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Morris Marx: A 1920's Brass and Silver Plated Peugeot Car Mascot, as a lion standing on a base, mounted on a later circular wooden stand, 19cm high

Silber; vergoldet. Auf eingezogenem Fuß konischer Becher mit profiliertem Lippenrand; die Wandung mit äußerst fein gravierten Schleifen und Fruchtgebinden über getriebenen Zungen. Marken: BZ Augsburg um 1687 - 91 (ähnlich Seling Nr. 0900), MZ Marx Merzenbach (um 1642 - 88, Seling Nr. 1517), Tremolierstich. H 7,5 cm, Gewicht 115 g.Augsburg, Marx Merzenbach, um 1687/88.ProvenienzKunsthandel Helmut Seling, München 1982, westfälische Privatsammlung.

The Letters of Eric Gill, 1947, 1st edition, original cloth, dust wrapper, plus 11 others illustrated by or related to Reynolds Stone, Enid Marx, Gwen Raverat, Barnett Freedman, Denton Welch, Curwen Press, 'Graphis 41' with some tipped in items at front etc. (12)

'Signature: A Quadrimestrial of Typography and Graphic Arts', edited Oliver Simon, London, Curwen Press, November 1935- December 1940, near complete set of the first series, 14 (of 15) numbers, comprising 1-8, 10-15, each in original printed wraps, content and numerous illustrations by leading illustrators and graphic artists of the period including Paul Nash, Graham Sutherland, Edward Bawden, Eric Ravilious, Eric Gill, Enid Marx, Barnett Freedman, John Piper, Edward Ardizzone, Lynton Lamb, Henry Moore, Edward McKnight Kauffer etc., all issues with illustrations, insets etc collated complete, these include, amongst others, 'Newhaven No. 2', by Edward Bawden, 'Road With Rocks', by Graham Sutherland, numerous Eric Ravilious wood engraved illustrations including full page cockerel 1933 Golden Cockerel Press prospectus (issue 1); 'Tide' by Paul Nash (issue 2); folding linocut illustration London Passenger Transport window bill, plus 2 colour illustrations, by Edward Bawden (issue 3); Enid Marx Christmas card (issue 4); three colour lithographs of shop fronts by Eric Ravilious, from 'High Street' (issue 5); frontispiece 'Invention in Colour', by John Piper, copper engraving by Edward Bawden (issue 6); John Piper four page folding colour lithograph 'Cheltenham' (issue 13) etc etc. Each original printed wraps, some toning and small part losses, chips, nicks. A scarce near complete set of the first series of this important periodical devoted to typography and the printing arts, started in 1935 and suspended in 1940 when the last issue of the first series was hit by a high explosive bomb as it came off the presses at the Curwen Press (14)

18 kt Gelbgold, Platin. Unikat. Geschmiedeter skulpturaler Bicolor-Ring mit Crossover-Schiene, die Endungen vegetabilisch gestaltet, gefasst mit drei Saphir-Cabochons (ca. 7,85 ct/ca. 4,56 ct/ca 2,81 ct) und zwei segmentförmigen Diamantrosen (ca. 9,7 x 5,6 mm bzw. ca. 8,5 x 4,2 mm). Der stilisierte Schlangenkopf besetzt mit 13 kleinen Rubincabochons. Unsigniert. Ringkopf 5,2 x 2,4 cm. RW 53,5. Gewicht 35,39 g.Falko Marx, Köln, um 2000.ProvenienzKölner Privatbesitz. Im Atelier des Goldschmieds erworben.

Hornby and other 0 gauge 3-rail Track, two-foot radius curves, straights including terminal rail and a few Marx curved rails, mostly F-G (56 pieces)

