Plauen, E. O. Vater und Sohn. 50 lustige Streiche und Abenteuer. Gezeichnet von E. O. Plauen. 41. – 60. Tausend. [Erster Band] Berlin, Ullstein, ca. 1935. 4°. Mit 51 Abbildungstafeln mit Karikaturzeichnungen. 2 Bll., 2 Bll. Anzeigen. Original geheftet mit illustriertem Vorderumschlag. (74)* Die Ausgabe enthält 50 lustige Streiche und Abenteuer, die jeweils auf einer Tafel in 4 bis 6 lustigen, textlosen Karikaturzeichnungen erzählt werden. Enthalten ist die Geschichte „Schach dem Vater“ mit einer Schachpartie zwischen dem entspannt spielenden Sohn und dem verkniffen wirkenden Vater, die der Sohn gewinnt, was ihm am Ende nicht gut bekommt, da der Vater seinem Sohn eine Tracht Prügel verabreicht. Der deutsche Zeichner und Karikaturist Kurt Erich Ohser (1903 – 1944) war berühmt für seine Bildergeschichten um „Vater und Sohn“, die er unter dem Pseudonym E. O. Plauen (Initialen seines Namens und Name seiner Heimatstadt) veröffentlichte. Ohser, der vor 1933 die Nationalsozialisten mit seinen Karikaturen kritisierte, durfte nach der Machtergreifung seine Vater und Sohn – Geschichten in der Berliner Illustrirten Zeitung nur unter dem Pseudonym E. O. Plauen veröffentlichen. 1944 erhängte sich Ohser nach einer Denuntiation in der Nacht vor seinem Prozess am Volksgerichtshof. Zustand: Innen etwas gebräunt. Umschlag etwas angestaubt und wenig bestoßen.
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Zeitschriften / Bücher. Harding, Tim. 64 Great Chess Games. Instructive classiscs from the world of correspondence chess … Dublin, Chess Mail, ca. 2002. 8°. Mit Diagrammen. 304 Seiten. Orig. geheftet. (22)* Mit eigenhändiger Widmung von Tim Harding auf Titel. Beiliegen: Sande, O. und R. Berthelsen. The games of NPSF 40. Norges Postsjakkforbund, 1993. 8°. Mit Diagrammen. 64 Seiten. Orig. geheftet. Mit eigenhändiger Widmung und privatem Stempel von R. Berthelsen auf Titel. / Pritchett, C. W. und M. D. Thornton. Scotland's Chess Centenary Book. SCA 1884 - 1984 ... (South Queensferry), ca. 1984. 8°. Mit 3 Tafeln und Diagrammen. IV, 121 Seiten. Orig. geheftet. Lusis 114. / Wright, J. u. a. Diamond Dust. Seattle, Chess Enterprises, ca. 1991. 8°. Mit Diagrammen. 120 Seiten. Orig. geheftet.
Spielmann, Rudolf. Postalisch gelaufene Postkarte mit eigenhändig geschriebenem Text in deutscher Sprache von Rudolf Spielmann an Adolf Seitz, signiert und datiert. Aalborg, 3 IV. (19)23. Größe der Karte 13,7 x 8,5 cm. (81)* Spielmann gratuliert Seitz zum Doktor und hofft, dass er Zeit zum Schachspielen hat. Vielleicht kann Seitz in Karlsbad spielen. Spielmann fährt um den 10. April nach München zurück, wo sich beide sprechen könnten. Am 23. Juli beginnt das Turnier in Scheveningen, zu dem Spielmann eingeladen wurde. Spielmann hofft auf ein baldiges Wiedersehen. Der österreichische Schachmeister Rudolf Spielmann (1883 - 1942) nahm an vielen internationalen Turnieren teil und siegte u. a. in Baden bei Wien 1914, in Semmering 1926. Er war ein ausgezeichneter Angriffs- und Kombinationsspieler. 1939 gelang ihm die Flucht nach Schweden. Die Vorderseite zeigt ein Gruppenbild mit 7 Schachmeistern vom Turnier in Kopenhagen 1923: Stehend: S. Tartakower, O. Rützou, J. Möller. Sitzend: A. Nimzowitsch, R. Spielmann, E. Jacobsen, F. Sämisch. Zustand: Die Karte ist etwas gebräunt, wenig fleckig und hat Gebrauchsspuren. Die Tinte der Adresse ist durch Feuchtigkeit verwischt. Interessantes Sammlerstück.
Huggins, A. Z. Chess problems. Preface by O. A. Brownson. Dubuque, Iowa, (Brownson, 1873). 8°. Mit 1 Porträttafel und vielen Diagrammen. 56 Seiten, 2 Bll. Anzeigen, 8 Bll. (Solutions). Orig. geheftet. (81)* Linde - N. 2420; Betts 33 – 42. Doublette aus der Schachbuchsammlung Lothar Schmid. "... biographical introduction by Brownson and 107 positions (8 two - movers, 69 three - movers, 27 four - movers and 3 others) ..." (Betts) Zustand: Innen leicht gebräunt und wenig fleckig, teilweise stärker. Wenige Seiten in etwas schwächerem Abdruck. Umschlag an den Rändern und am Rücken verblichen und wenig fleckig. Seltene Ausgabe.
Braunschweig. Welfen. Eckart, Rudolf. Wahlsprüche, Devisen und Sinnsprüche der Welfenfürsten. Hannover, Rehtmeyer, 1901. 8°. 44 S., 2 Bll. Dabei: Derselbe. Welfen – Anekdoten. Gesammelt und hrsg. Braunschweig, Sievers, o. J. 175 Seiten. Privater Halbleinenband. (64) * Angebunden: Die Vertheidigung der Stadt Menin und die Selbstbefreiung der Garnison Ende April 1704. Zusammengestellt nach von Scharnhorst, von Sichart und von Ditfurth (Hesse) von einem hannoverschen Jäger. Hannover, Jacob, 1894. Mit einem gefalteten (defektem) Plan. 55 Seiten. (Separatabdruck aus der deutschen Volkszeitung). Zustand: Innen sauber, bei der angebundene Schrift ist das Papier stärker gebräunt, der Einband ist berieben und bestoßen.
