Small Album of Wallpaper Designs, 1934 Papiers Peints Brepols a Paris, 240 pages of floral, figural, abstract, geometric and nursery designs, some including borders, majority are original hand block prints, bound in a light tan textured mount with fabric spine and corners, impressed with a silver peacock motif, 1934 Stock Paris - Importe de Belgique 41cm by 27.5cm by 4cm Small Album of Textile Designs Some impressed C K Paris 34cm by 27cm by 1.5cm 34 pages all with designs to one side In a small black fabric mounted album Another Titled 'Papiers Peints Guy Collection 337', 1937 With price list to the front, enclosing some textured papers shown in several colour ways, plains and patterned, some hand printed 48cm by 33cm by 7cm Over 400 pages In a blue mottled paper mounted album, fabric spine and black fabric tie, fabric handle Cole & Son Wallpaper Limited Book of The Period Collection designs Over 100 designs, some in differing colour ways of classical, floral and geometric shaped designs In a burgundy binding, 51cm by 39cm by 3cm French Fabric Samples, circa 1920's and later Including three albums of coloured and decorative trims and edgings, 1 volume Tresses Passementeries Broderies Galons Garnitures Robes Brodées, 1913, small French blue concertina file with lace samples, small part album of floral and decorative trims, some worked with metallic threads, other fabric samples (qty)
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Ten BOB pilots signed RAF WW2 cover. Lord Dowding Hurricane signed RAF(AC)29 RAF cover Lord Dowding Sheltered Housing Project. Flown in Hurricane LF 363 of The Battle of Britain Memorial Flight from RAF Coningsby to RAF Abingdon autographs include Frank Carey, Charlton Haw, K Lee, John Keatings, R Stillwell, T. Higginson, B Oxspring. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Richard K. Pratt G. C. signed 65th Anniversary of the George Cross 24 September 2005 date stamps Royal Mail London S. W. 24 Sep 05. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
WW2 RAF FO John K Byrne 197 Typhoon Squadron Normandy 1944, a signed 50th Anniversary of the Liberation of Argentan 20th August 1944 cover, certified copy no. 8 of 10. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Military Hardback book titled A Concise Dictionary of Military Biography by the authors Martin Windrow and Francis K Mason. 337 Pages. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Vietnam War USA Colonel Leo K Thorsness USAF Congressional Medal of Honour, signed 50th Anniversary of the United States Air Force 1997 cover. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
World War Two Avro Lancaster M. K. I 13x7 wall plaque in original packaging fantastic image of the iconic Bomber. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
WW2 USA B 17 Memphis Belle Pilot Robert K Morgan. The B 17 Flying Fortress Memphis Belle was the second heavy bomber in the Eighth Air Force to complete 25 missions and was the subject of a famous 1944 film documentary, a signed 50th Anniversary of the arrival of B 17 Flying Fortresses to England in 1942 cover with historical information sheet and a colour postcard of a B 17G Flying Fortress, certified no. 8 of 19. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Southeast Asian Ceramic Society, Spirit of Han: Ceramics for the After-Life, Southeast Asian Ceramic Society, 1991. ISBN: 981-00-2961-6 He Li, Chinese Ceramics: The New Standard Guide, Gardners Books. 1996. ISBN: 0-500-23727-1 Rhonda Cooper, Masterpieces of Chinese Art, Tiger. 1998. ISBN: 1-85501-944-2 Jessica Rawson, Chinese Ornament: The Lotus and the Dragon, British Museum Press. 1984. ISBN: 0-7141-1431-6 May Holdsworth, Women of the Tang Dynasty, Pacific Century Publishers Ltd. 1999. ISBN: 962-217-460-4 China Institute in America, Ceramics in the Liao Dynasty Fung Ping Shan Museum, Green Wares from Zhejiang, University of Hong Kong. 1993. Jessica Rawson, Mysteries of Ancient China New Discoveries from the Early Dynasties, British Museum Press. 1996. ISBN: 0-7141-1472-3 Wu Hung, Between Han and Tang, Cultural Relics Publishing House Beijing. 2001. ISBN: 7-5010-1282-2/K.539 Suzanne G Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art. 1988. ISBN: 0-8109-1170-1 The J & J Collection, The Art of the Chinese Snuff Bottle (at the Percival David Foundation of Chinese Art 1997) Ancient Treasures from LuoyangProvenance: The Professor Conrad Harris Collection
Maxwell K Hearn, Splendors of Imperial China: Treasures from the National Taipei Palace Museum, Rizzoli, 1996. ISBN: 0-8478-1959-0 Heian International Inc, Great National Treasures of China, National Palace Museum, 1992. ISBN: 957-562-086-0 Guggenheim Museum, China 5000 Years: Innovation and Transformation in the Arts, Harry N Abrams, 1998. ISBN: 978-0810969087 Grace Wong, Urban Life in the Song, Ming and Yuan, Empress Place Museum, Singapore, 1994. ISBN: 9-81300-281-6 Selected Treasures of the Past Dynasties Rare Gems of New Archaeolological Discoveries in Shaanxi Province. ISBN: 7-224-05792-4 Rosemary Scott, The World in Monochromes, The Oriental Ceramic Society, 1999 Regina Krahl, Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Yung Ming Tang, 1998. ISBN: 962-7502-39-1 Chen Quanfang, Yaozhou Kiln, Shaanxi Travel & Tourism Press, 1992. ISBN: 7-54180-506-8 Wang Ming Fang, Paintings of Flowers and Birds, ChinaProvenance: The Professor Conrad Harris Collection
Jake Clark Plastic Chairs Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings depict suburban European seaside architecture: its houses, people and details. I sometimes choose viewpoints with objects in the foreground, for example posts; an effect seen in photographs taken from a moving car. The scale is often confusing, like you are looking at a model village. The palette is very important in trying to capture faded and sun bleached colours. Recently I have been exploring a cinematic eeriness in the lighting. I mix styles of painting together to create different textures and speeds of painting. The collaged linoleum is a pattern, as well as a reference to the period when the houses were built. The scale of the linoleum pattern is often at loggerheads with the painted image on top. I am particularly interested in seaside towns in the UK, but also the built up resorts found in places like Mallorca. This fascination comes from being brought up in these sorts of environments.' Jake Clark studied Fine Art at Brighton Polytechnic from 1989-91, and MA Painting at the Royal College of Art until 1993. During the Masters program at the RCA, Jake Clark won the Mario Dubsky Travel Exchange to Houston and in 1993 Susan K Summer Fellowship, Connecticut. In 2010 Jake won the FRINGEMK Painting Prize.
Jake Clark Plastic Chairs II, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings depict suburban European seaside architecture: its houses, people and details. I sometimes choose viewpoints with objects in the foreground, for example posts; an effect seen in photographs taken from a moving car. The scale is often confusing, like you are looking at a model village. The palette is very important in trying to capture faded and sun bleached colours. Recently I have been exploring a cinematic eeriness in the lighting. I mix styles of painting together to create different textures and speeds of painting. The collaged linoleum is a pattern, as well as a reference to the period when the houses were built. The scale of the linoleum pattern is often at loggerheads with the painted image on top. I am particularly interested in seaside towns in the UK, but also the built up resorts found in places like Mallorca. This fascination comes from being brought up in these sorts of environments.' Jake Clark studied Fine Art at Brighton Polytechnic from 1989-91, and MA Painting at the Royal College of Art until 1993. During the Masters program at the RCA, Jake Clark won the Mario Dubsky Travel Exchange to Houston and in 1993 Susan K Summer Fellowship, Connecticut. In 2010 Jake won the FRINGEMK Painting Prize.