The 77 Medals and Awards to Edith Trickey, one of England’s top female athletes in the inter-War years and the holder of the Women’s World Record for the 1,000 Metres, and to her husband, Frederick Littlefair, of Woodford Green: L[eyton] H[arriers] A[thletic] C[lub], an openwork gold and silver badge by H. Bushell, clasp named (E. Trickey), 32 x 24mm, hallmarked Birmingham 1922, 11.58g; Championship of Essex, an enamelled silver badge by Fattorini, engraved (Ladies 100 Yards, Championship of Essex, 1923), 37 x 30mm, hallmarked Birmingham 1923, 13.49g; Women’s Amateur Athletic Association, a bronze award medal, unsigned, engraved (Relay Championship, 1923, 3rd), 29mm; FRANCE, Baiser d’Enfant, or Tendresse Maternel, [1903], a silver plaquette by O. Yencesse, rev. engraved (Fédération Féminine Sportive de France 1923), 35 x 25mm (PBE 1015; Coll. R. Marx 154; Classens 83; ANS Exh. Cat. 1910, p.369, 3), wt. 17.61g; Women’s Amateur Athletic Association, gold award medals by J. Daffern & Co (5), named (880 Yds Championship, 1923, 1st; 880 Yds Walk, Championship, 1923, 1st; 1924, 880 Yds, Winner, E. Trickey, 2m 30 2/3s; 1924, 880 Yds Walk, Winner, E.F. Trickey, 4m 17 2/5s; 880 Yards, 1925, Winner), all 29mm, hallmarked Birmingham 1923, 1923, 1924, 1924, 1925 respectively, all 9ct, total wt. 52.43g; Insurance Athletic Association Championship, silver award medals (13), by Cohen & Charles (7), named (Ladies 80 Yds, E.F. Trickey, N.B. & M., 1923; Ladies High Jump, E.F. Trickey, N.B. & M., 1923; Ladies Relay, N.B. & M., 1923), all hallmarked 1922, un-named (4), all hallmarked 1923; by A.G.C. (3), named (220 Yds, 2nd, E.F. Trickey, 1925; Relay, 2nd, E.F. Trickey, N.B. & M., 1925; Long Jump, 1st, E.F. Trickey, 1925), all hallmarked 1924; by J.A. Wylie & Co (2), named (220 Yds, 1927, E.F. Trickey, N.B. & M., 2nd; Relay, 1927, E.F. Trickey, N.B. & M., 1st, Record), both hallmarked 1926; unsigned, un-named, hallmarked 1925, all 29mm, total wt. 137.54g; Women’s Amateur Athletic Association, silver award medals by J. Daffern & Co (2), named (1924, 440 Yds, 2nd, E.F. Trickey; 440 Yards, 1925, Second), both 29mm, hallmarked Birmingham 1924, 1925, total wt. 21.01g; Women’s International Games, London, 1924, gold award medals by F.W. Reynolds for the News of the World (2), one named (World’s Record, E. Trickey, 1,000 Metres Flat, 3 Min. 8 1/5 Secs), both 32mm, hallmarked Birmingham 1924, both 9ct, total wt. 31.04g; L[eyton] and L[oughton], silver award medals (2), by J.S., named (Winners, 1924, N.B. & M., Miss E.F. Trickey); by Fattorini, named (Winners, 1925, Miss E.F. Trickey), hallmarked Birmingham 1918 (!), both 32mm, total wt. 27.16g; BELGIUM, Brussels, La Dernière Heure, c. 1925, a bronze award plaque, unsigned, 64 x 44mm; The Women’s International Athletic Contest, 1925, a bronze award medal by Pinches for the Daily Sketch, un-named, 33mm; Middlesex Ladies Athletic Club, gold award medals by D.G. Collins (3), engraved (1st, 880 Yds, 1925; W.A.A.A. Inter-Club Championship, Daily Mirror Prizes, 1926; W.A.A.A. Inter Club Championship, 1927), all 29mm, hallmarked Birmingham 1925, 1926, 1927, all 9ct, total wt. 37.52g; Insurance Athletic Association Championship, bronze award medals (3), unsigned, named (80 Yds, 3rd, E.F. Trickey, 1925; Relay 1926, E.F. Trickey, N.B. & M., 3rd; 80 Yds, 1927, E.F. Trickey, N.B. & M., 3rd), all 29mm; North British & Mercantile Sports Club, a silver award medal, unsigned, named (Wakefield Cup, 1926, E. Trickey), 38mm, 21.16g; Women’s Amateur Athletic Association, gold badges by A. Roden & Son (3), engraved (1926 Championships, 880 Yards, 1st; 1927 Championship, 880 Yards, 1st; 1928 Cross Country Championships (Team), 1st), all 25mm, hallmarked Birmingham 1925, 1926, 1927, all 9ct, total wt. 27.42g; Women’s Amateur