A WELL DOCUMENTED SECOND WORLD GROUP OF SIX TO A DECORATED POLISH BOMBER PILOT. A group of six comprising 39-45 and Air Crew Europe Stars, Defence and War Medals, unnamed as issued, unworn in delivery box with enclosure slips and ribbons, the box addressed to 782898 W/O Fojud E. 42 Derby Rd, Eastwood, Notts. With a Polish Cross of Valour with Second Award clasp and Polish Award for Military Virtue (Virtuti Militari), silver and enamel, numbered 9518. With ribbon bar for the last two and award certificate for the Order of 'Virtuti Militari'. His record show that he was also awarded a Polish Air Medal with 2 Bars (a small scrap of ribbon amongst the archive supports this award). Other reports suggest the aviation medal was awarded four times and the Cross of Valour three times. With the recipients RAF cloth wings, four cap badge, and an extensive archive of images, documents and associated items including Pay Book, photographs, one of which identifies Edmund Fojud, and an extensive handwritten diary (in polish). 78289 Edmund Fojud was born on the 12th November 1920 in Chojno, Poznan in Poland to parents Wojciech and Maria. He married his wife Betty on the 22nd July 1944. His period of service in the Polish Air force running from the 12th of June 1937 until the 1st October 1946. Records suggest that Edmund joined the Aviation Non-Commissioned Officer school in Bydgoszcz in 1937 and was a competent pilot by the outbreak of the war. In September '39 he was evacuated to Romania then to Syria and he was in France by November. In March 1940 he trained with other Polish pilots as a Bomber pilot in North Africa. Following the fall of France he came to Britain where he was assigned to the 300th Polish Bomber Squadron on the 8th December 1941. Prior to the outbreak of war there had been an understanding that the Polish Airforce would establish ta small number of Bomber squadrons in Great Britain, the 300th Squadron 'Ziemia Mazowiecka' was the first of these being established on the 1st July 1940. Initially based at RAF Bramcote the squadron flew 3,891 sorties during the war. Flying Wellingtons for much of the War they moved to Lancasters from March 1944. The final mission was flown in April 1945 against Hitler's residence in Berchtesgaden. The unit disbanded on the 2nd of January 1947. Fojud flew with the squadron in Wellington Mk IV's during the first half of 1942 when there was a period of concerted high-intensity night bombing across Germany. He flew regularly during April and May attacking a number of different targets including Essen, Dortmund, Rostock, Cologne, Hamburg, Stuttgart and Mannheim. The 1000 Bomber Raids hold a special place in the history of the Second World War, and 300 Squadron played an important part in the three well documented attacks on Cologne, Essen and Bremen. It seems that Fojud flew in the second of these raids. The Operations Record Book for the 300th (Polish) records the actions of 30/31 May when Cologne was attacked: Operations were ordered with COLOGNE as the target and 15 crews were briefed. 15 Aircraft attacked the primary and all told 11580 4lb incend were dropped. At the briefing the crews were informed that this raid woud be the biggest ever attempted to date. Approaching the target seemed to be a mass of flame and smoke rising to a height of 10,000 feet. ... all captains of aircraft state that the target area was well and truly plastered and described the attack as 'PERFECT'. ... 