Schachprobleme. Dokumentation von 1460 Schachporobleme, die in der Schachecke der Magdeburger Volksstimme ab 1981 publiziert wurden. Loseblattsammlung und montierte Zeitungsausschnitte in 4 Ordnern, 5 Klemmheftern und 2 Schnellheftern. Verschiedene Größen. (22)* Volker-Michael Anton war der Bearbeiter der Schachecke in der Magdeburger Volksstimme. Die vorliegende Sammlung ist eine Dokumentation der meisten dort publizierten Aufgaben. Jedes Schachproblem ist auf einem einzelnen Blatt mit Diagramm, Aufgabenstellung, Name des Komponisten, Fundstelle und Jahr sowie die jeweilige Lösung. Die einzelnen Probleme liegen meist als Computerausdruck vor, teilweise als montierte Zeitungsausschnitte, Durchschriften von Typoskripten und wenige handschriftlich mit gestempelten Diagrammen. Teilweise sind auf den Blättern handschriftlichen Notizen und Ergänzungen. Bei wenigen Problemen liegen Blätter mit den Gewinnern bei. Die Zusammenstellung enthält Probleme, die von verschiedenen Problemkomponisten veröffentlicht oder komponiert wurden, u. a. von H. Ahues, E. Brunner, J. Cumpe, K. Fabel, S. Gold, L. Kubbel, F. Lazard, S. Loyd, C. Mansfield, W. Shinkman, W. Speckmann, F. Wolfenter, O. Wurzburg. Zustand: Die Blätter und Hefter sind teilweise etwas gebräunt und haben geringe Gebrauchsspuren. Eine Einzelaufstellung liegt nicht vor. Bitte beachten Sie das Versandgewicht von 10 kg. Nicht einzeln kollationiert.
Schachmatnyj Listok. Organ Wserossijskogo Schachmatnogo Sojusa. Hrsg. von S. O. Wainstein, I. L. Rabinowitsch, P. A. Romanowski u. a. 4. Jahrgang 1924, Nr. 1 - 24. Leningrad 1924. 8°. Mit 1 Abbildungstafel und vielen Diagrammen. 259 Seiten. Schwarzer Halbleinenband mit handschriftetem Rückenschild. (75)* Linde - N. 6325; Sacharow 934. Der Jahrgang 1924 erschien in kleiner Auflage von 1500 - 3000 Exemplaren. Ohne Jahrgangstitel und Register. Orig. Umschläge meist eingebunden. Zustand: Innen stark gebräunt, verinezlt fleckig und untere Ecke gestaucht. Einband bestoßen, etwas angestaubt und verblichen. Nicht einzeln kollationiert. Seltene Ausgabe.
Dresden 1926. Postalisch nicht gelaufene schwarzweiße Postkarte vom Turnier in Dresden 1926 mit 16 eigenhändigen Unterschriften der Teilnehmer am Turnier und Schachfunktionären. Größe der Karte 13 x 8,3 cm. (81)* Auf der Rückseite mit dem gestempelten Text „Internat. Schachmeister – Turnier Dresden 1926“ und 16 eigenhändigen Unterschriften, darunter die 10 Teilnehmer am Turnier: vom ehemaligen Weltmeister Alexander Aljechin (1892 - 1946), von den Großmeistern Aaron Nimzowitsch (1886 – 1935), Akiba Rubinstein (1880 - 1961), Friedrich Sämisch (1896 - 1975), Savielly Tartakower (1887 – 1956), den Internationalen Meistern Lajos Steiner (1903 - 1975), Fred D. Yates (1884 – 1932) und von Max Blümich (1886 – 1942), Paul F. Johner (1887 – 1938), Walther von Holzhausen (1876 - 1935), sowie weiterhin von GM Jacques Mieses (1865 – 1954), IM Hans Kmoch (1874 - 1973), Ad. Kramer, O Krüger (Vorsitzender des Dresdener Schachvereins), D. Jobst. Die Aufnahme zeigt in zwei Reihen die Teilnehmer, in der hinteren Reihe stehen: Rubinstein, Sämisch, Tartakower, Jobst, Blümich, L. Steiner, Yates. In der vorderen Reihe sitzen: Nimzowitsch, Aljechin, Krüger, W. von Holzhausen, Johner. Zustand: Die Karte ist gebräunt, wenig fleckig und hat Gebrauchsspuren. Seltenes Sammlerstück.
Weinstein, S. O. (Hrsg.) Kalendar schachmatista na 1926 god. Sprawotschnaja i sapisnaja knishka. Pod redakziej G. J. Lewenfischa. Originalnyje stati tschempiona mira J. R. Kapablanki ... (Leningrad), Isdatelstwo WSFK, ca. 1925. 12°. Mit einigen Diagrammen. 205 Seiten, 1 Bl. Verlagsanzeigen. Original geheftet. (81)* Linde - N. 5922; Sacharow 915. Mit eigenhändiger Widmung des russisch – sowjetischen Großmeisters und Schachtheoretikers Grigori J. Löwenfisch (1889 – 1961) in russischer Sprache auf Vorsatz. Zustand: Innen gebräunt und vereinzelt fleckig. Umschlag etwas bestoßen, fleckig und mit Knickfalten.
Alt, O. "Familienglück – Das Paar" und "Familienglück – Die Kinder hellblau". Zwei zusammengehörige Farbsiebdrucke auf Papier. Beide Graphiken im Abzug "39 von 150" Exemplaren. Vom Künstler eigenhändig unten rechts signiert "O. Alt". Arbeit aus dem Jahr 2008. Blattgröße jeweils 22 x 34 cm (Hochformat). (17)* Otmar Alt (geb. 1940), deutscher Maler, Graphiker und Bildhauer. Berühmt durch seine farbenfrohen Darstellungen - gemalte Erzählungen - in denen abstrakte Figuren und Individuen die bunte Welt des Künstlers bevölkern. Die beiden graphischen Blätter zeigen ein junges Paar vor ihrem Haus und ein kleines Kind mit Kinderwagen und Hund ebenfalls vor dem Haus. Eine für den Künstler typische Darstellung in hellen und leuchtenden Farben. Zustand: Die Blätter sind gering gebräunt und fleckig, mit altersbedingten kleinen Fehlstellen und Abrieben. Am Rand mit Läsuren. Schönes und dekorative Graphiken.