Athletic Association, bronze badges (2), unsigned, engraved (1926-7 Cross Country Championships (Team), 3rd), and by Toye & Co, engraved (W.A.A.A. Championships 1933, Standard Discus), both 25mm; London Olympiads Athletic Club, a silver badge by H. Bushell & Son, named (Points Cup, 1927, E. Trickey), 30 x 25mm, hallmarked Birmingham 1923, 13.42g; Middlesex Ladies Athletic Club, silver award medals by D.G. Collins (2), engraved (W.A.A.A. Inter Club Championship, 1928...1930), both 29mm, hallmarked Birmingham 1927, 1929, total wt. 26.00g; London Olympiads Athletic Club, silver badges by H. Bushell & So (4), all un-named, 31 x 26mm, hallmarked Birmingham 1931, 1932, 1933 (2), total wt. 24.90g; London Olympiads Athletic Club, an enamelled silver medal by J.A. Wylie & Co, un-named, 30mm, hallmarked Birmingham 1932, 11.72g; London Olympiads Athletic Club, silver badges by W. Adams Ltd (2), un-named, both 30 x 24mm, hallmarked Birmingham 1935, total wt. 10.12g; Women’s Amateur Athletic Association, silver badges by J. Taylor & Co (4), engraved (N.R.W.C. 1935, 1st; N.R.W.C. 1936, 1st; N.R.W.C. 1936 1st Individual; N.R.W.C. 1938, 2nd Team), all 25mm, first hallmarked Birmingham 1934, total wt. 38.13g; Southern Counties Women’s Amateur Athletic Association, enamelled silver badges by J. Taylor & Co (3), engraved (Road Walk Champp. 1936...1938...1938), all 30 x 20mm, first hallmarked Birmingham 1935, total wt. 30.35g; Southern Counties Women’s Amateur Athletic Association, an enamelled bronze badge, engraved (1 Mile Walk Champp. 3rd), 30 x 20mm; together with the medals awarded to her husband, F.N. Littlefair: Walthamstow Harriers, enamelled silver badges (2), by Fattorini, named (100 Yds, 1926, 3rd, F.N. Littlefair); by A.G. & Co, named (F.N. Littlefair, 100 Yds, 1st, 1930-1), both 25mm, hallmarked Birmingham 1926 and 1930; total wt. 19.18g; Daily Mail Push Ball, a plated bronze medal, unsigned, named (Walthamstow, Sept. 3rd 1927, N. Littlefair), 38mm; Walthamstow Harriers, enamelled gold badges (2), by W.H. Haseler, named (100 Yds, 1st, F.N. Littlefair, 1928), and by Fattorini, named (100 Yds Chamionship, 1st, F.N. Littlefair), both 25mm, hallmarked Birmingham 1928, 1930, both 9ct, total wt. 15.68g; London Shipping Athletic Association, bronze award medals (2), unsigned, named (100 Yards 1928, Third, F.M. Littlefair; 1 Mile Relay, 1929, Third), both 33mm; Metropolitan Championship, a bronze award medal, unsigned, engraved (Seniors, 100 Yards Scratch, 1930), 29mm; Wadham Harriers, an enamelled silver badge by A.G. & Co, named (100 Yds, 1934, 2nd, N.F. Littlefair), 29mm, hallmarked Birmingham 1934, 9.92g; Wadham Harriers, an enamelled bronze badge, named (100 Yds, 3rd, F.N. Littlefair, 1935), 29mm; Essex County Cycling & Athletic Association, a silver badge by W.H. Ltd, un-named, 24mm, hallmarked Birmingham 1938, 9.25g; Road Walking Association, an enamelled bronze badge, engraved (National 20 Miles Championship 1939, 2nd Class Standard), 26mm; London Shipping Athletic Association, silver award medals by H. Phillips (2), named (2 Miles Walking Championship, 1939, Second, F.N. Littlefair; 5 Miles Road Walking Championship, 1939, First), both 33mm, hallmarked London 1938 and 1939, total wt. 42.03g; Woodford Green Athletic Club, an enamelled bronze badge, engraved (20 Miles Walk, 1940, 3rd), 28mm; Highgate Harriers, an enamelled silver badge by J.A. Wylie & Co, named (20 Mls. Open Walk, 1941, F.N. Littlefair), 29mm, 9.81g; Centurions, 1911, an enamelled silver badge by Marples & Beasley, un-named, 31mm, hallmarked Birmingham 1946, 14.42g [Lot]. Gold medals all extremely fine, others very fine and better, an extremely comprehensive group; sold with a pencil-marked copy of the souvenir programme for the Women’s International and Bri...