SIGNORELLI, LUCA SIGNORELLI, LUCA Cortona um 1450 - 1523 Titel: Der Heilige Nikolaus von Bari rettet drei Ritter vor der Hinrichtung. Technik: Öltempera auf Holz. Maße: 26,5 x 22,5cm. Rahmen/Sockel: Rahmen. Gutachten: T.F.K. Henry, Kent, am 22.07.2020. Provenienz: Kirche San Niccoló, Cortona; Kunstmarkt, Florenz; Sammlung Herzog Georg II. von Sachsen-Meiningen (1826-1914); Familienbesitz von Sachsen-Meiningen bis 1947; Privatbesitz, Deutschland. Literatur: B. Berenson: The Central Italian Painters of the Renaissance, London und New York 1897, S. 180; M. Cruttwell: Luca Signorelli, London 1899, S. 133; G. Mancini: Vita di Luca Signorelli, Florenz 1903, S. 182; P. Lehfeldt und G. Voss: Bau- Und Kunst-Denkmäler Thüringens. Herzogtum Sachsen-Meiningen, Band XXI, 1984, S. 55; L. Kanter: Some Late Altarpieces by Luca Signorelli. In: Studi di Storia dell'Arte, 2, 1991, S. 88-89; T. Henry und L. B. Kanter: Luca Signorelli. The Complete Paintings, London 2002, S. 223-224, Kat. 89; T. Henry: The Life and Art of Luca Signorelli, New Haven und London 2012, S. 266-268. Rückseitig: Auf der Tafel alte handschriftliche Inventarnummer. "Dieses vorliegende Bild, das zuletzt in der ersten Hälfte des 20. Jahrhunderts zu sehen war, stammt sicherlich von Luca Signorelli und war Teil eines Altarbildes, das er für die Kirche S. Niccolò in Cortona um 1508-10 malte. Das Altarbild ist in situ erhalten, zwei verwandte Fragmente von sehr ähnlichen Dimensionen wie das vorliegende Bild sind im High Museum of Art in Atlanta erhalten geblieben (K494 und K499). Es stellt eine Legende aus dem Leben des Heiligen Nikolaus von Bari, Bischof von Myra (270-343) dar (zum Beispiel verfasst in der "Legenda aurea" von Jacobus de Voragine (1275)). Drei Ritter waren mit verbundenen Augen zu einer Hinrichtungsstätte geführt worden, als der Heilige intervenierte, das Schwert des Henkers ergriff und dieses wegwarf. "Sie waren dorthin gekommen, wo sie enthauptet werden sollten, Sankt Nikolaus fand sie auf den Knien und mit verbundenen Augen, und der Henker schwang sein Schwert über ihren Köpfen. Dann stellte er sich gegen den Henker und nahm ihm das Schwert aus der Hand, warf es von ihm, band die Unschuldigen los und führte sie in Sicherheit". Das Bild wurde 1903 von Girolamo Mancini ausführlich beschrieben (Vgl. C. Mancini, "Vita di Luca Signorelli", Florenz 1903, S. 183), eine Abbildung des Bildes ist niemals veröffentlicht worden. Das Bild kann schlüssig mit der doppelseitigen Tafel verbunden werden, die noch heute auf dem Hochaltar der Kirche San Niccolò in Cortona steht. Die Bruderschaft Sankt Nikolaus wurde 1440 vom Heiligen Bernardino gegründet und war eng mit den Franziskaner-Observanten verbunden. Es gibt unbestätigte Indizien dafür, dass Signorelli Mitglied der Bruderschaft war, und er zeigte eine besondere Verehrung für den Heiligen Nikolaus von Bari im Prolog seines Testaments von 1504 und hinterließ in diesem sowie in einem späteren Testament von 1514 seinen Nachlass an die Kirche S. Niccolò. Signorellis Altarbild misst 152 x 175 cm und zeigt auf der einen Seite die "Klage der Heiligen Michael, Hieronymus, Nikolaus, Franziskus und Dominikus und eines bärtigen Franziskanerheiligen über dem Leib Christi gezeigt von drei Engeln" und auf der anderen Seite die "Jungfrau mit Kind, thronend mit dem Heiligen Petrus und Paulus". Das Altarbild von S. Niccolò soll eine Predella gehabt haben, und die Forschung identifizierte zwei Tafeln, die eindeutig mit dem gegenwärtigen Bild im High Museum of Art, Atlanta, in Verbindung stehen. Diese stellen die "Geburt des Heiligen Nikolaus" und eines weiteren "Heiligen Nikolaus" dar (K494 und K499; beide 25,1 x 20,3 cm.). Laurence Kanter bezieht das vorliegende Bild auf der Grundlage von Mancinis Beschreibung korrekt auf diesen Auftrag. Alle drei Tafeln sind stark von links beleuchtet und wurden wahrscheinlich so gestaltet, dass sie unterhalb der "Jungfrau mit Kind, thronend mit dem Heiligen Petrus und Paulus" zu sehen sind, die ebenfalls von links beleuchtet ist. Eine vierte Tafel ist verloren gegangen. Obwohl einige alte Retuschen und Übermalungen zu erkennen sind, ist das Bild für ein Werk des 16. Jahrhunderts in gutem Zustand. Die Rückseite der Tafel ist mit "Rumohr"; "35" beschriftet. Daraus ergibt sich die Versuchung, anzunehmen, dass K. F. von Rumohr (1785-1843), Autor der "Italienischen Forschungen" (Frankfurt, 1827-31), an der Erwerbung des Bildes beteiligt war, doch lässt sich dies zum jetzigen Zeitpunkt nicht beweisen. Das vorliegende Werk ist typisch für Signorellis Stil im ersten Jahrzehnt des 16. Jahrhunderts und zeigt seine aufmerksame Annäherung an die narrative Malerei." Erläuterungen zum Katalog Luca Signorelli Italien Renaissance Florentiner Schule 15./16. Jh. Originale Heiligendarstellung Altargemälde Religiöses Thema SIGNORELLI, LUCA SIGNORELLI, LUCA Cortona ca. 1450 - 1523 Title: Nicholas of Beri Saves Three Knights from Execution. Technique: Oil tempera on wood. Measurement: 26,5 x 22,5cm. Frame/Pedestal: Framed. Certificate: T.F.K. Henry, Kent, on 22.07.2020. Provenance: Church of San Niccoló, Cortona; Art market, Florence; Collection Herzog Georg II. from Sachsen-Meiningen (1826-1914); Family collection from Sachsen-Meiningen till 1947; Private ownership, Germany. Literature: B. Berenson: The Central Italian Painters of the Renaissance, London and New York 1897, p. 180; M. Cruttwell: Luca Signorelli, London 1899, p. 133; G. Mancini: Vita di Luca Signorelli, Florence 1903, p. 182; P. Lehfeldt und G. Voss: Bau- Und Kunst-Denkmäler Thüringens. Herzogtum Sachsen-Meiningen, Band XXI, 1984, p. 55; L. Kanter: Some Late Altarpieces by Luca Signorelli. In: Studi di Storia dell'Arte, 2, 1991, p. 88-89; T. Henry and L. B. Kanter: Luca Signorelli. The Complete Paintings, London 2002, p. 223-224, cat. 89; T. Henry: The Life and Art of Luca Signorelli, New Haven and London 2012, p. 266-268. Verso: On the plate old handwritten inventory number. "This important picture, which was last seen in the first half of the 20th century, is certainly by Luca Signorelli and formed part of an altarpiece that he painted for the church of S. Niccolò in Cortona, c.1508-10. The altarpiece survives in situ, and two related fragments of very similar dimensions to the present picture survive in the High Museum of Art, Atlanta (K494 and K499). It represents a legend from the life of Saint Nicholas of Bari, Bishop of Myra (270-343), e.g. in the Golden Legend of Jacobus de Voragine (1275). Three knights had been led to a place of execution and blind-folded, when the saint interceded, grabbing the executioner's sword and throwing it away (Voragine: "they were come to where they should be beheaded, he found them on their knees, and blindfold, and the executioner brandished his sword over their heads. Then S. Nicholas embraced with the love of God, set hims Full description on lot-tissimo.com
