[OO GAUGE]. A NETWORK SOUTHEAST COLLECTION comprising a Lima No.L205135, Network SouthEast Class 50 co-co diesel locomotive 'Royal Oak', 50017, blue, white and red livery, boxed; Lima No.L205220, Network SouthEast Class 47 co-co diesel locomotive 'Great Eastern', 47581, blue, white and red livery, boxed; Lima No.L205185, Network SouthEast Class 33 bo-bo diesel locomotive 'Ashford 150', 33114, blue, white and red livery, boxed; and a rake of five Network SouthEast coaches, blue, white and red livery, each boxed, (8). Condition Report : Class 50: box with loss at one end of window frame. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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[OO GAUGE]. A B.R. INTER-CITY COLLECTION comprising a Lima No.L205130, B.R. Class 87 bo-bo electric locomotive 'Coeur de Lion', two-tone grey, red and white livery, boxed; Hornby No.R585, B.R. Class 91 bo-bo electric locomotive 'Terence Cuneo', 91011, two-tone grey, red and white livery, boxed; Hornby No.R268, B.R. Mk 4 Driving Van Trailer and four Hornby B.R. Mk 4 coaches (Nos R405, R407 x2, R408), all two-tone grey, red and white livery, each boxed; and six Lima B.R. coaches, all two-tone grey, red and white livery, each boxed, (13). Condition Report : Class 87: worn, replacement box lacking acetate window. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
[OO GAUGE]. A MISCELLANEOUS ROLLING STOCK COLLECTION comprising fifty assorted wagons, including four by Wrenn and ten Lima 'Yeoman' hoppers, each boxed; together with a Lima No.305310, Engineers Department Mess Coach, grey livery, boxed, (51). Condition Report : Six wagons in replacement Hornby boxes. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
[OO GAUGE]. FOUR ASSORTED DIESEL LOCOMOTIVES comprising a Hornby No.R369, refinished as B.R. Class 37 co-co diesel locomotive, 37264, blue livery, boxed; Hornby No.R887, refinished as B.R. Class 97 co-co diesel locomotive 'Midland Counties Railway 150 1839-1989', lined maroon livery, boxed; Lima No.L205170, refinished as B.R. Track Cleaning Department Class 97 bo-bo electro-diesel locomotive 'Mrs Mop', 97265 GA, yellow livery, with track cleaning pad fitted to base, boxed; and a Lima Deltic co-co diesel loocomotive, refinished in prototype lined blue livery, unboxed.
[OO GAUGE]. A MISCELLANEOUS COLLECTION comprising a Bachmann No.31-351, B.R. Class 03 0-6-0 diesel locomotive, D2012, green livery, boxed; Lima No.L205014, B.R. Class 45xx 2-6-2 prairie tank locomotive, 5557, lined black livery, boxed; Lima No.L205110, B.R. Class 45xx 2-6-2 prairie tank locomotive, 5574, lined black livery, boxed; Hornby No.R515, G.W.R. Class 2721 0-6-0 pannier tank locomotive (open cab), 2744, green livery, boxed ; and Airfix No.54255-5, G.W.R. Auto-Coach, brown and cream livery, boxed, (5). Condition Report : G.W.R. loco box worn, lacking end label and with scar above window. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Ernst Ludwig Kirchner (Aschaffenburg 1880 – 1938 Davos). „Im Palast der Prinzessinnen“. Um 1922Öl auf Leinwand. 25,3 × 32,2 cm (10 × 12 ⅝ in.). Unten rechts und rückseitig oben links signiert: E L Kirchner.Nicht bei Gordon. Das Gemälde ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, registriert.–[3048] Gerahmt. Provenienz: Ferdinand Oechsle und Carolina Pruss, Schweiz (um 1930) / Privatsammlung, Lima (durch Erbschaft) / Privatsammlung (durch Erbschaft) / Privatsammlung, HessenWir berechnen auf den Hammerpreis 32% Aufgeld.