Spielmann, R. Richtig opfern! Voraussetzungen, Ziel und Durchführung des Opfers im Schachspiel. Erläutert an 37 Partien. Leipzig, Ronniger, (1935). 8°. Mit Diagrammen. 96 Seiten. Brauner Halbleinenband. (95)* Linde - N. 1627. Zustand: Druck auf etwas getöntem Papier. Einband wenig bestoßen Beiliegen: Sander, O. Die Oppositionslehre. Schachtheoretische Abhandlung. 2. Auflage. Leipzig, Ronniger, ca. 1935. 8°. Mit Diagrammen. 32 Seiten. Orig. geheftet. Linde - N. 2277. Zustand: Innen gebräunt. Etikett auf Vorderumschlag und Titel. Umschlag mit stärkeren Gebrauchsspuren / Geißler, W. Kombination und Opfer im Schach. 100 Partie - Stellungen … 2. Folge. Nürnberg, ca. 1925. 8°. Mit 100 Diagrammen. 62 S., 1 Bl. Orig. geheftet. Linde - N. 2121. Zustand: Rücken verblichen.
Schachmatnyj Listok. Organ Wsesojusnoj Schachmatnoj Sekzii Wysschego Sowjeta Fisitscheskoj Kultury. Hrsg. von S. O. Wainstein, A. F. Ilin - Shenewskij u. a. 6. Jahrgang 1926, Nr. 1 - 24. Leningrad 1926. 8°. Mit vielen Diagrammen und wenigen Textabbildungen. 392 Seiten. Halbleinenband mit handbeschriftetem Rückenschild. (75)* Linde - N. 6325; Sacharow 934. Ohne Jahrgangstitel, mit Register. Zustand: Die originalen Umschläge sind eingebunden. Innen stark gebräunt und etwas fleckig. Wenige Seiten mit Defekten. Einband bestoßen, angestaubt und verblichen. Nicht einzeln kollationiert.
Breuer, Josef. Beispiele zur Ideengeschichte des Schachproblems. Herausgeber "Die Schwalbe", 1982. 8°. Mit 1 Porträt im Text und 1800 Diagrammen. 409 Seiten, 1 Bl. Originaler Leinenband. (95)* Zustand: Innen etwas gebräunt. Beiliegen: Tal, M. und Koblenz. Schachtraining mit Exweltmeister Tal. Düsseldorf, Rau, ca. 1978. 8°. Mit Diagrammen. 94 Seiten. Orig. geheftet. / Markgraf, H. Ingo - Regeln zur Berechnung der Turniererfolge im Schach. Hamburg 1970. 8°. 4 Bll. Orig. geheftet. / Hjorth, O. Die „Braunschweiger Wertung“ Ranglistensystem für Schachvereine. Das „Buchholz – Hjorth – Verfahren“ … Um 1975. 8°. 46 Seiten. Orig. geheftet. / Schuster, T. und H. Franke. Tips + Tricks aus Schachturnieren … Stuttgart, Franckh, 1984. 8°. Mit Diagrammen. 118 Seiten. Orig. geheftet. Zustand alle Beilagen: Teilweise mit privaten Stempeln und Gebrauchsspuren.
Schachmatnyj Listok. Organ Wsesojusnoj Schachmatnoj Sekzii Wysschego Sowjeta Fisitscheskoj Kultury. Hrsg. von S. O. Wainstein und A. F. Ilin - Shenewskij. 5. Jahrgang 1925, Nr. 1 - 24. Leningrad 1925. 8°. Mit wenigen Textabbildungen und vielen Diagrammen. 373 Seiten. Halbleinenband mit handbeschriftetem Rückenschild. (75)* Linde - N. 6325; Sacharow 934. Ohne Jahrgangstitel und Register. Orig. Umschläge eingebunden. Zustand: Paginierung springt. Innen stark gebräunt und etwas fleckig, teilweise stärker. Wenige Umschläge und Seiten mit Defekten. Einband bestoßen, etwas angestaubt und verblichen. Nicht einzeln kollationiert. Seltene Ausgabe.
Bogoljubow, E. Isbrannye partii. Sbornik schachmatnych partij igrannych w 1919 - 1925 gg ... Tschast perwaja (nicht mehr erschienen). Leningrad / Moskau, Kniga, 1926. 8°. Mit Textabb. und Diagrammen. 221 Seiten, 1 Bl. Neuer Leinenband. (71)* Linde - N. 3246; Sacharow 585. Mit Partien aus den Jahren 1919 - 1921, u. a. von Aljechin, Bogoljubow, Capablanca, Tarrasch. Zustand: Innen stärker gebräunt. Einband mit geringen Gebrauchsspuren. Beiliegt: Tarrasch, S. Tschto dolshen kashdyj snat' o mitel'spile (Tipitschnyje kombinazii i ataki). [Was jeder vom Mittelspiel wissen sollte] Leningrad / Moskau, Fiskultura i Turism, 1932. 8°. Mit Diagrammen. 107 Seiten. Orig. geheftet. Linde - N. 2127; Sacharow 616. "Bibliotetschka Schachmatista" No. 37 - 38. Zustand: Innen gebräunt und mit wenigen handschriftlichen Notizen. Umschlag etwas angestaubt und bestoßen.
Bilguer, P(aul) R(udolph) v. Handbuch des Schachspiels. 6. durchgehends verbesserte und vermehrte Auflage. Leipzig, Veit, 1880. 4°. Mit Diagrammen. XVI, 704 Seiten. Halblederband mit verblasster Rückenvergoldung. (95)* Linde - N. 718; Kieler Schachkatalog 2380. Mit eigenhändigem Namenszug von Oskar Cordel auf Vorsatz und eigenhändiger Widmung des Verlegers Hermann Credner für O. Cordel auf Titel: "Dem Mitarbeiter Herrn O. Cordel Hochachtungsvoll der Verleger Herm Credner". Der deutsche Schachspieler Oskar Cordel (1843 - 1913) erlangte als Schachtheoretiker Bedeutung und bereicherte die italienische und spanische Partie mit einigen Varianten. Hermann Credner (1842 - 1924) erwarb 1876 den Verlag Veit. " ... eine vollständige Analyse der Anfänge, so wie der regelmäßigen Spielendungen zu geben ..." Paul R. von Bilguer (1815 - 1840) begann mit der Arbeit an einem neuartigen Schachbuch, das nach seinem Tode 1840 durch von der Lasa zu Ende geführt wurde. Bilguers "Handbuch des Schachspiels" war über eine lange Zeit so berühmt, dass es einfach "der Bilguer" genannt wurde. "Es ist ... das wichtigste theoretische Werk der ganzen Schachlitteratur geworden." (v. d. Linde II, 15) Zustand: Buchblock gelockert. Innen gebräunt. Einband bestoßen. Rücken beschabt und defekt.