FRANCE, Exposition Universelle Internationale, Paris, 1900, Austrian pavilion, a bronze plaque by Prof. S. Schwartz, standing female presenting laurel branch to two kneeling artisans, rev. Expo pavilion, 77 x 53mm (Coll. R. Marx 489; ANS Exh. Cat. 1910, p.297, 37; BM Acq. 1978-82, p.9, 84; BDM V, 429; cf. DNW 30, 720). Very fine £80-£100

Karl-Marx-Orden in VerleihungsetuiFertigungsserie aus den 1980er Jahren in 333er Gold mit rubinrot emailliertem Stern und gekörnter Rückseite an Pantagonalspange. Die Interimsspange mit rs. Punzierung ""333"". Rotes Verleihungsetui mit dreizeiligem Goldaufdruck ""Karl Marx Orden"" und hellem Filzeinsatz. Zustand: II +A cased Karl Marx Order Fertigungsserie aus den 1980er Jahren in 333er Gold mit rubinrot emailliertem Stern und gekörnter Rückseite an Pantagonalspange. Die Interimsspange mit rs. Punzierung ""333"". Rotes Verleihungsetui mit dreizeiligem Goldaufdruck ""Karl Marx Orden"" und hellem Filzeinsatz. Condition: II +

Gernot Bubenik (*1942), dt. Maler und Grafiker, sowie Hochschuldozent an der HdK Berlin. Komposition mit tanzenden Kindern vor Marx und Berliner Silhouette, Siebdruck auf leichtem Karton, u. re. handsign. u. dat. (19)74, u. li. num. 188/300, leichte Lagerspuren, Blattmaße 64 x 71 cm

Kaiser Wilhelm II. mit zwei Militärs, Lichtdruck nach einem Foto auf Karton, auf dem Untersatzkarton das geprägte Signet des Königlich Bayrischen Hoffotografen Arthur Marx (1855-1922), 67 x 36 cm

A mixed selection of O Gauge rolling stock to include examples by BASSETT LOWKE, MARX and WELLS - G (unboxed) (7)

A LOUIS MARX battery operated remote control Jaguar E-Type - G/VG in F/G box

RACING CAR MODELS 14 plastic, tinplate and cast metal racing cars by various British and other manufacturers, includes Mettoy (England) Racing Car Clockwork issue, Schuco (Germany) Studio Racer, Reliable (Canada) clockwork plastic model, International Model Aircraft TT Racer and Marx (USA) Driver Training Car. (14)

PLASTIC RACING CARS a qty of plastic Hong Kong made racing cars, including Marx, OK and others, some friction drive including Clifford No 161 Ferrari and Lucky No 3017 Lotus 33 GP. (23)

PLASTIC RACING CARS a qty of plastic Hong Kong made racing cars by Marx, OK and others, includes friction drive Lucky No 194 BRM. Also with a British Triang M227, and Vanwall friction drive racing car. (16)

PLASTIC RACING CARS a qty of Hong Kong made racing cars by Marx, Lucky and others, some friction drive, includes Telsalda Telsa Racing Team Car Transporter and ELM friction drive Vanwall. (26)

PLASTIC RACING CARS a qty of plastic Empire made and other racing cars by Marx, Lucky and others, includes Bergman MFG (Illinois) Lotus and Blue Box (Hong Kong) Maserati. (28)

PLASTIC RACING CARS a qty of racing cars by various manufacturers, includes 5 Politoys (Italy) Micro Miniature Models, two Roxy (Hong Kong) friction drive Connaught, Marx (Hong Kong) friction drive Lola Climax and Lucky No 171 Porsche Le Mans. Together with a friction drive NFIC Express Tourer Bus and Woolbro Dune Buggy. (25)

BOXED RACING & SPORTS CARS 14 boxed cars including Lincoln Replicar (Empire Made), plastic and tinplate friction drive Zephyr Convertible and 2.4 Jaguar, Marx (Hong Kong) friction drive Ferguson Racing Car and VEB Plasticart (GDR) Ferrari. (14)

Flaubert (Gustave) Madame Bovary, translated by Eleanor Marx-Aveling, first English edition, frontispiece and 5 plates, 2pp. of advertisements at front and 24pp. publisher's catalogue for April 1886 at rear, occasional light finger-soiling to margins, hinges neatly repaired, original gilt-decorated green cloth, slight shelf-lean, spine a little dulled, spine ends and corners a little bumped and with faint retouching, light rubbing to extremities, 8vo, Vizetelly & Co., 1886.⁂ First English edition of Flaubert's first novel with the translation by Karl Marx's daughter.