Four Halfcrowns comprising: George II 1745 LIMA D.NONO old laureate & draped bust, rev. crowned cruciform shields, plain in angles, good edge & surfaces, toned GVF to AEF, George III 1817 small laureate head, rev. crowned garter & shield, obv. contact marks o/wise toned Fine to GFine, George IV 1823 laureate head, rev. crowned shield in garter & collar, obv. contact marks & light scratches, minor rev. rim imperfections, toned VF & 1825 bare head, rev. crowned shield with crest; very faint initials scratched in obv. field, light scratches on bust & a couple of minor rim knocks o/wise toned with underlying lustre, VF/GVF+
A Collection of 15 x Shillings comprising: Anne 1707E, third draped bust, obv. bust worn to a silhouette Poor o/wise VG to AFine, George II 1745 LIMA & 1758, George III 1757 with semée of hearts, 1757 without semée of hearts & 1817, George IV 1826 light scratches both sides, Victoria 1859 second Young Head, blotchy tone, 1887 small Jubilee Head, 1892 large Jubilee Head, obv. scratches Fine, 1894 Old Head, rev. small rose, 1898 Old Head, rev. larger rose Fine & 1900 & Edward VII 1902 & 1907; all VF to EF unless o/wise graded
Various boxed model vehicles and railway engines to include a diecast metal Corgi Harry Potter Hogwarts Express, a Lima HO scale no.9052 chemical carrying carriage, a Teamsters High-Speed Train with light, sound and opening sliding doors, various Thomas the Tank locomotives, canal boats and steam tractor, Micro Machines #29 Wave Riders, Tough Wheels, Fast Wheels Midnight Diecast Big Rig, Majorette wagons and trailers, etc.
A small collection of Lima gauge OO railway items, including three diesel locomotives, seven coaches and six parcel wagons, all boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Bachmann Branch-Line gauge OO No. 31-426A Class 411 4 car EMU set, a No. 31-954 Class A4 locomotive 'Sir Nigel Gresley' and tender, two coal loads for wagons (lacking two), two Mainline coaches, a Lima Deltic locomotive, a Schools Class locomotive and tender and a group of Airfix and GMR coaches and goods wagons, the majority boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Lima gauge OO railway items, including a diesel locomotive 66100 EWS, another GBRF, other locomotives, goods rolling stock and coaches, the majority boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Hornby Railway gauge OO R.692 LNER heavy goods set, a Lima gauge HO electric train set and a small collection of goods rolling stock and track (playwear, boxes creased, torn and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Lima gauge OO/HO railway items, including an L205184 Class 47 diesel locomotive 'Saint Aidan', six other locomotives, coaches and goods rolling stock, the majority boxed (some boxes creased and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Amédée François Frézier A voyage to the South-Sea, and along the coasts of Chili and Peru, in the years 1712, 1713, and 1714 .. with a postscript by Dr. Edmund Halley. London, J. Boyer 1717. Erste englische Ausgabe des bedeutenden Reisewerkes von Frézier, 'seine Berichte und Karten gehören zu den wichtigsten Quellen für die Kenntnis der Pazifik-Seite Südamerikas jener Zeit' (S. Koppel, Brasilien Bibl. Bosch). 'This work was very useful in its day and in later times to navigators proposing to double Cape Horn' (E. G. Cox) Zuerst 1716 in französischer Sprache erschienener Reisebericht des Ingenieuroffiziers Amédée François Frézier, der im Auftrag Louis XIV. die Westküste Südamerikas bereiste. 