'Jerry appeared to be disorganised and very little ACk-ACk was encountered, ... On the return journey, the reflection of the flames could be seen when crossing the Dutch coast.' The Operations Record Book records fourteen Wellington Mark IV crews as taking part in the second 1000 bomber raid on Essen on the 1/2nd June. Fojud flew in V-1795 with Malec, Paszkowski, Muszynski, Zaleski and Wyporski, probably as 2nd pilot. The report states: 'Primary identified by river Rhine but target could not be pinpointed owing to poor visibility. Bombs were dropped on fire which was already burning, no bursts being observed. Photo was attempted'. Fojud was attacking Essen again on the 5th/6th and 6/7th in Q-1725 as pilot, 'Bombs were seen to fall in the centre of town, no results were observed, but there was one huge fire in the town. His next flight in Wellington IV, V-1382 on the 8/9th with a crew of Offierski, Skubala, Trzeblatowski, Kwiatkowski and Konieczny was to be his most eventful. A typed account of the events of that night in June 1942 signed by Fojud is included with the archive, he describes the flight home in detail: 'Sergeant Pilot Edmund Fojud, V.M., K.W. I was the pilot of a Wellington -- V. for Victory -- We went to the great raid on Essen. Unfortunately for us, while still over Germany we met a Messerschmit 110 which gave us three longbursts of fire at close range and damaged our aircraft very severely. Our rear gunner was seriously wounded, he had sixteen bullets in his arms and legs and he is still in hospital. It all happened in a few seconds. The intercom between the rear-gunner and the rest of the crew was severed. We had been flying at 15,000 feet, but when we had to take evasive action we lost height and found ourselves at only 8,000 feet, just over the top of the clouds. We were flying on only one engine, as the starboard one had been damaged. A few minutes later the damaged engine caught fire. Bullets had pierced the exhaust pipe and flames were pouring through the hole. They caught the fabric on the wings between the engine and the fuselage and it was all burnt off. It was no joke trying to fly back over the enemy territory with the engine burning and making us a very splendid target. We tried to extinguish the fire by opening and shutting the throttle. I got the engine to work, but it had very little power. I had to stop it because of the fire. Our tail trim was damaged and it stuck in a very inconvenient position. I couldn't turn without getting into a spin. Every time I had to turn, I had to try and make it on the port side because of the damaged starboard engine. I pushed with my legs on the rudder and the second pilot had to pull at the same time with his hands. We were very thankful when at last we found we were over the sea, so that we did not need to worry any more about the enemy defences. It was not easy to fly at all, but at least the danger was less when we got away from the Nazi's A.A. fire. Somehow we managed to reach the English coast, and we succeeded in making a fairly good landing at the first aerodrome we came to. We all felt we had been lucky to get back at all and to be able to land without a bad crash, for it was very difficult to do because of the bad trim of the damaged tail-plane. The undercarriage was also hanging down, and the port wheel tyre had been shot away. The armour-plated door was peppered with bullet holes. I think the airscrew looked worse than anything else. All the blades had bullet-holes, and one was as big as a man's fist. Nothing but the best built aircraft could have made that journey with such damage. I would like to say to you how proud we are of our 'V. for Victory', and how glad we are to have been able to bring it safe home. Description cont'd below...
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A SECOND WORLD WAR LONG SERVICE GROUP OF FOUR TO AN RAF PRISONER OF WAR. A group of four comprising 1939/45 and Air Crew Europe Stars, War Medal and RAF Long Service and Good Conduct medal named to W/O N.T.W. Harper (563534) RAF, mounted as worn. Neville Thomas William Harper was born on the 12th of March 1913 at Portsmouth on the 30th May 1940 he was reported missing and by the 6th of July he is recorded as a a prisoner at Stalag 357 and Stalag No 1, with prisoner No. 88.