Maltese(?) School (18th/19th century)Portrait of a saint blessing a childOil on metalInscribed HELIS I (upper left)16.5 x 12.5cm (6¼ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The paint surface is dirty throughout with ingrained dirt and some losses. The metal sheet is dimpled and starting to oxidise on the reverse. Ultraviolet light reveals scattered retouching. Would recommend viewing.Condition Report Disclaimer

After Jean-Antoine WatteauL'indifférentOil on panel27 x 19cm (10½ x 7¼ in.)UnframedProvenance: The Estate of the late David Fyfe-JamiesonAfter the original painting held by the Louvre, Paris.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Light surface dirt throughout. Some areas of craquelure, especially to the figure's chest, arms and hat. Some surface scratches with associated loss. Rubbing and abrasions to the panel edges. An area of loss and associated retouching, visible in natural light running across the width of the panel through the figure's hips. Inspection under UV reveals scattered retouching and a green cloudy masking varnish, which may be masking further evidence of restoration. Condition Report Disclaimer

English School (circa. 1700)Portrait of a seated lady with flowersInk and washWith Collectors wax seal inscribed Christo Duce below an anchor (to backboard)9.5 x 7.5cm (3½ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Attributed to Benedetto Luti (Italian 1666-1724)Choir boy holding a crucifixOil on copper, oval, unframed10.5 x 8cm (4 x 3.1/8in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Surface dirt throughout. Some spots of retouching to the background visible in natural light. Some light surface scratches throughout. Inspection under UV reveals scattered retouching to the aforementioned areas of the background and some further areas around the lower edge and to the sitter's face. Condition Report Disclaimer

Dutch School (late 17th century)Self portrait of an artist at his easelOil on canvas21.5 x 16.5cm (8¼ x 6¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. Condition Report: The canvas has been relined. There is craquelure throughout and some surface scratches and dirt. There is no evidence of retouching under ultraviolet light although there is a heavy varnish which may conceal some restoration.Condition Report Disclaimer

Italian School (early 17th century)The Rape of the Sabine WomenSepia ink21 x 27cm (8¼ x 10½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Alessandro Casolani (Italian 1552-1606)The expulsion from ParadiseInk and washInscribed with collectors initials PH for P. Huart (Lugt 2084) (lower right)10.5 x 14cm (4 x 5½ in.)Provenance:Sale, Sotheby's, London, 1st December 1983, lot 186The Estate of the late David Fyfe-JamiesonBritish Museum label verso compares the present work with a sheet of studies for the same composition in the Uffizi (no. 4876F).David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work has been laid down. Discolouration throughout the sheet. With general wear commensurate with age to the extreme edges. There are two small white blemishes to the left side of the sheet and a small area of possible water damage approx. 1cm to the lower left corner. There is a further white blemish approx. 1cm to the lower edge. Small tear approx. 6mm to the upper right edge. One or two spots of surface dirt throughout. Light undulation to the sheet. Under glass, unexamined out of glazed frame. Dimensions including frame: 30 x 32cm Condition Report Disclaimer

Attributed to Hubert-François Gravelot (French 1699-1773)A man holding a Greek bookPen and ink8.5 x 7.5cm (3¼ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

English School (early 18th century)A marriageInk and wash22 x 19.5cm (8½ x 7½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Antoine-Denis Chaudet (French 1763-1810)Classical figures in a kitchenPen and ink with white heighteningSigned (lower left)17 x 12.5cm (6½ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Albert Venus (German 1842-1871)Albaner SeeInk and watercolourSigned, titled and dated Juli 66 (lower right)26 x 41.5cm (10 x 16¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Louis B**** (French 19th century)Portrait of a seated boyPencilIndistinctly signed, dedicated and dated le 24 septembre 1899 (lower left)33 x 25cm (12 x 9¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Willem Isaaksz Swanenburgh the Elder (Dutch 1581-1612) After Abraham BloemaertVanitas & ZachaeusTwo etchings, 1611Each sheet: 27.5 x 17.5cm (10¾ x 6¾ in.) (2)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

After Polidoro da CaravaggioA group of poets and Muses on Mount ParnassusEtching, published by Jacob Frey22.6 x 44.8cm (8¾ x 17½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.