'This work forms one of the most valuable of our early records of the Falkland Islands, and to Frézier we are indebted for the clearest contemporary account of the Navigation of the French seaman there .. The English edition is preferable to the original French edition of 1716, as it contains Dr. Edmund Halley's Postscript, correcting certain Geographical errors made by Frézier .. At the End is a 13 pp. account of the Joint Settlement in Paraguay' (Cox). - Die Tafeln u. a. mit Darstellungen von Erdbeeren (Fragaria Chilensis ), die Frézier nach Europa einführte, Meerestiere, Trachten, Landwirtschaft sowie eine frühe Darstellung des Golfspiels. Mit Karten und Plänen von Feuerland, Valpaaysso, Lima, St. Salvador u. a. Einband: Kalblederband der Zeit mit blingeprägten Fileten und Eckfleurons. 23,5 : 19 cm. - ILLUSTRATION: Mit 22 (15 gefalt.) Kupferkarten und 15 (3 gefalt.) Kupfertafeln. - KOLLATION: 7 nn. Bll., 335 S., 4 Bll. LITERATUR: Sabin 25926. - Palau 94965. - Borba de Moraes 329. - Cox II, 267. - Vgl. Koppel, Bibl. Bosch 169 (zweite frz. Ausgabe) und Henze II, 294. First English edition of the important travelog by Frézier, 'whose reports and maps were among the then most significant sources regarding South America's Pacific coast' (S. Koppel, Brasilien Bibl. Bosch). Contemp. calf with blind-tooled fillets and corner fleurons. With 22 (15 folding) copper maps and 15 (3 folding) copper plates. - With creasemarks in places of right margin, front flying endpaper almost loose. Binding somewhat scraped and scuffed, spine restored. - Clean copy. Dieses Objekt wird regelbesteuert angeboten (R).
Brosche mit Smaragden und Solitär. 14 kt. WG, gest. Im Zentrum der Solitär von ca. 1,40 ct. Getöntes Weiß(K).si. (Dm. ca. 7.2 mm, H. 4,4 mm), mit 18 kl. Brill. zus. ca. 0,60 ct. Weiß(H)-Leicht Getöntes Weiß(J).vvs-vs. Zwei farbintensive, transparente Smaragde im Baguetteschliff: Smaragd ca. 1,25 ct. (ca. 8,3 x 5,2 x 4 mm), 1 Smaragd ca. 1,30 ct. (ca. 9,4 x 5,3 x 3,6 mm). Laut Einlieferer wurden die Smaragde 1962 bei Juwelier Casa Welsch in Lima/Peru erworben. Spätere Auftragsarbeit Juwelier Bode in Hamburg. 42 x 16 mm, Gew. ca. 8 g. - A Brooch with Emerald and Solitaire. 14 ct. white gold, marked. In the center the round brillant cut diam. of approx. 1,40 ct. Tinted White(K).si. (diameter approx. 7,2 mm, h. 4,4 mm) with 18 small round brillant cut diam. in total approx. 0,60 ct. White(H)-Slightly Tinted White(J).vvs-vs. Two emeralds of intensive colour in baguette cut: 1 emerald approx. 1,25 ct. (approx. 8,3 x 5,2 x 4 mm), 1 emerald approx. 1,30 ct. (ca. 9,4 x 5,3 x 3,6 mm). According to Consigner the emeralds have been purchased in 1962 at Juwelier Casa Welsch in Lima/Peru. Later work of Juwelier Bode in Hamburg. 42 x 16 mm, weight approx. 8 g. -
Viceroyalty School. End of 18th century."Genealogy of the fourteen Inca kings and the conqueror Francisco Pizarro"Fifteen oil paintings on canvas. Relined. 84 x 63 cm each. With export license granted.Complete series comprising the fourteen Inca Emperors: Mancco Ccapac, Sinchi Rocca, Lloqque Yupanqui, Maita Ccapac, Ccapac Yupanqui, Inca Rocca Yahuar- Huaccac, Viracocha, Pachacutec, Inca Yupanqui, Tupac-Yupanqui, Huaina Ccapac, Huascar-Inca and Atahuallpa, and the portrait of Francisco Pizarro.Accompanied by an X-ray fluorescence spectrometry (EDXRF) which was applied to the study of the pictorial technique, dating the paintings to the 18th century.An important collection which comprises all of the 14 Inca sovereigns. It begins with the founder of Cuzco, Mancco Ccapac, and goes through to the last of the emperors, Atahualpa and ends with a portrait of Francisco Pizarro. This is a chronological depiction of the portraits of those who governed the Inca Empire before the Spanish Conquest.They are depicted as dressed in the uncu, an exquisitely woven tunic, the mascaipacha (symbol of power as governor of Cusco and Tahuantinsuyo) and a version of the llautu, the traditional royal headdress, complete with red forehead fringe.The geometric textile patterns in all the paintings are reminiscent of tocapu designs on traditional Inca noble clothing, signifying rank and status.The imperial attire is completed with the gold topayauiri or sceptre, topped with a type of plume as a continuation in an axe shape