An early 20th century ruby, pearl and diamond 18ct gold ring, comprising a floral cluster set to the centre with a small diamond within a round cut ruby border, half pearls set to the shoulders, size O, total gross weight approx 3.2gms Further details: good- all stones present and intact minor wear and tear commensurate with age
A collection of 9ct gold and stones set dress rings to include a ruby and diamond cluster, size M, a green garnet cluster, size O, a blue topaz ring, size O and a green stone cluster possibly chrome diopside, size N, combined total gross weight approx 14.2gms (4) Further details: good all stones present and intact, minor wear and tear
An emerald and diamond 18ct gold cluster ring, comprising three round cut claw set emeralds, within a border of round brilliant cut diamonds setting length approx 15mm, split shoulders, size O, total gross weight approx 4.9gms Further details: good all stones present and intact, minor wear and tear only
A ruby and diamond 18ct white gold dress ring, comprising a central double row of emerald cut rubies inset with small diamond accents with a outer border of round brilliant cut diamonds, width approx 11mm, tapering to 5mm, size O, total gross wieght approx 7gms Further details: good all stones present and intact, minor wear only
A collection of five gold rings to include a wide 22ct gold band, size O1/2, weight approx 8gms a narrow 18ct gold band, size K, weight approx 2.2gms, a diamond set 18ct gold ring, diamond approx 0.07ct, size O, total gross weight approx 2.7gms, a 9ct gold signet, size N and a 9ct gold stone set band (stones missing) size P, combined total gross weight approx 6gms
A collection of gold jewellery to include two 18ct gold bands, weight approx 5.7gms, a 9ct gold cross on a yellow metal chain, a 9ct gold buckle ring, combined weight approx 6.4gms along with a 18ct gold diamond and sapphire boat head ring, size O, total gross weight approx 1.9gms, along with a 9ct gold and synthetic stone set pendant and cjain, a 9ct gold sapphire and diamond ring and a 18ct gold sapphire and diamond ring (worn) along with other stone set ring missing stones and a Victorian 9ct gold brooch a/f (1 bag)
A 14k rose gold seven stone CZ ring, size P, total gross weight approx 2.2gms, a 14k single stone CZ ring, size O, total gross weight approx 3.2gms and a quantity of costume jewellery, including a Norwegian enamel butterfly brooch marked Sterling 925S Norway, size approx 25mm, in jewellery box with tapestry style lid, including Pandora style bracelet
A collection of ceramics to include: Victorian pattern no: 6269 Pyrethrum trio (cup, saucer and plate) Reg no: 826; two Foley ornate pattern nos: 3590 & 3572 cup and saucers; Grafton blue and white floral cup and saucers; Worcester blush ivory small cream jug, painted with a pheasant, black factory mark; Royal Worcester Celebration 2001 circular box & cover; Dresden shaped quatrefoil o cup and saucer, panels painted with 18th Century figures or flowers, blue underglaze marks; late 19th Century blue and white floral pattern chocolate cup and saucer; early 20th Century nursery cup and saucer, decorated with children in landscape, pattern no 2220 and a nursery rhyme coffee can transfer printed with Simple Simon... together with an Aynsley King Edward VIII mug and EII mug (Q -1 box)
An ruby and diamond set floral cluster 18ct white gold ring, the centre set with a round brilliant cut diamond approx 0.07ct, within a petal border of small grain set diamonds set with alternate round cut claw set rubies, setting approx 12mm, size O, total gross weight approx 4gms, along with an aquamarine cluster 9ct white gold ring, set with oval aquamarine with white quartz accents, size P1/2,total gross weight approx 2.6gms (2) Further details: good, all stones present, some rubies with small chips to girdles, minor wear and tear commensurate with age
A sapphire and diamond 14ct white gold ring, set with an oval sapphire with channel set diamond shoulders, size O, total gross weight approx 3.4gms, along with an Edwardian diamond set 18ct white gold cluster ring size L, total gross weight approx 1.6gms (very worn) Further details: wear and tear commensurate with age
A diamond set 18ct gold wishbone ring comprising two bands, one wishbone shaped inset to the centre with two small claw set brilliant cut diamonds, diamond weight approx 0.10ct, width approx 10mm, size O, unmarked, total gross weight approx 6.6gms Further details: good, stones intact, minor wear and tear commensurate with age
An 18ct gold diamond solitaire ring, with a round brilliant diamond weighing 1.58ct, H colour, VS2 clarity, claw set on a white gold mount, to a 2.2 mm wide D-section yellow gold shank, Birmingham hallmarked as 750 with maker's mark 'DOM', ring size O, total weight of item 5.9 grams.Together with EGL diamond certificate, also with an insurance replacement valuation for the ring, stating replacement value as £11,200, dated December 2006.