STALBEMT, ADRIAEN VAN STALBEMT, ADRIAEN VAN Antwerpen 1580 - 1662 Titel: Landschaft mit Wanderer auf einer Brücke über einen Wildbach. Technik: Öl auf Holz. Maße: 27 x 36cm. Restmonogramm unten mittig. Rahmen/Sockel: Rahmen. Gutachten: K. Ertz, Lingen, nach Begutachtung des Originals am 01.10.2018. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Adriaen van Stalbemt Flandern Niederländische/ Flämische Schule 17.Jh. Originale Flusslandschaft Malerei STALBEMT, ADRIAEN VAN STALBEMT, ADRIAEN VAN Antwerp 1580 - 1662 Title: Landscape with Hiker on a Bridge over a Stream. Technique: Oil on wood. Measurement: 27 x 36cm. Remains of a monogram bottom centre. Frame/Pedestal: Framed. Certificate: K. Ertz, Lingen, after examination of the original on 01.10.2018. Provenance: Private ownership, Germany. Explanations to the Catalogue Adriaen van Stalbemt Flanders 17th C. Old Masters River Painting
HAUPTMANN, KARL HAUPTMANN, KARL 1880 Freiburg - 1947 Todtnau Titel: Schwarzwaldhof in der Wintersonne. Technik: Öl auf Leinwand. Maße: 51 x 71cm. Bezeichnung: Signiert unten links: K. Hauptmann. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Keilrahmen vom Künstler bezeichnet und nummeriert: No. 6. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Karl Hauptmann Deutschland Münchner Schule 1.H. 20.Jh. Gemälde Winter Malerei Landschaft HAUPTMANN, KARL HAUPTMANN, KARL 1880 Freiburg - 1947 Todtnau Title: Black Forest Court in Winter Sun. Technique: Oil on canvas. Measurement: 51 x 71cm. Notation: Signed lower left: K. Hauptmann. Frame/Pedestal: Framed. Verso: On the stretcher inscribed by the artist and numbered: No. 6. Provenance: Private ownership, Germany. Explanations to the Catalogue Karl Hauptmann Germany Munich School Paintings Winter Painting Landscape
HAUPTMANN, KARL HAUPTMANN, KARL 1880 Freiburg - 1947 Todtnau Titel: Verscheite Schwarzwaldhöhen im Sonnenlicht. Technik: Öl auf Leinwand. Maße: 51 x 71cm. Bezeichnung: Signiert unten links: K. Hauptmann. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Karl Hauptmann Deutschland Münchner Schule 1.H. 20.Jh. Gemälde Winter Gemälde Landschaft HAUPTMANN, KARL HAUPTMANN, KARL 1880 Freiburg - 1947 Todtnau Title: Snowy Black Forest Heights in Sunlight. Technique: Oil on canvas. Measurement: 51 x 71cm. Notation: Signed lower left: K. Hauptmann. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Karl Hauptmann Germany Munich School Paintings Winter Painting Landscape
STERL, ROBERT HERMANN STERL, ROBERT HERMANN 1867 Grossdobritz - 1932 Naundorf Titel: Der Bratschist Alfred Spitzner. Studie zum Petri-Quartett. Datierung: 1906. Technik: Öl auf Pappe. Montierung: Auf Faserplatte gelegt. Maße: 25,5 x 17,5cm. Bezeichnung: Monogrammiert unten rechts: R. St. (später?). Rahmen/Sockel: Rahmen. Rückseitig: Sammlungsetikett mit der Inv.Nr. 58 Literatur: B. Dalbajewa und G. Porstmann (Hrsg.): Robert Sterl. Werkverzeichnis der Gemälde und Ölskizzen, bearb. v. K. Popova, Dresden 2011, WVZ-Nr. 670, mit Abb.; A. Frese und U.H. Fötzsch: Katalog, Portraits, in: Ausst. Kat. Heidelberg 2010/11, S. 39-63, Nr. 19 (vertauscht mit Nr. 20); Ausstellungen: "Robert Sterl (1867-1932) - ein Dresdner Maler zwischen Impressionismus und Realismus. Werke aus Privatbesitz" Ausst. Dresdner Bank AG, Filiale Köln 2002, Nr. 68; "Robert Sterl zum 140. Geburtstag" Ausst. Gesellschaft zur Förderung Frankfurter Malerei, Frankfurt am Main 2007, Nr. 39; "Robert Sterl. Ein deutscher Impressionist" Ausst. Kurpfälzisches Museum Heidelberg 2010/2011, Nr. 19 (vertauscht mit Nr. 20). Provenienz: Kunstausstellung Kühl, Dresden, um 1945-50; Privatbesitz, Deutschland. Informationen zur ONLINE AUKTION Robert Sterl Link zur ONLINE AUKTION Robert Sterl Erläuterungen zum Katalog Robert Hermann Sterl Deutschland Berliner Sezession Willingshäuser Schule Dresdner Sezession 1.H. 20.Jh. Gemälde Musiker Studie Historische Personen STERL, ROBERT HERMANN STERL, ROBERT HERMANN 1867 Grossdobritz - 1932 Naundorf Title: "Der Bratschist Alfred Spitzner". Study from Petri-Quartett. Date: 1906. Technique: Oil on Paperboard on beaver board. Verso: Collection label with the inventory no. 58 Literature: B. Dalbajewa and G. Porstmann (eds.): Robert Sterl. Werkverzeichnis der Gemälde und Ölskizzen, bearb. v. K. Popova, Dresden 2011, cat. rais. no. 670, with ill.; A. Frese and U.H. Fötzsch: Katalog, Portraits, in: exhib. cat. Heidelberg 2010/11, p. 39-63, no. 19 (switched with no. 20); Exhibitions: "Robert Sterl (1867-1932) - ein Dresdner Maler zwischen Impressionismus und Realismus. Werke aus Privatbesitz" Ausst. Dresdner Bank AG, Filiale Cologne 2002, no. 68; "Robert Sterl zum 140. Geburtstag" Ausst. Gesellschaft zur Förderung Frankfurter Malerei, Frankfurt am Main 2007, no. 39; "Robert Sterl. Ein deutscher Impressionist" Ausst. Kurpfälzisches Museum Heidelberg 2010/2011, no. 19 (switched with no. 20). Provenance: Artist exhibition Kühl, Dresden, ca. 1945-50; Private ownership, Germany. Explanations to the Catalogue Robert Hermann Sterl Germany Berlin Secession Willingshäuser School Dresdn Secession Paintings Musician Sketch Historical people
English, dated 1843, signed in script to the top of the bar-limb ‘Powell & Lealand, Makers, London’, of standard No.3 construction, standing on a large lacquered tripod base with circular feet each with cork pads, trunnions to the top supporting the body, with large plano-concave mirror to the base as typically supported on one side on a sliding collar, above which collar, with a Turrel-type mechanical stage with X-Y control, main course focus to rear of body, bar-limb incorporating fine focus lever mechanism to the side, nose piece with prism blanking plate, limb with threaded boss to accept binocular or monocular tubes, the microscope comes with the following accessories in a fitted mahogany case: A 1in objective, Lieberkühn & can. A 1/2in objective, Lieberkühn & can. A 1/4in objective, Lieberkühn & can. A 1/8in objective & can. A high power eyepiece. A pair of medium power eyepieces. A pair of low power eyepieces. A pair of eyepiece extension collars. An achromatic substage condenser signed. 3 darkwells. 2 liveboxes . A leather case with a binocular prism. A substage wheel of stops Stage forceps a stage bulls-eye condenser A pair of binocular bodytubes In a fitted mahogany case with key. Provenance the microscope comes with a calling card for ‘Sir Thomas Watson, 16 Henrietter St, Cavendish Square’, to the rear of the card in pen is written ‘Bequeathed to Dr George Johnson’. This claim is backed up with a copy, which accompanies the microscope, of Sir Thomas Watson's original will which states ‘I give my microscope by Powell & Lealand to Dr George Johnson of Savile Row, London’. Sir Thomas Watson, 1st Baronet, (1792 – 11 December 1882) was a leading British physician, he studied medicine at St Bartholomew's Hospital and Edinburgh and graduated M.D. from Cambridge University in 1825. He was appointed physician to the Middlesex hospital in 1827 and was professor of clinical medicine at the University of London before transferring to King's College as professor of Forensic Medicine he also became Queen Victoria's private doctor and was created a baronet in 1866. Another calling card accompanies the microscope which states ‘Bequeathed by Sir G Johnson to Sir N. Tsard and by him to K. C. H. medical school’