on one side and an awl on the other.Francisco Pizarro is shown in his European armour.The iconic genealogy if the Incas is associated with an engraving made by the clergyman Alonso de la Cueva Ponce de León (1684-1754) in 1725, approximately.This series of genealogies was at its peak after Independence, due to the desire of the indigenous elites in Cuzco to return to their position.The Denver Museum has a series of sixteen portraits in its collection which reflect our fifteen, with an additional portrait of Mama Occollo, the principal wife of the Inca Manco Cápac, both founding heroes of the Inca Empire.As the Denver Museum notes in its index cards on these portraits: This series of genealogies that show the former governors of the Inca Empire “is not only a family tree but a political tool. Since proof of aristocratic Inca blood entitled people to special privileges and freed them from paying taxes in the Spanish Colonial period, paintings were used to document and assert this heritage.” (https://www.denverartmuseum.org/en/object/1977.45.1)As stated in the Cervantes Institute’s biography of the Inca Garcilaso de la Vega:“According to the traditional account determined by the Inca Garcilaso in his Royal Commentaries of Peru, the founding fathers Manco Cápac and Mama Ocllo, were born in the waters of Lake Titicaca, and founded the city of Cuzco, the centre of Inca development, in the place revealed by the sun god (Inti) after a pilgrimage that began in the south of the Sacred Valley of the Incas. Another version of the origin myth, collected in the 16th century by Juan de Betanzos (Narrative of the Incas, 1551), attributes it to the four Ayar brothers and their respective partners. (http://www.cervantesvirtual.com/portales/inca_garcilaso_de_la_vega/autor_cronologia/) There are differences in the dates attributed to the different Inca kingdoms.Taking the chronology published in the Cervantes Institute’s website as a base, which is taken from Inca Garcilaso de la Vega (Cuzco, Governorate of New Castile, 1539 – Cordoba, 1616) the 14 incas and their periods of governance, all represented in these genealogical portraits, were:From the period 1200-1438, before the Inca state was established, was the founderI-Mancco Ccapac (1200-1230) and those who succeded him, II-Sinchi Rocca (1230-1260)III-Lloqque Yupanqui (1260-1290), IV-Maita Ccapac (1290-1320), V-Ccapac Yupanqui (1320-1350), VI- Inca Rocca (1350-1380), VII- Yahuar- Huaccac (1380-1400), VIII-Viracocha (1400-1438),IX- Pachacutec, (1438-1471) marked the beginning of the Historical Inca Empire with the Kingdom of the Inca Pachacutec, conqueror of the Chanca states.X- Inca Yupanqui (Modern historians have removed his reign from the official list of Inca rulers).XI- Tupac-Yupanqui, XII- Huaina Ccapac (1481-1523) on his death, the Inca Empire was divided between his two sons, Huascar-Inca (1523-1532), Sovereign of the northern region, and Atahualpa (1532-1533), Inca of the southern territories.The period from 1528-1532 saw a civil war between Huascar and Atahualpa over control of the Inca Empire, which ended in August 1532 in Atahualpa’s definitive victory over Huascar in the Battle of Cotabamba. Atahualpa was crowned Inca in Cajamarca.In 1533, the trial and execution of Atahualpa took place. Francisco Pizarro conquered Peru in 1534 and was governor of Peru / New Castile from 1534 to 1540.The Inca Empire passed into Spanish hands, although Tupac Hualpa (1533), Manco Inca (1533-1536) and Paullu Inca (1537-1549) reigned nominally and were crowned by the conquistadors.Examples of this genealogy in individual portraits that are similar to these, as well as those already mentioned in the Denver Museum can be found in:- Lilly Library, Indiana University, Bloomington, Indiana.