Yiannis Tsarouchis (Greek, 1910-1989)La garde oubliée signé en grec et daté '1955' (en bas à gauche)huile sur toile40.5 x 56cm (15 15/16 x 22 1/16in).signed in Greek and dated (lower left) oil on canvasFootnotes:ProvenanceBrooks Jackson - Iolas Gallery, New York.Alexander Iolas collection. Acquired from the above by the present collection.LittératureArchitektoniki magazine, no. 56, March-April 1966, p. 106 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299 (mentioned).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. II, p. 211 (illustrated). Y. Tsarouchis, Os Strouthion Monazon epi Domatos, Kastaniotis editions, Athens 1987, p. 42 (mentioned).Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 65 (mentioned), p. 59, fig. 54 (illustrated).Ioannis Tsarouchis by Alexios Savakis, Kastaniotis editions, Athens 1993, p. 148 (mentioned).Formerly in the collection of legendary Alexander Iolas1, this fine jewel painted at the height of the artist's creative powers, is a groundbreaking work2 that encompasses the defining elements of the so-called Tsarouchian universe, including the sailor—his signature subject and one of the most celebrated images of 20th century Greek art—the male nude, the coffeehouse, the stage-like design, the flower still-life, the mirror, and the dense cloud formation.The composition's3 title was given after comments made by a frame carpenter who was reminded of a military unit that served in the Middle East during WWII. As noted by the artist, 'due to the heat the men were nude, and yet in full gear. I must admit that the nudity of the two sailors ... didn't derive from memories of the Middle East, which I didn't have, but, from the writings of [Christos] Tsountas in his History of [Ancient] Greek Art. He referred to the ideal nudity of ancient Greek sculpture in general and specifically to that of the 'regiment' of the two Tyrannicides—Harmodius and Aristogeiton—which are stark naked, even though no citizen was in the nude during the Panathenaic Games. The combination of naked and clothed bodies is a Greek invention of the archaic period, which continued throughout the Classical and Hellenistic times to be maintained in certain pictorial forms during the Byzantine era ... and then passing from the Renaissance and Baroque up until the nineteenth century and beyond. It is rare for a pictorial convention to last throughout so many centuries.'4 Set against a dark background interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, and shadow-puppet folklore—three sailors, one dressed and two naked, seem integrated into their surrounding space, imbuing this mise-en-scéne with a meditative feel and suggesting balance between clothing and nudity. Simplification, limited colour scheme, confident brushwork, and shallow compositional structure build up a solid edifice of pure forms invested with mystery and allure.The subtle dialogue of forms creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity. As noted by Nobel laureate O. Elytis 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'5 1 Alexander Iolas (1907-1987) was a Greek collector and art dealer. Born in Alexandria, Egypt, he studied piano and dance in Berlin in the 1920s, fled to Paris after Hitler's rise to power, and became friends with prominent members of the avant-garde, including Giorgio de Chirico, Max Ernst and Pablo Picasso. He joined New York's Hugo Gallery as a director in 1944 and in 1955 he collaborated with former dancer Brooks Jackson to co-found Jackson-Iolas Gallery in New York. Soon after, he opened galleries under his own name in several cities around the world. 2 One of his first oils to introduce three-dimensional figures set against a shallow dark backdrop.3 The composition was repeated in two monumental, less painterly oils, The forgotten guard (left and right section), 1956, 210x145cm each section, and The forgotten guard, 1957, 210x145cm, both in private collections. 4 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.5 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Theofilos Hadjimichael (Greek, 1871-1934)La bataille de Kalambaka inscrit en grec (en haut et en bas)pigments naturels sur zinc51 x 71.5cm (20 1/16 x 28 1/8in).inscribed in Greek (on the upper and lower part) natural pigments on zincFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 8 au 11 novembre 2022. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 8-11 November 2022. This work will be located in Athens during the auction.ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. Acquired from the above collection by the present owner. ExpositionsMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 17 (listed in the exhibition catalogue).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 2 (listed in the exhibition catalogue). LittératureT. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, July 1955, no. 5 (listed).Anti magazine, vol. 2, no. 20, May 31, 1975 (discussed, p. 48 and illustrated, p. 49). Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 298 (illustrated).E. Papazachariou, The Other Theofilos, Kaktos editions, Athens 1997, pp. 126-127 (discussed).Tony Spiteris Archive, Tellogleion Art Institute, Photographs of Works by Theofilos Hadjimichael, p. 7, no. GR TITSpit 101102_148.'When I saw the Takis Eleftheriadis1 collection of Theofilos paintings hanging in his ample home in Petra, Mytilene, I was left with the impression that every single one of them was first rate.'2 - Odysseus Elytis'Just look at these Meteora, painted on a sheet of zinc, with their warm pinks and light blues giving shape to the rocks, with the dark blues of the uniforms animating the Battle of Kalambaka—a highly sophisticated harmony in two colours with just a few touches of red at the tip of the rocks and the Turkish garb'.3 - Alexandros XydisCrowned by the otherworldly rocky outcrops and majestic byzantine monasteries of Meteora, and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and General Ioannis Makriyannis, the painting displays a battle scene between a Greek military unit formation on the left, led by a moustached officer on horseback, and a batch of Turkish troops on the right.Based on the artist's lengthy inscription that frames the composition, the picture shows the victorious Battle of Kalambaka in which the Greeks, led by chieftains Christodoulos Hadjipetros and Nikolaos Leotsakos, defeated a force of Turks and Arabs in 1854. The fact that the horse rider on the left, sporting a large moustache and raising his sword, may be identified with Colonel Constantinos Smolenskis, the legendary hero of the 1897 Greek-Turkish war, shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. His subject is treated more as a backdrop, allowing him to express his fascination with the idea of gallantry and heroic achievement without having to succumb to historical accuracy.History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by the wealth of costumes, shinning flintlock muskets, fiery red fezzes and dazzling white fustanella kilts, the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign and which eventually became his signature attribute. Possibly, the Greek pallikare at the centre of the composition4 is a self-portrait since he holds the flag with his left hand.