A collection of linen flags, to include three Union flags, St George, 97cm X 176cm, RNLI, Stars and Stripes, Australia, New Zealand, Canada (X2, one polyester) two St Piran and a white ensign.The Union Jack with the hole was brought back from the Battle of the Falklands, Mount Kent, by a soldier of 4.2 Commando K Company.
Constantinos Parthenis (Greek, 1878-1967)Mountaneous Landscape, Macedonia signed and inscribed 'PARTHENIS/MACEDOINE' (lower right)oil on canvas18 x 18 cm. Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Dreamy landscape signed and dated 'C.P./903' (lower right)oil on canvas laid on card 33 x 28 cm.Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Harmony signed 'C.Parthenis' (lower left)oil on canvas125 x 50 cm.Painted c. 1940-41.Footnotes:The artwork bears the artist's son signature on the reverse and the date 26/7 on the stretcher.ProvenanceN. Parthenis collection, Athens.Private collection, Athens.LiteratureL'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151 (mentioned).A. Kotidis, On Parthenis, University Studio Press, Thessaloniki 1984, p. 36 (mentioned).A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 58 (mentioned).E. Mathiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 283, p. 427 (catalogued), p. 343 (illustrated).In 1939, the Minister-Governor of Athens Kostas Kotzias and Mayor Ambrosios Plytas, wishing to complete the City Hall's decoration program, decided to commission the great Parthenis to decorate the spacious southwest room on the first floor. The painter negotiated and agreed to be paid 800,000 drachmas—a huge amount for the time. Following a vote by the city council, the contract was signed on April 18, 1940, providing a period of twenty months for the delivery of twelve independent canvases. While Parthenis kept his end of the agreement, the Municipality of Athens, due to the outbreak of the Greek-Italian war and the German occupation that followed, was unable to honour the contract. After the war, in the early 1950s, the Municipality of Athens, under Mayor Kostas Kotzias, showed a renewed interest in acquiring the canvases at the cost agreed before the war. However, especially after the dramatic devaluation of the drachma on April 9, 1953, the agreed upon amount had lost almost all of its real value. Parthenis saw the proposed deal as a mockery of his work and turned it down without hesitation. As a result, the works remained in his workshop and out of public view until the artist's passing in 1967. 1Translated into evocative symbols, these highly idealised and allegorical works are absorbed in a world purified of any kind of brutality, a world that soars loftily in the heights of ideals, while their sensitive lines, translucent colours and abstractive formal vocabulary endow them with a highly poetic and spiritual content. Through a sophisticated formulation of style, which fully utilised the entire Greek aesthetic tradition while reading elegantly like a piece of undiscovered mythology, Parthenis managed to create a work of visual poetry, a world as much Greek as universal. Harmony2 is personified by a young woman in a knee-length dress and pleated cape standing on a short pedestal like an ancient Greek kore and playing the violin against a starry night sky. Her body posture and overall compositional design echo Maurice Denis's La Damoiselle élue, a 1892 work inspired by the namesake cantata by Claude Debussy and based on a text by Pre-Raphaelite poet and painter Dante Gabriel Rossetti.3 Once in close contact with symbolist circles, Parthenis was thoroughly familiar with the work of Puvis de Chavannes, Gustave Moreau, Odilon Redon and, especially, Maurice Denis, who sought to reinvest art with a deeper, more spiritual meaning. The idealistic atmosphere of the French painter's works, and the highly stylised rendering of the human figure, had a strong impact on Parthenis throughout his career.In this evocative setting, the young violin4 player takes on an allegorical meaning, identified with the idea of music as a symbol of universal order, harmony and peace. As noted by Z. Papantoniou, 'by dematerialising form and giving shape to ideas, Parthenis creates a musical quality; in other words he lifts painting to the realm of music, the most immaterial of all arts.5 Parthenis himself was an ardent lover of classical music and, accompanied by his wife, he often attended Sunday concerts and recitals by great performers at the Municipal Theatre, the Olympia and the Kentrikon music halls.61 See E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, pp. 91, 97-98; A. Kotidis, On Parthenis [in Greek], University Studio Press, Thessaloniki 1984, pp. 21-22; A. Kotidis, 'The Dialectic of Power in the Case of Costis Parthenis' [in Greek] in Constantinos Parthenis (1878-1967), exhibition catalogue, Vafopouleio Cultural Centre, Thessaloniki 1984, p. 43; A. Kotidis, 'The Influence of Hellenic Art in the Work of C. Parthenis', L'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151.2 A pencil drawing in the collection of the National Gallery - Alexandros Soutzos Museum, Athens (no. 7843).3 See A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery [in Greek], exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 66.4 Compare Dawn (Aurora), Bonhams Greek Sale, May 19, 2009, lot 29, and Still life with violin, Bonhams, Greek Sale, December 12, 2006, lot 85.5 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.6 K. Iliadis, The World of Art in the Period Between the Wars [in Greek], Athens 1978, p. 101.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Nestor signed in Greek and dated '58' (lower left)oil on canvas71 x 78 cm.Painted in 1958.Footnotes:Provenance K. Ladopoulou, Athens.Private collection, Athens.ExhibitedAthens, Moraitis School Studies Society, Personal Exhibition, November 19 - December 19, 1976, no. 29. Athens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos, April 3-15, 1983, no. 40 (listed in the exhibition catalogue, p. 43).Athens, Gallery '3', Nikos Engonopoulos Painting 1975-1985, November 4-30, 1985, no. 18. LiteratureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (mentioned), p. 285, fig. 36 (illustrated).S. Boulakian, Nikos Engonopoulos - The Greek Painters, Melissa editions, Athens 1975 (illustrated on the cover).