris is evident in Gaskin's illustrations. Octavo, publisher's pictorial cloth, patterned endpapers. Contents generally very good, clean, bright; occasional handling marks and little spots; wear to edge of final page in first volume (originally uncut); bindings solid with some marks, fading to spines, and light bumping/wear to headcaps/corners (2)

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Hansons Auctioneers and Valuers
Lot 591

Lloyd, R. W. A Traverse of the Dent Blanche and the First Direct Ascent of the Aiguille de Bionnassay by the North Face, London: Spottiswoode, 1927. Octavo, paper covers. Generally well-preserved with some pale spotting and a paperclip mark to title/frontis; some discolouration to paper covers. Scarce. Together with a miscellaneous collection of books on mountaineering and polar exploration, in one carton

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Hansons Auctioneers and Valuers
Lot 647

Wooster, David. Alpine Plants, first & second series (two volumes), second edition, London: George Bell & Sons, 1874, publisher's blue embossed buckram lettered in gilt, illustrated with numerous chromolithographic plates. Together with A New British Flora: British Wild Flowers In Their Natural Haunts, in six volumes, London: Gresham Publishing Company, 1919, publisher's gilt blue cloth. Contents generally good, clean, bright, occasional light marks and wear; bindings generally solid with bumps and wear in places (8)

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Hansons Auctioneers and Valuers
Lot 642

Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first issue, London: Bloomsbury, 1998, hardback, publisher's pictorial boards complete with dust-jacket, print line reads '10 9 8 7 6 5 4 3 2 1'. Contents very good, clean, bright; binding tight and solid; covers clean and vibrant; dust-jacket very good and vibrant; very faint knocks to edges of dust-jacket. An excellent copy. The second novel in the Harry Potter series

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Hansons Auctioneers and Valuers
Lot 650

Morris, Rev. F. O. A History of British Butterflies, first edition, London: Groombridge & Sons, 1857. Octavo, contemporary half crushed morocco lettered in gilt, all page edges gilt, marbled endpapers, illustrated with 71 hand-coloured lithographic plates, plus two uncoloured lithographic plates, bearing bookplates for Thomas W. Daltry and The Daltry Library, plus various pasted ephemera relating to the North Staffordshire Field Club. Plates generally well-preserved and vibrant; intermittent foxing throughout (mostly confined to text pages); binding tight and solid with slight wear to extremities

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Hansons Auctioneers and Valuers
Lot 655

Rackham, Arthur (Illus.). The Legend of Sleepy Hollow, by Washington Irving, first edition thus, London: Harrap, 1928. Quarto, publisher's gilt green cloth, top edge gilt, eight colour plates and 30 black & white illustrations within the text. Contents good and bright with spotting to opening leaves and outer page edges; Ex Libris bookplate obscuring owner inscription on front free endpaper; binding good, tight, solid, light wear to cloth at extremities

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Hansons Auctioneers and Valuers
Lot 686

Pullman, Philip. His Dark Materials. Signed trilogy. Northern Lights, 1995; The Subtle Knife, 1997; The Amber Spyglass, 2000. First editions, Subtle Knife a second issue, London: Scholastic. Each book signed by the author in blue ink on title. Octavo, publisher's cloth lettered in gilt, complete with dust-jackets. Northern Lights with first issue dust-jacket: 'Point' on spine; 7-9 Pratt Street address on rear inner flap. Contents very good, clean, bright; some light handling marks and tiny scuffs to outer edges of text-blocks; bindings good and solid with slight shelf-lean and light bumping to headcaps; dust-jackets lightly knocked at edges/headcaps with faint wear at corners; Northern Lights with slight wear to dust-jacket at bottom of spine (3)

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Hansons Auctioneers and Valuers
Lot 603