Two rings each with two pearls and a pearl necklace, consisting of two matching rings, with two pearls approximately measuring 7.2 mm set on a bypass mount, to a flat shank, stamped '18K', ring size O and L respectively; the pearl necklace comprises graduated pearls sizing from 3.3 mm to 7.1 mm, hand knotted on silk thread, fastened with an embellished pearl clasp, measuring 55.5 cm in length, total weight of items 20.4 grams (3).
A collection of six rings. A ring with faceted greenstones and diamonds set in a 9ct gold mount, with Sheffield import hallmarked 375, ring size Q½; one ring with white faceted stones star set in a bi-coloured metal mount, stamped as '9ct and PLAT', ring size O; a ring with Oval smoky quartz collet set in 9ct gold mount, British hallmarked 375, ring size P; a ring with an oval amethyst collet set in bi-coloured 9ct gold mount, British hallmarked 375, ring size Q; A three-stone ring, white stones illusion set on bi-coloured 9ct gold mount, Birmingham hallmarked as 375, ring size Q; A ring with blue and white faceted stone flush set in 9ct gold mount, London hallmarked as 375, ring size R. Total weight of items 16.5 grams (6).
A group lot of 9ct gold rings and other items. Consisting one 9ct gold ring, Birmingham hallmarked, ring size O; one dark blue and white stone-set 9ct gold ring, Birmingham hallmarked, ring size O; one quartz ring, hallmarked as 9ct gold, ring size P; a bi-coloured metal pierced through ring, stamped as 375, ring size S; a 9ct gold pocket knife Birmingham hallmarked; a stone-set pocket knife, unmarked; a pair of gem-set buttons, unmarked; a gem-set double-sided earring with screwed post fittings, unmarked; a pair of pink stone yellow metal ear studs, unmarked; a pair of screwed back pearl drop earrings, unmarked; a gem-set duette brooch with detachable dress clips; a beaded applique backed with snap barette; a Victorian pencil with agate seal terminal. Total weight of items 109.7 grams (13).
An Edwardian five stone half hoop diamond ring; the slightly graduated mixed old cut diamonds in lozenge-shaped carved mount; with foliate shoulders. 18 carat gold, Chester 1907. Ring size O; together with an Edwardian three stone gypsy set sapphire and diamond ring in 9 carat rose gold setting. Chester 1909. Ring size P. Gross weight 5.7 grams
A Chaumet 'Joséphin Aigrette' ring, consisting of a pear-cut rhodolite garnet measuring 7.7 x 5.0 mm, corner claw set to the centre of a wishbone ring, surrounded by round brilliant cut diamonds with an estimated diamond weight of 0.55ct, pavé set in a white metal stamped 'Au750', to a flat shank, signed Chaumet with maker's mark, numbered 1820076, ring size O, total weight of item 5.4 grams.Together with insurance replacement valuation for the ring, stating replacement value as £6,680 (same as current RRP), dated April 2022.
A Cartier 'Panthère de Cartier' 18ct yellow gold ring, with a sculpture of the Cartier signature panther head, set with Tsavorite garnets as eyes and an onyx nose, Swiss convention hallmarked as '750', signed by Cartier and inscribed 'DCK736' inside the shank, width of pattern 11 mm, ring size O, total weight of item 16.4 grams.current RRP £5,550
A suite of 14ct white gold and diamond necklace, earrings and ring. The necklace comprises a 0.06ct round brilliant diamond, tension set on a bifurcated white gold mount stamped as '585', half satin-finished and half mirror-finished, attached to a fine cable chain securing with a spring-ring clasp, measuring 43.5 cm long; a pair of lever-back earrings with the same bifurcated motifs with diamond highlights; a ring with similar fashioned mount, tension-set with a round brilliant diamond, to a tapered flat shank, stamped as '585', ring size O. Total weight of items 7.9 grams (3).tested as 14ct gold.