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 52, p. 118 (discussed), p. 119 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 607, p. 303 (illustrated), p. 460 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos,, doctoral dissertation, National Technical University of Athens, 2007, p. 293 (discussed), p. 940 (mentioned), p. 961 (listed), p. 294, fig. 96 (illustrated). Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p. 149 (mentioned).Three standing nude male youths, perhaps warriors, listen respectfully to a gesturing man who seats at the edge of a pedestal holding a cane, while a guard with helmet and spear watches over the meeting, investing the whole scene with authority and significance. Based on the painting's title, the seated figure in a green tunic is Nestor,1 the legendary king of Pylos, who seems to relate some story from his colourful life, echoing Picasso's Nestor's Tales from the Trojan War (1930), an oxygraph inspired by Ovid's Metamorphoses.2 As a youth, Nestor was a fine warrior and a great athlete. Later on, succeeding Neleus as king of Pylos, he took part in the Trojan War, where he enjoyed his role as an elder statesman noted for wise counsel. In the Iliad he is 'the sweet-voiced, clear-tongued speaker of the Pylians, whose voice, when he spoke, was sweeter than honey.' One of the few Greek commanders to return safely home from Troy, wise, if garrulous, Nestor enjoyed prosperity for the rest of his life, habitually unleashing a stream of nostalgic reminiscences of the Trojan War and his long-ago exploits.3Alluding to a heroic past drawn from the treasury of Greek mythology, Nestor reflects the artist's attitude towards painting as an ideal vehicle to probe into the world of Greekness and reinterpret a rich tradition in a modern and vigorous manner. As noted by art historian N. Loizidi, 'Engonopoulos gave us a version of surrealism that is universal, but at the same time deeply rooted in Greekness'.4His persistence on indigenous cultural sources and experiences clearly indicates that while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a connecting cultural link.5 As noted by Athens National Gallery Director M. Lambraki-Plaka, his figures may draw their origin from Giorgio de Chirico's phantom-like mannequins 'but they differ radically. Elegant, slender and stalk-like, with an athletic built and pronounced limb joints, Engonopoulos's figures are unmistakably Greek, reminiscent of the Minoans immortalized on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'6 1 Nestor and the helmeted guard wear a ring on their index finger, essentially identifying with Engonopoulos himself who used to wear a characteristic ring on the same finger. See D. Menti, Faces and Masks [in Greek], Gutenberg publ., Athens 2007, pp. 135-136, note 34. See also Chartis review, no. 25/26, November 1988, p. 172.2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 52, p. 118.3 See D. Stuttard, Greek Mythology, Thames & Hudson, London, 2016, pp. 90-93.4 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 181.5 See N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.6 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Georgios Gounaropoulos (Greek, 1889-1977)Still life signed and dated 'G. Gounaro/61' (lower center)oil on panel 73.5 x 60.5 cm. Painted in 1961.Footnotes:Provenance K. Dimitriadou (based on note on the reverse).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Britain.- Camden (William) Britain, or A Chorographical Description of the most flourishing Kingdomes, translated by Philemon Holland, second edition of Holland's translation, title with woodcut coat-of-arms and headpiece, engraved additional title after William Rogers and 57 mapsby William Kip and William Hole, mostly after Christopher Saxton or John Norden, most double-page, woodcut initials, illustrations and decorations, 8 full-page illustrations of coins, engraved title silked, small holes to S4 and 5B2 with loss to a few letters of text, small burn hole to Kent, occasional worming to outer margin, ink name to head of engraved title, modern half calf, incorrectly numbered "Vol. 3" on spine, [STC 4510.2], folio, by F. K[ingston]. R. Y[oung]. and I. L[egat]. for Ioyce Norton, and Richard Whitaker, 1637.
Orosius (Paulus) Historiae adversos paganos, edited by Aeneas Vulpes and Laurentius Brixiensis, collation: a-i K l m8 n10, 104 ff. (of 106, lacking initial blank and h6), 36 lines (variable), Roman type, large first initial in red and blue, initials and paragraph-marks in red or blue, a few instances of early ink marginalia, h4 and h5 transposed with k4 and k5, damp-stain to inner gutter throughout washed and restored, 19th century blind-stamped calf, rebacked, folio (292 x 196mm.), [Vicenza], Leonardus Achates de Basilea, [c.1482].⁂ Fourth edition of Orosius' universal history, which attempted to counter the argument that the world had declined since the advent of Christianity. It is printed at the first press in Vicenza. Literature: BMC VII, 1032; Goff O-99; GW M28419; HC *12100; Bod-inc O-028; BSB-Ink O-83.
![Duranti (Guillelmus) Rationale divinorum officiorum, collation: [a12 b10 c d8 e6 f-h8 I10 k-m8 n o10 p-t8 u12 x y10 z12], dou](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/77c286f4-575d-4ce1-9177-ac5d011cbd2f/468x382.jpg)
Duranti (Guillelmus) Rationale divinorum officiorum, collation: [a12 b10 c d8 e6 f-h8 I10 k-m8 n o10 p-t8 u12 x y10 z12], double column, 205 ff. (of 206, lacking initial blank), 60 lines, Gothic type, initials in red, rubricated throughout, early ink marginalia, a few ff. with short tear to margins, that on f.151 encroaching on text with minor loss, marginal water-staining or damp-staining, occasional spotting and finger-marking, first f. little chipped at head, final f. chipped at head, contemporary blind-stamped calf over wooden boards, metal clasps, rebacked, spine in compartments and with chipped morocco label, lower corners and spine ends little worn, a few loses of leather from covers, folio (385 x 285mm.), Basel, Berthold Ruppel and Michael Wenssler, [not after 1477].⁂ A rare edition at auction of this work on the origin and meaning of the Christian ritual, which remains one of the chief authorities on Western medieval liturgy. Copies in München BSB and Bamberg have rubricator's dates of 1477. Provenance: M.H. Bloxam (ink inscription dated 1842). Literature: BMC III 716 + 725; Goff D415; GW 9111; HC 6463*; BSB-Ink D-331; ISTC id00415000.