Jan Pietersz Saenredam (Dutch 1565-1607) (After Abraham Bloemaert)Die Geschichte des ersten MenschenpaaresFive engravings, 1604, framed togetherEach sheet: 26.5 x 19.2cm (10¼ x 7½ in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Each sheet has been hinge mounted with white tape at the top two corners, and appear to have been previously cleaned. The margins have all been cut down. There are some very minor and very isolated, small brown spots to each sheet but these are very small and barely noticeable. The first sheet has two small areas of skinning to Eve's stomach. Each sheet appears to have been previously folded in half horizontally, and although this crease is quite defined to the reverse, it is much lighter recto. Some light handling softness to the extreme edges. All sheets appear to be in good condition commensurate with age. Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)Study of a sleeping womanPencilDated Februar 1905 and indistinctly inscribed (lower right)21 x 50cm (8¼ x 19½ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Emilie Mediz-Pelikan (Austrian 1861-1908)Blossom treesMixed media on cardboardSigned with initials and dated 10 Mai 1903 (lower right)44 x 49cm (17¼ x 19¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Discolouration to the sheet. Staining to the edges of the sheet under the mount. The work has been laid down to a card mount. Discolouration to the sheet. The front of mount has become partially unstuck and has left a layer of white card to the extreme edges to the sheet (where it was previously stuck down) there are also traces of glue residue. Some discolouration to the sheet and brown spots of foxing scattered throughout. There is a small area of skinning to the lower centre, which is lifting approx. 2cm. There is an area of heavy surface scratching and some associated skinning and lifting to the lower right quadrant. Very small nick to the sheet approx. 1mm to the left of the left tree. Small area of water damage approx. 1cm to the upper right corner. Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

A Louis Marx Arnold Palmer Pro Shot golf game

Minni Herzing, "Rasenstück mit verschiedenen Wildblumen"Nahaufnahme von Wildblumen wie Glockenblume, Enzian, Federnelke, Brunelle, Habichtskraut und wildem Kümmel vor lichtem blauen Himmel, gering pastose Malerei, Öl auf Hartfaserplatte, rechts unten signiert "Minni Herzing", rückseitig originales altes Etikett mit Maßangaben und Datierung "51 x 37 [cm]/7 [19]55", gerahmt, Falzmaße ca. 51 x 37 cm. Künstlerinfo: eigentlich Hermine Herzing, genannt: „Blumenminni“, dt. Malerin, Radiererin, Porzellanmalerin und Illustratorin (1883 Frankfurt am Main bis 1968 Karl-Marx-Stadt), erster Unterricht beim Vater in Malerei und Lithographie, studierte an der Akademie Hanau, zunächst tätig als Entwurfszeichnerin für Stickereien und Handarbeiten, 1910-34 in Dresden, hier Schülerin von Georg Hermann Gelbke und Willy Kriegel, ab 1934 tätig in Chemnitz (Karl-Marx-Stadt), Quelle: Vollmer und Wikipedia.