- The individual portrait of Atahuallpa is kept at the Ethnological Museum of BerlinAs well as these series of genealogies in sets of individual portraits, genealogies were also painted in one sole picture in which, depending on the period in which they were executed, the series of governors of the Inca Empire previous to the Spanish conquest was followed chronologically by portraits of the Spanish monarchs.There are magnificent examples of this type of painting, such as those kept in:- Lima Cathedral Museum, dated circa 1725.- The Pedro de Osma Museum in Lima, dating from the late 18th century / early 19th century.- The Carmen de Maipu Museum in Chile, which describes the intention of these types of pictures in the painting’s index card: “the inclusion of the Spanish monarchs responds to the necessity for uniting power, as a strategy of legitimisation and control in colonial society, given that, through these portraits the Spanish monarchs would assimilate the power and the deity that the Inca represented. And, on the contrary, the Incas were considered to be the equals of Spanish royalty, in that way being accepted and acknowledged in their role as former heads of state. The social function of these pictures varied depending on how the historical and political facts were presented.”- The Lima Museum of Art, has an interesting set mounted as a screen, described in their catalogue in this way: “This emblematic piece condenses different stages of art in Peru, it evokes the pre-Colombian past in the shape of a genealogy of the Incas, a theme which came up in the Colonial period to affirm the idea of legitimate continuity between the former Inca Empire and the Spanish Empire. In this case, however, the absence of the Spanish monarchs responds to a clear republican vindication. The coats of arms of Cuzco and of the Peruvian Republic preside over a sequence of Inca governors beginning with Manco Capac, the legendary founder of the empire, and closes with a figure on horseback identified as the "Liberator of Peru"- Convent of Saint Francis in Huamanga, Peru.- Beguinage of the Convent of Our Lady of Copacabana, Lima.Provenance: - Private collection, Florence. - Private collection, Portugal.
Colonial School. Cuzco. Peru. 17th century. "Arquebusier Angel" Oil on canvas. Relined. 122 x 80 cm. The Pedro de Osma Museum in Lima, has a gallery exclusively dedicated to this series of angels and archangels. Among them is one like this, called Archangel Ariel, dated circa 1700 - 1730. This artistic theme originated in the late 17th century and became very widespread and much in demand.
Colonial School. Cuzco. Peru. Early 18th century. "Our Lady of the Sceptre" Oil and gold illuminations on canvas. Dated ex voto 1718. 68 x 49 cm. Painting by an artist influenced by Gerónimo Gutiérrez (Cuzco, active from 1606 to 1618). Gutiérrez has been immortalised as one of the first professional painters active in Cuzco. Only the Mass of Saint Gregory, which has a markedly archaic air and was signed in 1602, was known to be by him - the painting is kept in the Cuzco Museo Histórico Regional and is included among the few remaining foundational pieces of the painting of Cuzco. Recently Lima Art Museum incorporated an important Ecce Homo signed by Gutiérrez in which the painter’s considerable technical progress over 12 years of his career can be appreciated, possibly as a result of the vast influence of painters such as the Jesuit priest Bernardo Bitti in Cuzco. There are few depictions of Our Lady of the Sceptre in Latin America, but we know of the existence of one painted by Bitti which is kept at the Pedro de Osma Museum in Lima. In our painting, in spite of the distance in time, Gutiérrez combines the Italian style with figures with a decidedly Northern European aspect in the same way as in the Ecce Homo. Those figures were probably taken from a Flemish or German religious image and connect us directly with the fathers of the Cuzcan School.

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30248 item(s)/page