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The wealth of detail is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of bravery and legend they are invited to contemplate. Moreover, the linear arrangement, the symmetry and rhythm of the composition and the impression of an immutable reality, take us further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics -where all parts are generally set side by side in a paratactical presentation. All phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present.6 As noted by critic and writer Ronald Crichton, 'Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history.'7 1 'A citizen of Mytilene, Mr. Eleftheriadis, father of the Parisian art critic and publisher Teriade, took a liking for Theofilos's work and company and introduced him to his son and to a small circle of writers and art lovers in the town. Theofilos was encouraged to come to Eleftheriadis's house in the olive groves on the slopes above the town, to paint and to talk.' R. Crichton, 'Theofilos' Orpheus, vol. 2, London 1949, p. 156.2 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 56.3.A. Xydis, 'Fine Arts Chronicle', Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48.4 The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting. See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.5 See E. Papazachariou, The Other Theofilos [in Greek], Athens 1997, p. 127.6 See H. Kambouridis - G. Levounis, Modern Greek Art - The 20th Century, Athens 1999, p. 43.7 Crichton, p. 151.For further information on this lot please visit Bonhams.com
Périclès Pantazis (Greek, 1849-1884)Rocher d'Anseremme signé 'Pantazis' (en bas à droite)huile sur toile50.5 x 40cm (19 7/8 x 15 3/4in).signed (lower right)oil on canvasFootnotes:ProvenanceJean Renard collection.Galerie Georges Giroux, Brussels, December 7, 1925, lot 90.K. Stavrou collection, Brussels.Private collection, Brussels.ExpositionMetsovo, The Averoff Museum of Neohellenic Art / Athens, National Gallery and Alexandros Soutzos Museum, Pericles Pantazis 1849-1884, Un Peintre Grec en Belgique, September 7 - November 19 1996 / November 25 1996 - January 31 1997, no. 23, p. 36 (discussed), p. 37 (illustrated).LittératurePericles Pantazis 1849-1884, Evangelos Averoff-Tositsas Foundation, Athens 1994, no. 94, p. 204 (catalogued and illustrated).'Infinite chromatic shades of green, freely placed using small, dry brushstrokes in the foliage of the trees, which invade the entire verticality of the painting Rock at Anseremme (no.23) in the foreground, which constitutes an exceptional study of air movement through them, while their clear reflection make the grey-coloured rock shine through the brown-green tones, placed in brittle chromatic surfaces, full of substance, worked with spatula strokes.'1 1 O. Mentzafou-Polyzou, 'Themes et Images dans l'Oeuvre de Pericles Pantazis' in Pericles Pantazis 1849-1884, Un Peintre Grec en Belgique, exhibition catalogue, The Averoff Museum of Neohellenic Art - National Gallery and Alexandros Soutzos Museum, 1997, p. 36.For further information on this lot please visit Bonhams.com
Yiannis Moralis (Greek, 1916-2009)Épithalamique signé et inscrit en grec et daté '1968' (en bas à droite); signé et daté 'MORALIS/ATHENES/1958' (au revers) acrylique sur toile150.5 x 150.5cm (59 1/4 x 59 1/4in).signed and inscribed in Greek and dated (lower right); signed and dated (on the reverse)acrylic on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1972, no. 9 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April 18 - June 5, 1988, no. 62 (listed in the exhibition catalogue, p. 66).LittératureI. Petropoulos, Elytis, Moralis, Tsarouchis, Pleias editions, Athens 1974, p. 94 (listed), p. 134 (illustrated). Sima magazine, no. 22, March 1979, p. 43 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 169, p. 166 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 100 (illustrated).A milestone Moralis that stood out in the 1972 one man show for the dazzling whiteness of its sculptural forms set against a Mondrianesque grid of vivid colour, this monumental Epithalamio seems to recapitulate the artist's figurative achievement while boldly embarking on a new phase of pure abstraction. The pulsing balance between ochres, blues, reds and greys, shifting in temperature from warm to cool, conveys a tensile image of aethereal, almost musical beauty that captured the hearts and minds of the viewers.The abstractive motifs that distantly echo fragments of an ancient Greek temple, the shallow compositional depth, reminiscent of sculptural relief, and the rectangular format that alludes to the Doric metope, revive an archetypal universe from which the human form emerges. The symbolic figure of the young woman, the loving embrace, the angel1 on the upper left, the clear skies indicated by luminous patches of blue, and the serene rhythm dictated by the classical sense for human scale, compose an evocative representation informed by the timeless values of ancient Greek art. Paradoxically, the more 'modern' Moralis became the more classical, the more 'ancient' he tended to be.'2 Echoing age-old memories of antiquity's nuptial songs dedicated to the bride and sung on the way to her marital chamber, Moralis's famed epithalamia series represent both a continuation of and a departure from his epitymvia compositions. Defined by an intricate fabric of highly abstractive shapes, the pictorial space celebrates the erotic union of man and woman with their bodies often merging into a single form. Prefacing the 1972 show, Nobel laureate Odysseus Elytis noted that by using a limited vocabulary of form, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. 'Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision. ... The earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship. ... A longing for the monumental has always driven the painter's hand to organise and balance his forms on an intellectual edifice, bestowing on even his most sensual conceptions a feeling of mystery and a Biblical sense of the sacred.'3 1 The angel is a recurrent theme in Moralis' art, frequently signified by just one wing. See Y. Moralis, Angels, Music, Poetry [in Greek], exhibition catalogue, Benaki Museum, Athens 2001.2 M. Lambraki-Plaka, 'Yannis Moralis, a 20th Century Classic' in A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2011, p. 12.3 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Three Bing tinplate buildings Three Bing tinplate buildings to include a station platform with a picket fence and many early 20th century advertisements such as Virol, Bovril and Nestle. A signal box with an exterior staircase and a station with sheltered seating. Also included is a railway signal, a single length of 92cm O gauge PECO track, four cast metal figures and a cast metal lamp post.