Hans Münnich, "Abendstimmung am Kochelsee"sommerliche Seeuferszene im bayerischen Voralpenland, Blick zwischen vom Sturm zerzausten Fichten hindurch auf den Kochelsee, vor Hochgebirgskulisse im abendlichen Licht, das für den Künstler ungewöhnlich großformatige Gemälde besticht gleichwohl durch seine beeindruckende Präsenz und Dynamik, als auch durch die gekonnt eingefangene Stimmung, der dramatisch bewölkte Himmel, mit effektvoll auf die Landschaft durchbrechendem Sonnenlicht, lässt die Naturgewalten erahnen, die nicht zuletzt auch den vordergründig angeordneten Fichten zugesetzt haben mögen, trotzig und stolz behaupten sie ihren Platz am See und künden, Wächtern gleich, von würdevoller Beständigkeit, hinter ihnen weitet sich eine ruhige, im Licht der späten Sonne leuchtende Wasserfläche, auf der Segelboote die Idylle eines Sommerabends vervollkommnen, lediglich die Neigung der Segel, im Gleichklang mit den Fichten am Strand, verrät Bewegung, die dieser kontemplativen Landschaft, wie auch dem Leben im Allgemeinen eigen ist, pastose Landschaftsmalerei in fein abgestimmter Farbigkeit, teils in Spachteltechnik, Öl auf Leinwand, rechts unten signiert "H. Münnich", rückseitig auf der Leinwand betitelt "Abendstimmung am Kochelsee" sowie signiert und datiert "Hans Münnich 1934", Craquelure, geringe Altersspuren, original gerahmt, Falzmaß ca. 101 x 119,5 cm. Künstlerinfo: genannt „Hans Ahlbeck“ oder "Münnich Senior", dt. Landschaftsmaler (1892 Chemnitz bis 1970 Karl-Marx-Stadt/Chemnitz), Vater des Malers Heinz Münnich Junior, tätig in Chemnitz/Karl-Marx-Stadt und in Ahlbeck auf Usedom, Quelle: Internet.

Heinz Münnich, Die drei ZinnenBlick von einem Bergsee auf den imposanten Gebirgsstock in den Dolomiten, Gouache, um 1950, links unten signiert "Heinz Münnich", auf Rahmenrückseite Stempel "Kunstmaler Heinz Münnich Atelier-Chemnitz Ulmenstr. 59", unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 19 x 15 cm. Künstlerinfo: auch Münnich Junior, dt. Maler und Graphiker (1921 Chemnitz bis 1977 Starnberg), Sohn des Chemnitzer Kunstmalers Hans Münnich (1892 Chemnitz bis 1970 Chemnitz), erste Ausbildung beim Vater, weitergebildet in Dresden und in Luxemburg, unternahm Studienreisen nach Frankreich, Italien, der Schweiz, Griechenland, Österreich, Sizilien, Kanada und den USA, ab 1944 freischaffend, beschickte die Ausstellungen des „Hauses der Kunst“ in München, tätig in Chemnitz (Karl-Marx-Stadt), später in Ingolstadt an der Donau, Quelle: Internet.

A 1960's clockwork tin-plate Guardsman drummer on horseback and a tin-plate Marx horse and cart (2)

Collection of 1950's and 1960s Toys and Vehicles plastic and metal, including Tudor Rose Canon, in original box, Marx Shell (1) and BP (1) friction drive tankers, Palitoy plastic clockwork saloon car and another body only, Beeju Breakdown Truck and car, Tri-ang Minic 00 Gauge Lorry and Car, large scale Poplar Plastic Fire Engine and Hong Kong NFIC Airport Crash Tender (some damage), EKO Double Deck bus, in original bubble pack, Tri-ang Minic 'Sir Robert Minic' old time push-along train (lacks chimney), metal small scale clockwork car and similar unmarked car, GTP red and green tin saloon car, unpainted tin clockwork Saloon Car, Technofix or similar clockwork Diesel Engine, approx. 00 Gauge Garage personnel and Road works and Policemen, two boxes of Chad Valley Give a Show Slides and Bantu game, in original box, generally F-G, packaging F-G (qty)

Post-war Playworn Diecast Vehicles, a collection of vintage private commercial vehicles includes examples by Crescent, Marx, Lonestar, Midgetoy, Manoil, Tootsie and others, P-F, (25)

1960s Plastic Toy Soldiers and Figures including Crescent Spacemen Marx Sportsmen and other plastic Toys including Cereal Premiums, Marx Sportsmen, Skier, Golfer, Ice Hockey and Baseball player (lacks bat), Crescent Spacemen (7, three with clear plastic Helmets), Kellogg's Sugar Smacks Circus Figures (6 + Horse), Knights (4), various flat Dinosaurs (20), Cherilea English Civil War Figures (4), walking Donkeys (2), Timpo Dogs (5), Wild West (4, one Lone Star), other Toys including Cereal Helicopter kit , whistles, ships, tank, various flat figures, guns, Ballet Dancers, P-VG, some damaged (85+)