Otto Matthaei, attr., Feld am Dorfrandlichte Sommerlandschaft unter duftig bewölktem Himmel, hierzu vermerkt der Vorsitzende der Karl-Otto-Matthaei-Gesellschaft Wolf-Dietmar Stock "... Keiner konnte Wolken so fein, so abgestuft, so seidig malen wie er. ...", pastose, impressionistische Landschaftsmalerei mit charaktervollem Pinselduktus, Öl auf Leinwand und Karton, um 1910, links unten signiert "O. Matthaei", Malgrund leicht gewölbt, partiell Farbschollenbildung, etwas restaurierungsbedürftig, gerahmt, Falzmaße ca. 40 x 53,5 cm. Künstlerinfo: eigentlich Karl Otto Matthaei, dt. Landschafts- und Marinemaler, Zeichner und Graphiker (1863 Hamburg bis 1931 Bremen), studierte 1891-92 und 1894-1900 an der Akademie Karlsruhe bei Franz Hein, Christian Ludwig Bokelmann und Friedrich Kallmorgen, hier Meisterschüler von Gustav Schönleber, fand zunächst seine Motive in der Umgebung von Karlsruhe, um 1894 mit Karl Biese, Franz Hein, Gustav Kampmann, Otto Fikentscher und Friedrich Kallmorgen in der Malerkolonie Grötzingen, 1895 Gründungsmitglied der Künstlerkolonie Duhnen (Cuxhaven, Altenwalde, Altenbruch), betrieb ab 1904 ein Schüleratelier, bis 1916 in Karlsruhe ansässig und Mitglied im Künstlerbund Karlsruhe, unterhielt Freundschaft mit Hans Thoma und Johann Anton Engelhard, regelmäßige Studienaufenthalte an der Nordsee und an der Niederelbe, ab 1916 in Bremen, schuf Lithographien für die Leipziger Verlage G.B. [Benedictus Gotthelf] Teubner und Robert Voigtländer, Mitglied und langjähriger Vorsitzender sowie ab 1924 Ehrenvorsitzender des Bremer Künstlerbundes, 1930 zum Ehrenpräsident des Verbandes Norddeutscher Künstler ernannt, Mitglied des Hamburger Künstlervereins von 1832, der Freien Künstlervereinigung Baden, der Allgemeinen Deutschen Kunstgenossenschaft und des Reichsverbandes bildender Künstler Deutschlands, erhielt diverse Auszeichnungen wie das Mailänder Ehrendiplom, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Bussler "Malerparadies auf Zeit. Duhnen - Altenwalde - Altenbruch", Dressler, Jansa, Müller-Singer, Mülfarth, Ries und Wikipedia.
Otto Gampert, Paar Radierungen1.) "An der Würm", WVZ Nr. 77, Vernis mou, 1899, rechts unter der Darstellung in Blei signiert "O. Gampert", Darstellungsmaße ca. 19 x 27,2 cm, Blattmaße ca. 38 x 56 cm und 2.) "Am Teich", WVZ Nr. 87, Vernis mou, 1900, rechts unter der Darstellung in Blei signiert "O. Gampert", Darstellungsmaße ca. 20,5 x 30,3 cm, Blattmaße ca. 26 x 35,5 cm, jeweils leichte Altersspuren, unter Passepartout montiert. Künstlerinfo: schweizerischer Arzt, Maler und Radierer (1842 Ottenbach bis 1924 Zürich), Studium der Medizin an der Universität Zürich, in der Freizeit Beschäftigung mit Malerei und der Fotografie, nach dem Tod zweier Töchter Aufgabe seiner Praxis, 1883 Übersiedlung nach München und als Künstler tätig, ab 1888 auf den Ausstellungen im Münchner Glaspalast vertreten, um 1890 Beschäftigung mit der Radierung, 1919 Rückkehr in die Schweiz, Quelle: Wikipedia.