2 Corgi Aviation Archive 1:32 scale aircraft 2 Corgi Aviation Archive 1:32 scale aircraft to include a boxed World War II Europe & Africa Supermarine Spitfire Mk11A -P7966, D-B O/C Tangmere (Wing Commander Douglas Bader) AA33903 and a boxed World war II Fleet Air Arm limited edition Hawker Sea Hurricane 1B, No.880 Sqn. Fleet Air Arm, HMS Indomitable, Indian Queen, May 1942, AA35504
Comprising of: 1 - Nature, A Weekly Journal of Science, No.3414, Vol.135, Saturday April 6 1935, F. W. Aston's paper: Masses of some light Atoms determined by a new method [p.541] (Nobel prize in chemistry 1922) 2 - Proceedings of Royal Society, Series A Mathematical & Physical Sciences, No.902, 1 June 1937, Vol160, H. O. W. Richardson's paper: The Nuclear B-Rays of Radium D [p.454 - p.463] (Nobel prize in physics 1928) 3 - The London, Edinburgh and Dublin Philosophical Magazine and Journal of ScienceVol. 50 October 1925 No.298, Prof. C. V. Ramen F. R. S. University of Calcutta's paper: On the nature of the disturbance in the second medium in total reflection [p.812 - p.815] (Nobel prize in physics 1930) 4 - Le Radium, Tome IV No.1 Janvier 1907, Otto Hahn's paper Sur le radioactinium [p.30 - p.32] (Nobel prize in chemistry 1944) 5 - - Nature, Vol.178, No. 4548, Saturday December 29 1956, R. Hanbury Brown, Jodrell Bank Experimental Station Cheshire and R. Q. Twiss Radiophysics Laboratory, Sidney's paper : The questions of correlation between photons in coherent light rays [p.1447 - p.1450] 6 - Scientific American, September 1950, Linus Pauling's paper: Chemistry [p.32 - p35] (Nobel prize in chemistry 1954) 7 - Science, January 1 1954 Volume 119, Number 3079, V. Prelog's paper: Nomenclature of Cyclohexane Bonds [p.49] (Nobel prize in chemistry 1975) 8 - Science, June 25, 1954, volume 119, Number 3104, George Wald's paper: On the mechanism of the visual threshold and visual adaptation. Identification of a violet receptor in human color vision [p.887 - p.892] (Nobel prize in physiology or medicine 1967) 9 - Science, September 10, 1954, volume 120, number 3115, Edgar Aurbach and George Wald's paper: Identification of a violet receptor in human color vision [p.401 - p.405] (Nobel prize in physiology or medicine 1967) 10 - Science, 29 October 1954, Volume 120, Number 3122E. D. Adrian's paper: Science and Human Nature [p.679 - p.684] (Nobel prize in physiology or medicine 1932). 11 -Science, 5 November, Volume 120, Number 3123, W. F. Libby's paper: Chicago Radiocarbon Dates V [p.733 - p.742] (Nobel prize in chemistry 1960) 12 - Science 26 Novemebr, Volume 120 Number 3126, Fritz Lipmann's paper: Development of the Acetylation problem, a personal account [p.855 - p.865] (Nobel Prize in physiology or medicine 1953)
A Modern Three Stone Ring, claw set graduated stones, with twist style setting, between plain shoulders stamped "375" (finger size O1/2), two cluster rings, both stamped "9ct" "Dia" (finger sizes L, O) and a 9ct gold two tone band, of openwork design (finger size H) (total weight 8.5grams). (4)
Diamond single stone ring, the white mount stamped '18ct', the old mine cut diamond measuring approximately 5.9mm x 5.7mm x 4.2mm deep, calculated as weighing approximately 0.9 carats, size O, 4.3g gross approxThe old mine cut appears fairly white with a hint of colour. There are no obvious visible inclusions but there is an inclusion/small abrasion to the edge of the girdle that runs towards the table., approx SI clarity. The claws are all present with signs of wear from age and use. Signs of sizing to the shank which is stamped ‘18ct’.
Fifteen stone diamond 18ct white gold half hoop ring, the baguette cut diamonds totalling approximately 0.7 carats estimated, size O, 6.1g gross approxDue to the setting and the shape of the stones, it is not possible to give individual carat weights. I estimate the clarity to be SI approx, due to evidence of some small inclusions throughout some of the diamonds, which are not visible to the naked eye. The diamonds all appear white and bright, with no tint of colour.
Early 19th Century jug of shouldered form with scroll handle, painted and transfer-printed with a verse 'Give me a bumber fill it up / See how it sparkles in the cup / O shall I regale / Can any taste this drink divine / And then compare rum brandy wine / Or aught with nappy ale', enclosed by a garland and initials, flanked by vignettes of drinkers; together with a lustre jug, painted with an inscription dated 1820 within love heart, and printed with scenes of a Gothic house within garden landscape, possibly Newstead Abbey, 16cm high and smaller (2)The 'Give me a bumper fill it up' jug has a chip to the base rim (approx 1.5cm long) and stains around this area. The lip also has a chip. There is a dull ring to the whole piece with evidence of a star crack to the base and hairlines to the body. There are some production flaws such as areas where the glaze has not caught, etc. Some nibbles to the edges and raised areas. Possible signs of restoration, particularly to the handle, but nothing shows up under UV light.The larger lustre jug has a large amount of damage and has been in several pieces at one point and glued back together.
Single stone diamond ring, the old brilliant cut estimated as weighing approximately 0.5 carats, size O½, 4.8g gross approxThe diamond measures approx 5mm diameter x 2.6mm deep. The diamond is bright with a light-yellow tint. No obvious visible inclusions with the naked eye, approx SI clarity. The claws are all present, some with evidence of repairs. The shank has been resized, with evidence of sizing to the shoulder. **General condition consistent with age and use.