Bacon, Francis. The Essayes or Counsels, Civill and Morall, first complete edition, first issue, London: Printed by John Haviland for Hanna Barret and Richard Whitaker, 1625. Small quarto, contemporary calf boards, rebacked. Text complete in 340 pages, plus opening blank leaf, title page, and Epistle Dedicatorie to Duke of Buckingham; lacking The Table (two leaves). Owner inscription on title page, 'John Cranch, 1796'; heavily inscribed to opening endpapers, blank leaf and verso of title, 'Elogies on the illustrious author'; occasional marginalia throughout; the second leaf of Dedication with trimmed margins and pasted copper-engraved portrait of the author. Pale dampstaining to pages; old tape hinging title to blank leaf; loosely inserted auction/catalogue clipping

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Hansons Auctioneers and Valuers
Lot 688

Browne, John. The Mirrour of Architecture: Or the Ground-Rules of the Art of Building, Exactly laid down by Vincent Scamozzi, Mr. Builder of Venice, by Joachim Schuym of Amsterdam, Translated out of Dutch by W. F., London: Printed for William Fisher, 1669. Title; four-page dedication 'To the Lovers of Architecture'; engraved plate showing Tuscana and Composita; two-page description of scale; 24-page Description of the Five Orders of Architecture; 40 numbered copper-engraved plates; title for The Description and Use of an Ordinary Joynt-Rule Fitted with Lines, by John Browne, London: William Fisher, 1669; 29-page description of Joynt-Rule (including table and one tipped-in engraved plate showing angles). Small quarto, full contemporary leather binding. Occasional ink inscriptions and marginalia, some owner inscriptions crossed through. Contents with heavy toning, handling marks, wear to page edges; loss to corner of first page Description; leather binding worn with loss, upper board detached, as found. Very scarce

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Hansons Auctioneers and Valuers
Lot 501

Rutherforth, Thomas. A System of Natural Philosophy, first edition, Vol.II only, Cambridge: J. Bentham, 1748, illustrated with engraved scientific plates and folding world map, full contemporary panelled calf, lower board detached. Scarce. Astronomy Interest

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Hansons Auctioneers and Valuers
Lot 542

Johnson, John. Typographia or the Printers' Instructor, first edition, in two volumes, London: Longman, 1824. Contemporary cloth with recent paper title labels. Contents generally good, clean, bright, occasional light spots/marks; cloth with wear, splitting to joints, corners bumped (2)

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Hansons Auctioneers and Valuers
Lot 651

Collection of three signed books, comprising: 1. Rosen, Michael. Michael Rosen's Sad Book, illustrated by Quentin Blake, first edition, hardback, London: Walker Books Ltd., 2004, signed by the author in bold blue ink on title page. Contents very good, clean, bright; covers good and bright with several bumps to edges of boards/spine. 2. Awdry, Rev W. Small Railway Engines, first edition, London: Kaye & Ward Limited, 1967, signed by the author in blue ink on title page. No. 22 in the Railway Series. Publisher's brown cloth, lacking dust-jacket; internally good, clean, bright. 3. Briggs, Raymond. Ethel & Ernest, hardback, London: Jonathan Cape, 1999, signed by the author in blue ink on title page. Contents very good, clean, bright; binding very good (3)

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Hansons Auctioneers and Valuers
Lot 674

J. K. Harry Potter and the Deathly Hallows, first edition, hardback, signed by the author in black ink on title page ('To Joely, J K Rowling', with hologram sticker), London: Bloomsbury, 2007. Contents very good, clean, bright; small pale mark on title page and again opposite with faint wear to gutter; one very small ink mark to lower edge of text block; binding tight and solid, boards very good and bright; vibrant well-preserved dust-jacket with light bumping at edges and a couple of very faint marks. The seventh and final novel of the Harry Potter series

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Hansons Auctioneers and Valuers
Lot 683

Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean, bright; usual light toning to page edges; a small scuff to fore-edge just lightly chipping into the extreme edges of paper; binding very well-preserved, tight, solid, laminate entirely present, boards and spine bold and vibrant; the very faintest of wear to extreme corners; incredibly light bumping to headcaps; incredibly faint rubbing and tiny marks to laminate. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries - this being one of the more desirable 200

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