Prof. Franz Huth, "In der Küchenstube"Blick in eine lichtdurchflutete Wohnküche, mit am Tisch sitzendem älteren Bauern, Aquarell, rechts unten signiert "F. Huth.", auf Rahmenrückwand Etikett und hierauf nummeriert, betitelt und nachträglich datiert "47 In der Küchenstube 1909", weiterhin auf Rückwand bezeichnet "Eigentum von Elise Hermsdorf geb. Huth", unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 30 x 23 cm. Künstlerinfo: eigentlich Franz O. Richard Huth, dt. Aquarellmaler und Pastellzeichner (1876 Pößneck in Thüringen bis 1970 Weimar), zunächst Porzellanmalerlehre beim Vater Louis Huth, ab 1892 bei Volkstedt/Rudolstadt als Porzellanmaler, ab 1894 Glasmalerlehre im Riesengebirge, befreundet sich hier mit Arthur Julius Barth, 1896-97 einige Semester an der Kunstgewerbeschule Dresden, 1897-98 Studienreisen durch Oberitalien, Südfrankreich und Schweiz, ab 1900 an der Königlichen Porzellanmanufaktur in Berlin, ab 1903 Gründung einer Porzellanmanufaktur in Heidelberg, 1907 Übernahme der väterlichen Porzellanhandlung und Porzellanmalerei zusammen mit dem Bruder Hermann Huth, ab 1909 künstlerisch freischaffend in Heidelberg, 1911-18 wechselnde Aufenthalte in Cuxhaven, Heidelberg, Rom, Darmstadt und Weiterbildung in München, 1918 Übersiedlung nach Bensheim an der Bergstraße, ab 1922 in Weimar tätig, 1946 zum Professor ernannt, malte neben Landschaften vorwiegend Kirchen- und Schlossinterieurs, Mitglied im Reichsverband Bildender Künstler Deutschlands, im Verband Bildender Künstler in Hessen und in der Freien Vereinigung Düsseldorfer Künstler und später Mitglied des Verbandes Bildender Künstler (VBK) der DDR, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Neuwirth "Porzellanmalerlexikon", Müller-Singer, Schmaling "Künstlerlexikon Hessen-Kassel 2001-2010", Dressler, Eisold "Künstler in der DDR" und Wikipedia.
Otto Westphal, "Fichte auf Felsen"von Gras und Moos bewachsener Felsen, am Waldrand mit einzelner Fichte, leicht pastose Landschaftsmalerei, Öl auf Leinwand, links unten signiert und datiert "O. Westphal (19)24", rückseitig auf Keilrahmen betitelt und bezeichnet " Fichte auf Felsen, Otto Westphal, Dresden" weiterhin Stempel "Otto Westphal Dresden-Loschwitz Pillnitzer Landstraße 52 ...", gerahmt, Falzmaße ca. 87 x 76 cm. Künstlerinfo: eigentlich Wilhelm Otto Westphal, dt. Maler, Zeichner, Kunstgewerbler, Illustrator und Graphiker (1878 Leipzig bis 1975 Dresden-Loschwitz), ab 1885 in Schmalkalden und privater Zeichenunterricht, 1894-96 Schüler der Kunstgewerbeschule Kassel, 1896-99 Ausbildung zum Textilzeichner an der Preußischen Höheren Fachschule für Textilindustrie-Webschule Krefeld, ab 1899 Abendkurse bei Eugen Hanetzog an der Unterrichtsanstalt am Kunstgewerbemuseum Berlin und Atelierschüler der Lewin-Funcke-Schule Berlin, 1904-07 Studium bei Richard Müller und ab 1906 bei Carl Bantzer an der Akademie Dresden, mit Bantzer 1906 und 1907 in Willingshausen, Mitglied des Goppelner Künstlerkreises, ab 1907 freischaffend in Dresden, unternahm Studienreisen nach Danzig, Thüringen, Hessen, der Lausitz, ins Erzgebirge und auf die Insel Rügen, 1914-16 Kriegsdienst im 1. Weltkrieg, 1924 Studienaufenthalt in Italien und der Schweiz, 1930 für das Deutsche Archäologische Institut in Rom und Pompeji tätig, Mitglied der Willingshauser Malerkolonie, Mitglied im Reichsverband Bildender Künstler Deutschlands, im Deutschen Künstlerbund, im Dresdner "Märzbund" und der Dresdner Kunstgenossenschaft, tätig in Dresden-Loschwitz, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, "Künstler am Dresdner Elbhang", Bantzer "Hessen in der Deutschen Malerei", Wollmann "Die Willingshäuser Künstlerkolonie und die Künstlerkolonie Kleinsassen", Schmaling "Künstlerlexikon Hessen-Kassel 1777-2000", Müller-Singer, Schülerlisten der Dresdner Akademie, Eisold "Künstler in der DDR" und Wikipedia.