DIAMANT-COLLIER. DIAMANT-COLLIER. Deutschland. Um 1970. 750/- Weißgold, Punze, Gesamtgewicht: ca. 83,0 g. Länge 45,0 cm. 19 Brillanten zus. ca. 0,5 ct., K/VS. Strukturierte Oberfläche mit aufgelöteten 4-krappigen Fassungen. Gepunzt "Handarbeit". Schmuck 1970er Collier Weißgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-COLLIER. DIAMOND-NECKLACE. Germany. 1970s. 750/- white gold, with mark, total weight: ca. 83,0 g. Length 45,0. 19 brilliants in total ca. 0,5 ct., K/VS.. Structured surface with 4-pronged soldered on settings. With mark HANDCRAFTED. Explanations to the Catalogue Jewellery 1970s Necklace White gold diamond Germany
SMARAGD-DIAMANT-ARMREIF. SMARAGD-DIAMANT-ARMREIF. 750/- Weißgold, Punze, Gesamtgewicht: ca. 35,5 g. Innendurchmesser: 5,8 cm. 12 Brillanten zus. ca. 1,5 ct., VS/K-M, 1 Brillant ca. 2,3 ct. VS1/I. 10 runde, facettierte Smaragde zus. ca. 1,2 ct. Schmuck Armreif Weißgold Smaragd Erläuterungen zum Katalog SMARAGD-DIAMANT-ARMREIF. EMERALD-DIAMOND-BANGLE. 750/- white gold, with mark, total weight: ca. 35,5 g. Inside diameter: 5,8. 12 brilliants in total ca. 1,5 ct., VS/K-M, 1 brilliant ca. 2,3 ct. VS1/I. 10 round, faceted emeralds in total ca. 1,2 ct. Explanations to the Catalogue Jewellery Bangle White gold Emerald
DIAMANT-PERL-COLLIER. DIAMANT-PERL-COLLIER. Deutschland. Um 1900. Silber, 585/- Goldverbödung, getestet, Gesamtgewicht: ca. 44,0 g. Länge 39,5 cm. Ca. 64 Diamanten in Alt-Schliffen zus. ca. 4,2 ct., ca. 22 Diamanten in Alt-Schliffen zus. ca. 4,4 ct. SI-P1/K-M, ca. 54 kleine Diamanten Ø ca. 0,8 - 1,8 mm. 19 Blister- und wohl Naturperlen rund bis oval ca. 4,6 - 11,5 mm, weiß-gelb. Schmuck 1900er Collier Gelbgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-PERL-COLLIER. DIAMOND-PEARL-NECKLACE. Germany. Ca. 1900. silver, 585/- gold, tested, total weight: ca. 44,0 g. 39,5. Ca. 64 diamonds in old-cut in total ca. 4,2 ct., ca. 22 diamonds in old-cuts in total ca. 4,4 ct. SI-P1/K-M, ca. 54 small diamonds Ø ca. 0,8 - 1,8 mm. 19 blister- amd probably natural pearls, round to oval ca. 4,6- 11,5 mm, white yellow. Explanations to the Catalogue Jewellery 1900s Necklace Yellow gold diamond Germany
DOPPELBROSCHE. DOPPELBROSCHE. Deutschland. Um 1970. 750/- Weißgold, Punze, Gesamtgewicht: ca. 27,5 g. Länge je 3,0 cm, zus. Breite 3,5 cm. Ca. 113 Brillanten Ø ca. 0,8 - 2,8 mm VS-SI/J-K. 2 ovale, facettierte Saphire zus. ca. 7,9 ct. Broschen jeweils einzeln tragbar. Schmuck 1970er Brosche Weißgold Saphir Deutschland Erläuterungen zum Katalog DOPPELBROSCHE. DOUBLE BROOCH. Germany. ca. 1970. 750/- white gold, with mark, total weight: ca. 27,5 g. Length each 3,0 cm, total width 3,5. ca. 113 brilliants Ø ca. 0,8 - 2,8 mm VS-SI/J-K. 2 oval, faceted sapphires in total ca. 7,9 ct. Brooches can be worn separately. Explanations to the Catalogue Jewellery 1970s Brooch White gold Sapphire Germany
DIAMANT-BROSCHE. DIAMANT-BROSCHE. Italien. Um 1980. 750/- Weißgold, Punze, Gesamtgewicht: ca. 21,6 g. Ø 4,5 x 4,5 cm. Ca. 234 Brillanten zus. ca. 7,0 ct., J-K/VVS-VS. Brosche in Blütenform, Blätter pavée ausgefasst. Schließe mit Doppelnadel. Punzen u. A. AMBROSIA. Schmuck 1980er Brosche Weißgold Diamant Italien Erläuterungen zum Katalog DIAMANT-BROSCHE. DIAMOND-BROOCH. Italy. 1980s. 750/- white gold, with mark, total weight: ca. 21,6 g. Ø 4,5 x 4,5. Ca. 234 brilliants in total ca. 7,0 ct., J-K/VVS-VS Brooch in petal shape, leaves pavée set. Clasp with double pin. With marks a.o. AMBROSIA. Explanations to the Catalogue Jewellery 1980s Brooch White gold diamond Italy
DIAMANT-OHRSTECKER. DIAMANT-OHRSTECKER. Deutschland. 950/- Platin, Punze, Gesamtgewicht: ca. 2,5 g. 2 Brillanten, 1. Ca. 1,1 ct., 2. Ca. 1,0 ct., SI1-2/J-K. Schmuck Ohrstecker Platin Diamant Deutschland Erläuterungen zum Katalog DIAMANT-OHRSTECKER. DIAMOND-EAR STUDS. Germany. 950/- platinum, with mark, total weight: ca. 2,5 g. 2 brilliants, 1. Ca. 1,1 ct., 2. Ca. 1,0 ct. SI1-2/J-K. Explanations to the Catalogue Jewellery Earstud Platinum diamond Germany
SAPHIR-DIAMANT-ARMREIF. SAPHIR-DIAMANT-ARMREIF. Deutschland. Um 1980. 750/- Weißgold, Punze, Gesamtgewicht: ca. 26,0 g. Innendurchmesser 5,8 x 4,9 cm. 4 Brillanten zus. ca. 0,4 ct., VS2-SI/K-L, ca. 38 kleine Diamanten. 4 ovale, facettierte Saphire zus. ca. 8,9 ct. Facettenkanten der Saphire bestoßen. Schmuck 1980er Armreif Weißgold Saphir Deutschland Erläuterungen zum Katalog SAPHIR-DIAMANT-ARMREIF. SAPPHIRE-DIAMOND-BANGLE. Germany. Ca. 1980. 750/- white gold, with mark, total weight: ca. 26,0 g. Inside diameter 5,8 x 4,9. 4 brilliants in total ca. 0,4 ct., VS2-SI/K-L, ca. 38 small diamonds, 4 oval, faceted sapphires in total ca. 8,9 ct Sapphire facet edge bumped. Explanations to the Catalogue Jewellery 1980s Bangle White gold Sapphire Germany
DIAMANT-COLLIER. DIAMANT-COLLIER. Deutschland. 585/- Gelbgold, Punze, Gesamtgewicht: ca. 32,5 g. 45,0 cm. 1 Brillant ca. 1,0 ct. P1/K. Marke JK. Schmuck Collier Gelbgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-COLLIER. DIAMOND-NECKLACE. Germany. 585/- yellow gold, with mark, total weight: ca. 32,5 g. 45,0. 1 brilliant ca. 1,0 ct. P1/K With mark JK. Explanations to the Catalogue Jewellery Necklace Yellow gold diamond Germany