![* Scott (Robert Falcon, 1868-1912). Antarctic explorer. Autograph Signature, ‘Robt. F Scott’ / ‘Discovery’’, [1904], inscribe](https://cdn.globalauctionplatform.com/232ef99e-da70-4638-9ab5-af42011b5f2d/70652415-995c-4b74-8a66-af4301139e41/468x382.jpg)
* Scott (Robert Falcon, 1868-1912). Antarctic explorer. Autograph Signature, ‘Robt. F Scott’ / ‘Discovery’’, [1904], inscribed on a large album page removed from a visitors’ book with discreet date (1904) to the left of each entry in another hand, with 6 further signatures on the same page: Admiral Edward Field (1828-1912). Royal Naval officer and Conservative politician; H[ugh] O[akeley] Arnold-Foster (1890-1965). Politician, writer and Secretary of State for War; [Sir Henry Macleod] Leslie Rundle (1828-1912). British Army General; Alice Blanche Balfour (1850-1936). Scottish entomologist, naturalist & scientific illustrator; Orlando Bridgeman [Earl of Bradford and later Viscount Newport] (1873-1957). Conservative politician and soldier; David Ward (not traced); and 6 further signatures to verso: Howard of Effingham (1866-1927); Colonel George Charles Bingham, 5th Earl of Lucan (1860-1949); Claude Hamilton (1843-1925); Henry de Vere Vane, 9th Baron Barnard (1854-1918); plus 2 further signatures of untraced ‘James Lowther’ and ‘George Barnsley’ QTY: (1)
* Clarke (John, 1760-1815). Licentiate in Midwifery of the Royal College of Physicians. Lectures on Midwifry on Diseases of Women & Children, &c by Doct[o]r Clarke, at No. 1, New Burlington Street, London, 1802 & 1803, by Samuel Head, manuscript lecture notes with sections on diseased menstruation, profuse menstruation, anatomy of female parts of generation and diseases thereof, physiology of generation, treatment of diseases during pregnancy, abortion, labour and difficult labours, preternatural labours, complex labours, diseases in consequence of parturition and the gravid uterus (?Mr Wilson's lectures), written in a neat hand with many rectos blank or partially completed with notes relating to facing page, index at rear with a final page on observations on puerperal fever by Dr Armstrong of Sunderland, a total of approximately 250 pages including index, mostly with folio numbers but sometimes marked with page numbers, one marginal tear with small loss (folio 18) and lower half of folio 37 torn away and missing, contemporary sheep, worn, spine broken and many gatherings and leaves detached, 8vo (195 x 125 mm)QTY: (1)NOTE:John Clarke was one of ten licentiates in midwifery at the College of Physicians. His publications include: An Essay on the Epidemic Disease of Lying-in Women, of the Years 1787 and 1788 (1788), Practical Essays on the Management of Pregnancy and Labour (1793) and the textbook, The London Practice of Midwifery, first published in 1803. Clarke gave courses on midwifery and the diseases of women and children with Dr Osborn, both at St Bartholomew's Hospital, and at his home in New Burlington Street.The student who compiled these lecture notes was Samuel Head (c. 1773-1837), a Candian doctor, merchant and judge. Head was born in Halifax, Nova Scotia. but received his medical training in England and in 1803 became a member of the Royal College of Surgeons of London. He moved back to Halifax where he started a practice in surgery and medicine in about 1804 where he also ran a pharmacy which had been established by his father before him.The Royal College of Surgeons of England have eleven manuscript notebooks of Dr John Clarke's lectures on midwifery kept by William Prosser, ref. MS0081/2.
* The Wreck of the Glencairn. An original manuscript account describing the events of the wreck of the Glencairn, by apprentice seaman Colin C. Watson, c. 1907, written up after the event in a fair hand, describing the events from leaving Rochester bound for Portland, Oregon, striking a rock off Tierra del Fuego, losing two crew members and the ensuing events on shore, a little spotting and creasing, old pin to top corner, 13 pages (over 3,000 words) on 13 leaves, 4to, together with a testimonial for Colin C. Watson serving as an apprentice in the "Glencairn" and "Fifeshire" for a period of 12 months, signed by the Master, John Nichol, one page, 4to, plus a contemporary cabinet card photograph of the young Colin C. Watson in naval attire, slightly trimmed at foot of mountQTY: (3)NOTE:A harrowing eye-witness account of the wreck of the Glencairn by an apprentice on board. The Glencairn left Rochester on 9 May 1907, bound for Seattle, with twenty-five crew plus the Master's wife and child, the boat carrying 2,375 tons of cement. It struck rock off Tierra del Fuego and the party was forced to abandon ship, two crew members being lost when leaving. The letter carries on to describe Watson's version of the story until their fortuitous rescue by Lucas Bridges. Bridges gives his own account of events when he encountered the shipwrecked party in his autobiography 'Uttermost Part of the Earth' (1948). Chapter 46, pp. 463-72.Watson was to continue his naval career, serving as a P & O Captain for some thirty years. See following lot.A full transcription of this manuscript is available on request.Selected extracts:' We were to go through the Maine Strait between Hadon Island and the mainland (Tiera del Fuoga). I happened to be at the wheel at the time we were making the entrance of the strait. Suddenly a furious snow squall sprung up and the land was obliterated from view. I noticed a slight shock followed by a heavier one and say out to the Captain “We are on the ground Sir”. The next instant we had crashed upon a sunken ?, and the men came running aft in response to the shrill whistle of the First Mate summoning them. The squall was but the precursor of a typical Cape Horn Blow. Wind and sea increased rapidly and soon the decks were being swept by heavy seas which thundered over the poor old stricken ‘Glencairn’ smashing up rails, doors etc. and smashing everything moveable over the side. With terrible difficulty we succeeded in launching our two lifeboats. One was taken forward and then commenced the task of loading the boat. The Captains wife and child and the Stewardess were about to be lowered into the boat in which three men were busy fending her off the ships side when a huge sea capsized her carrying away the panels? by which she was secured to the ship. Powerless to help we saw one of our unfortunate shipmates drown before of our eyes, one man had disappeared entirely whilst the other had succeeded in clambering up on the overturned boats stern and sticking his feet in the lifelines clung desperately to the heel. He soon drifted out of sight into the whirly snowstorm.The Captain then called for volunteers to go off in the sole remaining lifeboat to attempt a rescue. The foreign element in the crew objected to this. I pleaded that it was madness to risk the lives of all in an attempt to recover one man. I pointed out that should the boat be lost we should all inevitably drown. They asked him if he wished to imperil the lives of his wife and child. He quietly replied that while there was a chance to save the man he would see that some effort was made and ordered away the boat in search. Then followed a scene which is terrible to relate. Half mad with fear and convinced of their doom they broke into a whisky case they had pilfered from the lazaretto? whilst provisioning the boats. Sea ? continues to sweep the decks and one by one they fell dead drunk their bodies washing about the decks.''The second mate explained the impossibility of landing, heavy seas and precipitous cliffs, and then for the first time did the Captains wife break