Otto Gleichmann, DamenportraitBildnis einer jungen Frau im Garten, mit Hund im Hintergrund, Kohle auf gelblichem Papier, im unteren Bereich signiert und datiert "O. Gleichmann 1946", im unteren Bereich einige winzige Löchlein, auf Unterlagekarton montiert und hinter Glas gerahmt, Darstellungsmaße ca. 31,5 x 18,5 cm. Künstlerinfo: dt. Maler, Graphiker und Zeichner (1887 Mainz bis 1963 Hannover), 1906-10 Studium an den Kunstakademien in Düsseldorf, Breslau und Weimar, 1915 Fronteinsatz und Heirat der Malerin Lotte Giese, seit 1918 Mitglied der Künstlergruppe Hannoversche Sezession, ab 1919 in Hannover ansässig, seit 1923 Kunsterzieher am Realgymnasium, ab 1936 Ausstellungsverbot durch die Nationalsozialisten, Quelle: Vollmer und Wikipedia.
Konvolut KriegsliteraturDie Militärischen Ereignisse im Völkerkrieg 1914-15, in wöchentlichen Karten mit Chronik, hrsg. von der Vereinigung für Private Kriegshilfe München N.W. 1916, Format Gr. 4°, 89 kolorierte Faltkarten in Leineneinband, einige lose, Alters- und Gebrauchsspuren, kollationiert; Wir Kämpfer im Weltkrieg, Selbstzeugnisse deutscher Soldaten in Feldpostbriefen, Kriegstagebüchern, und Aufzeichnungen, vornehmlich aus dem Material des Heeresarchivs Potsdam, mit verbindendem Text herausgegeben von Wolfgang Soerfter […] und Helmuth Greiner […], mit etwa 230 Bildern, größtenteils nach Originalaufnahmen aus dem Weltkrieg, sowie 14 Karten und Skizzen, Berlin bei F. W. Peters Verlag G.m.b.H. (o. J.), Format Lex. 8°, 910 S., orig. Leineneinband mit Rücken- und Titelbezeichnung, normale Altersspuren; Deutschland im Kampf, Nummern 29-30/31-32, hrsg. von Ministerialdirigent A. J. Berndt und Oberst von Wedel, Berlin bei Verlagsanstalt Otto Stollberg 1940, Format Gr. 8°, 152 und 151 S., roter Pappeinband, geringe Alters- und Lesespuren.
![Olav Brystorp, Norwegischer Fjordsommerliche Ansicht des Bukkefjord [Bukkefjorden] mit Segelboot, vor steil aufragender Felsk](https://cdn.globalauctionplatform.com/a158253d-662e-489e-b203-ae8201062331/b1bff3c8-a309-48e7-b2ac-ae82013b0b99/468x382.jpg)
Olav Brystorp, Norwegischer Fjordsommerliche Ansicht des Bukkefjord [Bukkefjorden] mit Segelboot, vor steil aufragender Felskulisse, gering pastose Landschaftsmalerei, Öl auf Leinwand, um 1880, rechts unten signiert "O. Brystorp", rückseitig auf der Leinwand originales Etikett, hier betitelt "Norwegischer Fyord [sic.]" und auf dem Keilrahmen nummeriert und betitelt "Nr. 3/80 Am Bukkefjord Norwegen", im prächtigen originalen, ca. 17 cm breiten gründerzeitlichen Goldstuck-Prunkrahmen mit Messingrahmenschild "O. Brystorp" gerahmt, Falzmaße ca. 68 x 105 cm. Künstlerinfo: norwegischer Landschaftsmaler (1842 bis 1904), Quelle: Internet.