SAPHIR-DIAMANT-RING. SAPHIR-DIAMANT-RING. Um 1910. 750/- Gelbgold, Platinauflage, getestet, Gesamtgewicht: ca. 5,0 g. EU-RM: 55. 12 Diamanten im Alt-Schliff zus. ca. 1,8 ct., SI-P1/J-K. Ca. 71 kleine, rechteckige, facettierte Saphire Ø ca. 0,7 mm, 1 ovaler, facettierter Saphir ca. 1,7 ct. Schmuck 1910er Ring Gelbgold Saphir Erläuterungen zum Katalog
SAPHIR-DIAMANT-ARMBAND. SAPHIR-DIAMANT-ARMBAND. Deutschland. Um 1940. 585/- Weißgold, Punze, Gesamtgewicht: ca. 35,5 g. Länge 19,1 cm. 24 Brillanten zus. ca. 5,0 ct., K-M/VS-SI, wenige Diamanten auch P1. 7 runde, facettierte Saphire zus. ca. 2,1 ct. Schmuck 1940er Armband Weißgold Saphir Deutschland Erläuterungen zum Katalog SAPHIR-DIAMANT-ARMBAND. SAPPHIRE-DIAMOND-BRACELET. Germany. Ca. 1940. 585/- white gold, with mark, total weight: ca. 35,5 g. 19,1. 24 brilliants in total ca. 5,0 ct., K-M/VS-SI, few diamonds also P1. 7 round, faceted sapphires in total ca. 2,1 ct. Explanations to the Catalogue Jewellery 1940s Bracelet White gold Sapphire Germany
DIAMANT-OHRSTECKCLIPS. DIAMANT-OHRSTECKCLIPS. Deutschland. Um 1990. 750/- Weißgold, Punze, Gesamtgewicht: ca. 18,5 g. 3,5 x 2,5 cm. 92 Diamanten im Brillant-, Navette- und Baguette-Schliff zus. ca. 8,4 ct., VS-SI/K-L. Schmuck 1990er Ohrclips Weißgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-OHRSTECKCLIPS. DIAMOND-EAR STUD CLIPS. Germany. Ca. 1990. 750/- white gold, with mark, total weight: ca. 18,5 g. 3,5 x 2,5. 92 diamonds in brillant-, navette- and baguette-cut in total ca. 8,4 ct., VS-SI/K-L. Explanations to the Catalogue Jewellery 1990s Ear clips White gold diamond Germany
DIAMANT-BROSCHE. DIAMANT-BROSCHE. Wohl Deutschland. Platin, getestet, Gesamtgewicht: ca. 6,5 g. 4,4 x 1,0 cm. 1 Brillant ca. 0,3 ct., K/SI, 52 Besatzdiamanten im Brillant- und Baguette-Schliff. Schmuck Brosche Platin Diamant Deutschland Erläuterungen zum Katalog DIAMANT-BROSCHE. DIAMOND-BROOCH. Presumably Germany. Platinum, tested, total weight: ca. 6,5 g. 4,4 x 1,0 cm. 1 Brilliant ca. 0,5 ct., K/SI, 52 diamonds in brilliant- and baguette-cut Explanations to the Catalogue Jewellery Brooch Platinum diamond Germany
DIAMANT-ARMBAND. DIAMANT-ARMBAND. Deutschland. 750/- Weißgold, getestet, Gesamtgewicht: ca. 24,5 g. Länge 18,2 cm. Ca. 146 Brillanten zus. ca. 7,2 ct. VS-SI/K-L. Schmuck Armband Weißgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-ARMBAND. DIAMOND-BRACELET. Germany. 750/- white gold, tested, total weight: ca. 24,5 g. Length 18,2. Ca. 146 brilliants in total ca. 7,2 ct. VS-SI/K-L Explanations to the Catalogue Jewellery Bracelet White gold diamond Germany
DIAMANT-RING. DIAMANT-RING. 750/- Weiß- und Gelbgold, Punze, Gesamtgewicht: ca. 14,0 g. EU-RM: 56. 14 kleine Brillanten Ø ca. 0,8 mm, 2 Brillanten zus. ca. 3,1 ct., VS/K-L. Schmuck Ring Gelbgold Diamant Erläuterungen zum Katalog DIAMANT-RING. DIAMOND-RING. 750/- white-/yellow gold, with mark, total weight: ca. 14,0 g. EU Ring Size: 56. 14 small brilliants Ø ca. 0,8 mm, 2 brilliants in total ca. 3,1 ct., VS/K-L. Explanations to the Catalogue Jewellery Ring Yellow gold diamond
DIAMANT-PERL-OHRRINGE. DIAMANT-PERL-OHRRINGE. 750/- Rosé- und Weißgold, Punze, Gesamtgewicht: ca. 14,6 g. Länge ca. 2,6 cm. 2 Brillanten im Alt-Schliff zus. ca. 3,8 ct. P1/K-L, fancy yellow mit leichtem Braunstich. 1 tropfenförmige, weiße Zuchtperle Ø ca. 14,6 x 13,0 mm, 1 tropfenförmige, goldfarbene Zuchtperle ca. 14,8 x 12,8 mm, beide Perlen mit schönem Lüster. Perlen abnehmbar. Schmuck Ohrhänger Roségold Diamant Erläuterungen zum Katalog DIAMANT-PERL-OHRRINGE. DIAMOND-PAERL-EARRINGS. 750/- rosé- and white gold, with mark, total weight: ca. 14,6 g. Length ca. 2,6. 2 brilliants in old-cut in total ca. 3,8 ct. P1/K-L, fancy yellow with slight brown tint. 1 pear-shaped white cultured pearl ca. 14,6 x 13,0 mm, 1 pear-shaped gold coloured cultured pearl ca. 14,8 x 12,8 mm, both pearls with beautiful lustre. Pearls removable . Explanations to the Catalogue Jewellery Earrings Rose gold diamond
DIAMANT-PERL-RING. DIAMANT-PERL-RING. Deutschland. Um 1980. 950/- Platin, Punze, Gesamtgewicht: ca. 16,0 g. EU-RM: 65. 1 Diamant im Alt-Schliff ca. 3,5 ct., VS2/K, 14 kleine Brillanten zus. ca. 0,4 ct. 1 Südseeperle, leicht unrund, Ø ca. 10,3 mm, weiß-crème. Rundiste mit feinen Ausbrüchen. Schmuck 1980er Ring Platin Diamant Deutschland Erläuterungen zum Katalog DIAMANT-PERL-RING. DIAMOND-PEARL-RING. Germany. ca. 1980. 950/- platinum, with mark, total weight: ca. 16,0 g. EU Ring Size: 65. 1 diamond in old-cut ca. 3,5 ct., VS2/K, 14 small brilliants in total ca. 0,4 ct. 1 South Sea pearl, off-round Ø ca. 10,3 mm white-crème. Rondiste with fine abrasions. Explanations to the Catalogue Jewellery 1980s Ring Platinum diamond Germany