Various large scale Tin and Plastic Vehicles by Victory Industries Hubley Norev and other makers, VIP 1:18 scale black Vauxhall Velox with instructions and original guarantee stamped 1955 by Clyde Model Dockyard Ltd, in original box, G, box F, Norev 1:43 Tipper Truck, Hubley Kiddie Toy pick up truck (top repainted white) and larger Farm Truck (lacks rear flap), Arnold tinplate yellow car with driver and passenger and 'Graffiti' (lacks one wheel and two tyres), Hong Kong plastics Vauxhall Estate (lacks rear door) and Empire Made remote control blue Rolls Royce, Mettoy friction drive Austin A50 in light blue, Hubley Die-cast large scale Estate Car/Station wagon, unmarked blue plastic 1964 Ford Galaxie, Marx Straight Eight Sparking Hot Rod (lacks steering wheel and part of footplate, plastic Pompiers Citroen DS, Japanese US Fire Dept car, in original box, lacks roof lights, roof loose, tinplate 3-wheel Log Trailer (lacks chain and front hook) and GTP tinplate Taxi, P-G, boxes F (15)

A small quantity of dolls' house furniture, 1900 to 1960s, many pieces for repair or spares; two Alberon dolls' house dolls in original packets and some Marx plastic

A Louis Marx & co ltd clockwork train set, in original box, including locomotive, tender and track, all in original box

A QUANTITY OF BOXED AND UNBOXED MODERN ACTION FIGURES, to include boxed Happy Days Potsie figure, limited edition No.1461 of 8919, boxed Hasbro signature series Plant of the Apes Gorilla Soldier figure, sealed Mezco Edward Scissorhands 'The Professor' figure, unboxed Turtles, Buzz Lightyear, Monsters Inc, Donald Duck, soft toy Seven Dwarves figurines, boxed Marx Deluxe State Fair Bagatelle game, complete and in good condition, box damaged, H.Samuel limited edition Christmas 2000 porcelain collectors doll, another boxed H.Samuel porcelain collectors doll, diecast Mickey Mouse alarm clock, ec, dolls boxes damaged (two boxes and loose)

A QUANTITY OF ASSORTED TOYS, to include a quantity of Timpo and Britains plastic Knight, Cowboy and Native American figures and accessories, not complete may be missing items, boxed damaged Hornby clockwork plastic Speedboat, No 3 'una', missing key, unboxed damaged Victory Industries Vosper R.A.F. Crash Rescue Tender, two unboxed damaged Reading plastic battery operated warships 'U.S.S. Battlewagon' B400, non of the boats have been tested and all are damaged and are missing items, Hornby box missing end flap, a boxed Politsbil Minifreece Jungla Adventure electric racing set, contents not checked but missing cars, box damaged, boxed Marx plastic battery operated 'My Record Player', No 2111, not tested but appears largely complete, with original record (scratched), minor damage and wear to box, small quantity of Beano and other annuals (1960's-1980's including 1966 Beano annual), damage and wear to covers and spines, quantity of 1980's/1990's Aston Villa home programmes, assorted DVD's etc (two boxes and loose)

Two Red Glazed Ceramic Busts of Stalin and Marx, 27cms high

441. MARX POPEYE THE PILOT | Colorful graphics overall, wind-up toy features Popeye as pilot. | Provenance: Paul Cole Collection. | 8" l. | (Excellent Condition) | $300 - $500

443. MARX CITY COAL COKE TRUCK | Provenance: Paul Cole Collection. | 13" l. | (Pristine Condition) | $300 - $400

444. MARX MERCHANTS TRANSFER TRUCK | Provenance: Paul Cole Collection. | 11" l. | (Excellent Condition) | $200 - $400

445. MARX ROYAL COUPE | Provenance: Paul Cole Collection. | 8.5" l. | (Excellent Condition) | $200 - $400

820. MARX BUNNY EXPRESS TRAIN | O gauge, wind up, litho. Provenance: Paul Cole Collection. | rabbit 7 1/2" l. | Missing eyes on Loco, otherwise (Excellent to Pristine Condition) | $400 - $800

Folio Society - twenty volumes including London Portrait of a City; The Earth; The Siege of Quebec; Journals of the Western Isles; The Travels of Marco Polo; Nicholas & Alexandra; Eminent Victorians; The Marx Brothers; The Hadsburgs etc; all in slip cases