Italien sechs Teetassen und PlattePorzellanmanufaktur Richard Ginori Doccia, 20. Jh., grüne Kronenmarken mit Schriftzug, Zusatz C-91, D-91, C-O bzw. D-O sowie Italy, konische Tassenform mit abgewinkelter Lippe und leicht gemuldete Teller mit glattem Rand sowie suprematistischem Aufglasurdekor in Pastelltönen, bestehend aus sechs Tassen mit Untertassen und einer runden Kuchenplatte, sehr guter Zustand, H Tasse gesamt je 5 cm, D Platte 31,5 cm.
Stieler´s Hand-Atlasüber alle Theile der Erde und über das Weltgebäude, herausgegeben von Adolf Stieler, Gotha bei Justus Perthes (o. J., wohl um 1880), Format Gr. 4°, 4 Blatt, 11 S., 90 doppelseitige kolorierte Stahlstichtafeln von Stieler, Stülpnagel, Berghaus, Vogel und Petermann, darauf Karten sämtlicher Kontinente sowie Polar-, Mond- und Sonnensystemkarte, dekorativer Halbledereinband mit Gold- und Blindprägung sowie Titel- und Rückenbezeichnung, dieser etwas lädiert, Rücken mit Riss, innen partiell stockfleckig.
Konvolut Fachbücher KunsthandwerkWiener Bronzen, Ernst Hrabalek (1991); Kostbare Krawattennadeln, Grasser und Hemmerle (1999); Schaffhauser Goldschmiedekunst, Ulmer und Abegglen (1997); Deutsche Goldschmiedekunst, Klaus Pechstein (1987); Ornamente der Schmiedekunst, von Hefner-Alteneck (2001); Studentica, Galerie Wolfgang Ketterer (o. J.); Europäische Reklameträger 1880-1960, Galerie Wolfgang Ketterer, 94. Auktion (1985); verschiedene Formate und Einbände, geringe Gebrauchsspuren.
Otto Karl Welbers, "Alte Pappel"einsamer Baum in weiter Landschaft, im Licht des beginnenden Tages, pastelltonige Landschaftsmalerei, Öl auf Platte, links unten signiert "O K Welbers", rückseitig auf Etikett bezeichnet ""Alte Pappel" Oel Otto Karl Welbers Arbeitsreise Niederrhein, Fühjahr 1984 Keelzen", gerahmt, Falzmaße ca. 20 x 25 cm. Künstlerinfo: dt. Maler (1930 Emmerich bis 2009 Leer), 1949-51 Schüler von Johann Kouné in Düsseldorf, 1955-58 Schüler von Gustav Melcher in Düsseldorf, ab 1967 als Maler freiberuflich tätig, ab 1970 Zweitwohnsitz in Pilsum/Ostfriesland, ab 1987 in Pilsum ansässig, Quelle: Internetseite zum Künstler.
O. Engelhardt-Kyffhäuser, Erinnerungen an DresdenBlick auf die Frauenkirche von der Brühlschen Terrasse aus, Farbmonotypie, um 1960, unter der Darstellung in Blei rechts signiert "O Engelhardt-Kyffhäuser, links bezeichnet "Mono." und mittig betitelt "Erinnerung an Dresden", in der Darstellung Ritzmonogramm "OEK", leicht gebräunt, unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 36,5 x 50 cm. Künstlerinfo: dt. Maler und Graphiker (1884 Artern bis 1965 Göttingen), studierte 1901-07 an der Akademie Kassel, später in Berlin und Weimar, Mitglied des Radiervereins Weimar, 1919-39 in Görlitz als Kunsterzieher tätig, beschickte die Ausstellungen im Haus der Deutschen Kunst München, Mitglied im Lausitzer Künstlerbund, im Deutschen Künstlerbund Weimar und im Thüringer Ausstellerverband Bildender Künstler, Quelle: Vollmer, Dressler und Wikipedia.
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