DIAMANT-ANHÄNGER. DIAMANT-ANHÄNGER. Deutschland. Um 1970. 750/- Weißgold, Punze, Gesamtgewicht: ca. 2,5 g. 2,7 x 1,2 cm. 1 Brillant ca. 6,39 ct., ca. 12,3 - 12,5 x 6,8 mm, SI1/N-O (very light yellow), 2 Diamanten im Navette-Schliff zus. ca. 1,0 ct. SI/K, 1 blauer Brillant, behandelt, Ø ca. 2,8 mm. Beilage: 750/- Weißgold Kette, Länge 46,0 cm, ca. 11,5 g. DPL/Idar-Oberstein Expertise von 09/2020 anbei. Schmuck 1970er Anhänger Weißgold Diamant Deutschland Erläuterungen zum Katalog
RUBIN-SMARAGD-RING. RUBIN-SMARAGD-RING. Um 1915/20. 750/- Gelbgold, getestet, Gesamtgewicht: ca. 4,0 g. EU-RM: 51. 1 Diamant im Alt-Schliff ca. 0,9 ct., SI2/K. 1 runder, facettierter Rubin ca. 0,6 ct., 1 Smaragd im leicht oktogonalen Treppen-Schliff ca. 0,5 ct., Rubin und Smaragd in leuchtend schönen Farben. Beide Farbsteine leicht berieben . Schmuck Ring Gelbgold Rubin Erläuterungen zum Katalog RUBIN-SMARAGD-RING. RUBY-EMERALD-RING. Ca. 1915/20. 750/- yellow gold, tested, total weight: ca. 4,0 g. EU Ring Size: 51. 1 diamond in old-cut ca. 0,9 ct. SI2/K. 1 round, faceted ruby ca. 0,6 ct., 1 emerald in slightly octagonal step-cut ca. 0,5 ct., ruby and emerald in beautiful, bright colours. Both gemstones slightly rubbed. Explanations to the Catalogue Jewellery Ring Yellow gold ruby
DIAMANT-RING. DIAMANT-RING. Deutschland. Um 1980/90. 585/- Weißgold, Punze, Gesamtgewicht: ca. 6,1 g. EU-RM: 54. 1 Brillant ca. 1,0 ct., SI/J-K, 12 Diamanten im 8/8-Schliff zus. ca. 0,3 ct., SI/K-L. Schmuck 1980er Ring Weißgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT-RING. DIAMOND-RING. Germany. Ca. 1980/90. 585/- white gold, with mark, total weight: ca. 6,1 g. EU Ring Size: 54. 1 brilliant ca. 1,0 ct. SI/J-K, 12 diamonds in 8/8-cut in total ca. 0,3 ct. SI/K-L Explanations to the Catalogue Jewellery 1980s Ring White gold diamond Germany
FARBSTEIN-DIAMANT-COLLIER. FARBSTEIN-DIAMANT-COLLIER. Deutschland. 750/- Gelbgold, Punze, Gesamtgewicht: ca. 137,5 g. Innendurchmesser 13,3 cm. 49 Brillanten zus. ca. 2,0 ct. K-M/SI-P. 24 ovale Smaragd-Cabochons, 12 ovale Saphir-Cabochons, 12 ovale Rubin-Cabochons, jeweils ca. 4,0 x 2,8 mm. Schmuck Collier Gelbgold Diamant Deutschland Erläuterungen zum Katalog FARBSTEIN-DIAMANT-COLLIER. GEMSTONE-DIAMOND-NECKLACE. Germany. 750/- yellow gold, with mark, total weight: ca. 137,5 g. Innendurchmesser 13,3 cm. 49 brilliants in total ca. 2,0 ct. K-M/SI-P. 24 oval emerald cabochons, 12 oval sapphire cabochons, 12 oval ruby cabochons, each ca. 4,0 x 2,8 mm. Explanations to the Catalogue Jewellery Necklace Yellow gold diamond Germany
Diamant-Brosche. Diamant-Brosche. Deutschland. Um 1970. 585/- Weißgold, Punze, Gesamtgewicht: ca. 9,5 g. 4,5 x 3,4 cm. 1 Brillant ca. 0,5 ct., 60 Brillanten zus. ca. 6,0 ct. VS-SI/K-L. 1 Diamant fehlend. Schmuck 1970er Brosche Weißgold Diamant Deutschland Erläuterungen zum Katalog Diamant-Brosche. DIAMOND-BROOCH. Germany. Ca. 1970. 585/- white gold, with mark, total weight: ca. 9,5 g. 4,5 x 3,4. 1 brilliant ca. 0,5 ct., 60 brilliants in total ca. 6,0 ct. VS-SI/K-L. 1 diamond missing. Explanations to the Catalogue Jewellery 1970s Brooch White gold diamond Germany
DIAMANT- OHRCLIPS. DIAMANT- OHRCLIPS. Deutschland. Um 1990. 750/- Weißgold, Punze, Gesamtgewicht: ca. 13,0 g. Ø 2,1 x 2,1 cm. Ca. 112 kleine Brillanten zus. ca. 2,2 ct., 6 Brillanten zus. ca. 0,7 ct., SI/K. 3 kleine Brillanten fehlen. Schmuck 1990er Ohrclips Weißgold Diamant Deutschland Erläuterungen zum Katalog DIAMANT- OHRCLIPS. DIAMOND-EAR CLIP-ONS. Germany. Ca. 1990. 750/- white gold, with mark, total weight: ca. 13,0 g. 2,1 x 2,1. Ca. 112 small brilliants in total ca. 2,2 ct., 6 brilliants in total ca. 0,7 ct. SI/K 3 small brilliants missing. Explanations to the Catalogue Jewellery 1990s Ear clips White gold diamond Germany
GOLD-DIAMANT-COLLIER. GOLD-DIAMANT-COLLIER. Wohl Italien. Um 1970. 750/- Gelb- und Weißgold, Punze, Gesamtgewicht: ca. 93,2 g. Länge 44,0 cm. Ca. 70 Brillanten zus. ca. 1,7 ct., K-L/VS. Schmuck 1970er Collier Gelb-/Weißgold Brillant Italien Erläuterungen zum Katalog GOLD-DIAMANT-COLLIER. GOLD-DIAMOND-NECKLACE. Presumably Italy. 1970s. 750/- yellow-/white gold, with mark, total weight: ca. 93,2 g. Length 44,0. Ca. 70 brilliants in total ca. 1,7 ct., K-L/VS. Explanations to the Catalogue Jewellery 1970s Necklace Yellow-/white gold Brilliant Italy
SMARAGD-DIAMANT-ARMREIF. SMARAGD-DIAMANT-ARMREIF. Um 1910. 585/- Roségold, getestet, Silber, königsblaues Email, Gesamtgewicht: ca. 32,8 g. Innendurchmesser 6,0 x 4,5 cm. 53 Diamanten im Alt-Schliff zus. ca. 1,0 ct., K-N/SI-P. 1 Smaragd im Emerald-Schliff ca. 2,2 ct., 2 Smaragde im Karrée-Schliff zus. ca. 1,5 ct. 2 Smaragd-Karrees mit deutlichen Tragespuren. Schmuck 1910er Armreif Roségold Smaragd Erläuterungen zum Katalog SMARAGD-DIAMANT-ARMREIF. EMERALD-DIAMOND-BANGLE. 1910s. 585/- rosé gold, tested, silver, royal blue enamel, total weight: ca. 32,8 g. Inside diameter 6,0 x 4,5. 53 diamonds in old-cut in total ca. 1,0 ct., K-N/SI-P. 1 emerald in emerald-cut ca. 2,2 ct., 2 emeralds in carré-cut in total ca. 1,5 ct. 2 emerald-carrés with visible signs of wear. Explanations to the Catalogue Jewellery 1910s Bangle Rose gold Emerald
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