down. Throughout all the previous horrors she had maintained a calm courage – an unwavering faith that God would save her and the dear ones - and now at last the appalling hours in the open boat, and the apparently hopeless possibility of being saved crushed her hitherto plucky spirit. Yet another ghastly night we spent, the vessel noticeably sinking beneath us. Early the next morning before daylight the first mate and I crawled down the fore hold? to see how the water was forward. It was a ghastly sight. Muddy dark water swishing about the hold and thousands of rats squealing with fear perched all round the slingers?. The feeble light from our lantern accentuated the horror of it - the rats did the rest. We both lost nerve and made a rush to get on deck again. When daylight broke we were labouring and wallowing in a still heavy sea and the water nearly up to our scuppers. We then launched the dinghy - a mere cockleshell - and one by one filled the lifeboat and the remainder by the dinghy. It was a dangerous business - poising oneself on the rail and then taking a flying leap into the boat.''To my astonishment I saw the Captain who was ahead of me endeavouring to make himself understood to a couple of natives. Huge fellows they were, both of them well over six feet; clad only in a guanaco skin - carrying bows and arrows, and accompanied by two exceedingly gaunt and hungry looking dogs. They were quite friendly - much to our relief – for we had understood that the natives had cannibalistic proclivities. They belonged to a wandering Tribe of Ona and their Chief being able to speak a little Argentine helped matters a lot, one of our crew being also able to speak the language. They conducted us to a gap in the cliffs and soon found ourselves at their encampment, consisting of a few wigwams and populated by about twenty natives - men women and children.''I was in the search party, going down to the shore was just in time to see our old ship break up. The foremast fell forward followed by the main. The riggers fell aft and an hour later the jigger disappeared. Then she broke up completely and by afternoon the shoreline a couple of miles was strewn with wreckage. I made an excellent “find” - a drowned hen, and a piece of salt pork which I carried in triumph to the camp. Unfortunately very little of an edible nature washed ashore. My only rival as a caterer being an A.B. who had got a dead pig.For a week we existed in this manner eking out our scanty stores with mussels and shell fish gathered on the rocks. We also killed a sea lion portions of which we ate. The natives were good to us and gave us portions of a guanaco they had shot. Our cooking was somewhat primitive. We cut sharp twigs? And sticking a piece of meat on the end held it in the fire and then holding it in our fingers gnawed the “charred” outside “raw inside” flesh. The shell fish soon became nauseous and the sodden biscuits were getting “horribly less” as the 2nd mate put it and so the Captain and his AB interpreter held a conversation with the natives. We then learnt that many miles up country lived a man named Bridges engaged in sheep farming. The 2nd mate and one AB, therefore set out with an Indian guide to endeavour to find this white man. Succour from the reward? was impossible and on the hope that these two would bring us help rested our hopes.'
A late 20th century ruby and diamond cluster ring, claw set oval faceted ruby, approximately 5.7 x 4.8 x 3.85mm, estimated approximate weight 0.90ct, surrounded by eight round brilliant cut diamonds, estimated approximate total diamond weight 0.60ct, tapered chenier shoulders, 'D' shaped shank, size O, hallmarked Birmingham, 18ct gold, weight 4.1g
A diamond cluster ring, central claw set round brilliant cut diamond, estimated approximate weight 0.25ct, surrounded by twenty nine single cut diamonds (one lacking) estimated approximate total diamond weight 1.00ct, tapered split shoulders, grooved shank, size O½, unmarked, tested as 18ct gold, weight 6.6g
A sapphire and diamond cluster ring, claw set oval faceted sapphire, approximately 7.6 x 5.9mm, estimated approximate weight 1.00ct, surrounded by twelve round brilliant cut diamonds, estimated approximate total diamond weight 0.36ct, tapered chenier shoulders, 'D' shaped shank, size O, unhallmarked, stamped '18CT', weight 3.8g
Breitling - A steel 'Co-Pilot' chronograph wristwatch, circa 1969, model number 7650, serial number 1278074, the signed circular 'reverse panda' dial, 36mm diameter, with luminous batons and hands and centre chronograph sweep, subsidiary running seconds register at 9 o'clock, hours at 6 o'clock and 15 minute register at 3 o'clock, signed 17 jewel mechanical crown wind column wheel Venus chronograph movement number 37-16, calibre 178 TJ, with start/stop and reset pushers above and below the liveried crown, case, 42mm, black division 12 bezel, verso screw down, signed and numbered 7650 127804, interior signed, to an aftermarket black nylon NATO style strap with gilt pin buckleProvenance:Formerly the property of a British Olympic marathon runner.The Navitimer, arguably Breitling’s most famous creation, is often described as the ultimate wrist-worn instrument for pilots, enabling them to complete all manner of calculations with its rotating slide-rule. However, pilots also need a robust and functional chronograph to time any event and easily read the time on their wrists while holding the control column.In the early 1950s, and with that in mind, Willy Breitling designed a new chronograph to complement the Navitimer, and chose a name that perfectly reflected the concept - the Co-Pilot. The first Co-Pilot was launched in 1953.In addition to the standard chronograph, the sub-dial at 3 o’clock features a 15 minute counter – the standard time allowed for an aeroplane ground check before take-off.This Breitling Co-Pilot ticks all the boxes for the vintage chronograph collector, including the sought after 'reverse panda' dial (black dial with white sub-dials).Crystal - Complete and secure. Multiple scratches all over, some quite deep, together with some crazing, particularly to the centre area.Dial - Generally in good condition. Some minor staining and deterioration of the lume to the batons and hands, more noticeable under magnification. A very minor mark to the dial at the bottom of the 11 o'clock baton and between the 4 and 5 o'clock batons, both visible under magnification.Case - Generally in good condition with just the usual 'wear and tear' surface scratches. The bezel does not rotate.Movement - Appears to be in full working order, though untested for timekeeping and endurance. The chronograph operates satisfactorily, the pushers work well, and the sweep flies back to 12 o o'clock when reset.
A George IV silver wine funnel, mark of William Bateman I, London 1821, of traditional form, lower body and upper funnel with gadroon decoration around two cartouches, one vacant, the other monogrammed, friction fitting inner section with gadroon and shell rim, pierced well and reeded edged removable O ring, 8.5cm diameter, 15cm high, 5.3oztLower and spout section - Some minor surface scratches as to be expected. Hallmarks a little worn but readable.Muslin O ring - In good condition. Part mark to the outer has caused minor local distortion to the rim. A good tight friction fit to the upper.Upper section - Evidence of repaired cracks to the underside of the gadrooned rim in a number of places. (see images). Rim a little misshapen. A good tight friction fit to the lower section. Some minor surface scratches as to be expected.
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