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Lot 4400
Army Trades "There's a future in it, Chum" Original vintage World War Two propaganda poster: "There's a future in it, chum. Already 43 Army trades are recognised by the Trade Unions. 5 years in the new regular Army trains an unskilled man for well-paid trade. Apply to the nearest Recruitment Centre or write to the War Office AG10 (R) London SW1." Image on a blue backgroud of a smiling British soldier wearing a beret with the text around him. Printed by Fosh and Cross Ltd London for Her Majesty's Stationery Office. Very good condition, minor folds. Original Vintage Posters Propaganda Posters UK , 1940s , 35.5x23.8cm
Lot 4500
Cycling Proficiency Certificate Original vintage poster for the Cycling Proficiency Certificate - Have I passed? Ask for details from your Teacher or your local Road Safety Committee. Great image of a young boy ('John Jones') on his bike with an instructor holding a notebook, a school playground in the background with more children riding bicycles. Good condition, repaired tear, folds. Original Vintage Posters Propaganda Posters UK , 1950s , 50x38cm
Lot 4603
Original vintage propaganda poster: Kill That Mosquito! Image of a young man holding up a stick to hit a fly on a sleeping man's head, with Chinese text in his speech bubble. Fair condition, folds, repaired tears, translation in pen on top margin. 1960s, design by , Hong Kong, size 47.5x32.5cm
Lot 4403
Use Boiled Water WWII Home Front. Original vintage poster. Original vintage World War Two propaganda poster issued in England by the H.M. Stationery Office with the slogan, Use Only Boiled Water for Drinking, Preparing Food and Washing Up, Boil All Milk. Quirky motivational poster with a Royal Crest above the writing. Very good condition, folded as issued.. UK, 1940s, designed by Uknown, 1940s, 76.5x51cm.
Lot 297
‘My cell window bars seem to me to become darker….’ FRITZSCHE HANS: (1900-1953) German Nazi Official of World War II, Ministerialdirektor of the Reich Ministry of Public Enlightenment and Propaganda. Fritzsche was present in the Fuhrerbunker during Adolf Hitler's last days and stood trial at the Nuremberg Trials where he was charged with conspiracy to commit crimes against peace, war crimes and crimes against humanity. Fritzsche was one of only three defendants at the trials to be acquitted. Rare T.L.S., Hans, in pencil, one page, folio (official partially printed Prisoner of War folding stationery), Nuremberg, 26th March 1946, to Hertha Schade, in German. Fritzsche thanks his correspondent for her letter and good wishes, although remarking 'Please don't send parcels or enclose anything in envelopes, letters only are permitted'. He further writes of Karin and Gisela, asking his correspondent for an account of them, 'How did they look? Sad? Thin? Worn out? I want an honest account. You can imagine my worries about you and your future. My absolute powerlessness to help you is hard for me to bear. Your loving act in taking responsibility for little Gisela was a great comfort' and also refers to his situation at Nuremberg, 'My mood is going up and down while I wait until at last I am allowed to speak. Hopefully, I can then, after long solitary confinement in silence, express what, for the people's sake, I am determined to say. My cell window bars seem to me to become darker….' A few extremely small, very minor tears at the edges, largely at the folds, VG
Lot 196
Vladimir Dionisievich Kalensky (1920-2008), Long Live Socialist Revolution!, a Soviet propaganda poster, printed in Moscow, 1987, in nine sections, 98 x 66 cm (section) Other Notes: Kalensky attended the Stroganov Academy of Applied Arts and won the People’s Artist of the Russian Federation award.
Lot 784
Marcus Aurelius, as Caesar, AV Aureus. Struck under Antoninus Pius, Rome, AD 148-149. AVRELIVS CAESAR AVG P II F, bare head right / CONCORDIA TR POT III COS II, Concordia standing facing, head left, sheltering with her mantle small draped figures of Marcus Aurelius (on the left) and Faustina Junior; both figures of Aurelius and Faustina are standing facing, their heads turned toward Concordia. RIC III 441 (Pius) var. (COS II in exergue); Strack 205 (Pius) var. (same); Calicó 1820a; Biaggi –; BMCRE 680 (Pius) var. (same). 6.59g, 19mm, 5h. Extremely Fine. Very Rare, only three examples on CoinArchives. Ex CNG Triton XVII Sessions 1 & 2, 7 January 2014, lot 714. Beautifully rendered on this reverse of this stunning aureus is a charming scene representing the harmony (concordia) that prevailed between Marcus Aurelius and Faustina Junior, who had been married in AD 145. Struck under Antoninus Pius, the depiction of Concordia gathering and sheltering Aurelius and Faustina near her, a representation of harmony in marriage and hope for a life of happiness, belies nothing of the forethought and planning that was undertaken to arrange the match. Instituted by Hadrian during his final two years of life with his adoption of Pius and the subsequent direction for Pius to adopt Aurelius, the wedding commemorated on this coin was, as seen under Roman law, of a brother marrying his sister and Pius would have had to formally release either the bride or groom from his paternal authority in order for the ceremony to go ahead. Inauspicious as the legal challenges may have been at the start of their union, Aurelius and Faustina were married for thirty years and Faustina bore thirteen children over this period, heralding a time of stability in the imperial family. As Carlos Noreña posits, "With the decline of independent senatorial authority and concurrent ascent to power of those individuals who had privileged access to the emperor, especially emperors' wives, concordia within the imperial family, above all between emperor and empress, became paramount." (Imperial Ideals in the Roman West: Representation, Circulation, Power, CUP 2011). Following the carefully orchestrated succession organised by Hadrian, propaganda such as this reverse type, which emphasised the harmony and benefits brought to the empire by the Antonine dynasty, were plentiful and became a lasting feature of imperial coinage.
Lot 1025
Constantine II, as Caesar, AV Solidus. Treveri, AD 326-327. FL CL CONSTANTINVS IVN N C, laureate head right / PRINCIPI IVVENTVTIS, Constantine II standing right, in military attire and with cloak spread, holding transverse spear in right hand and globe in left; TR in exergue. RIC 500; Alföldi 347; Depeyrot 31/1. 4.58g, 20mm, 6h. Good Extremely Fine. Very Rare. From the Ambrose Collection; Ex Andre Constantine Dimitriadis Collection; Ex Dreesmann Collection, Spink London, 13 April 2000, lot 150. With his defeat of Licinius in 324, Constantine I finally secured sole rule over the empire, thus conferring greater responsibilities onto the capable shoulders of his son and heir Crispus. The young Caesar had been appointed Commander of Gaul after his accession in 317, and had shown himself to be a highly capable military commander on both land and sea. His successful command at the naval engagement of the Hellespont and of part of the army at Chrysopolis contributed significantly to Constantine’s victory over Licinius. Crispus was honoured with statues, mosaics and cameos. Yet in 326 Constantine mysteriously ordered the execution of his beloved son, apparently at the instigation of his wife Fausta, motivated by jealousy and ambition, who falsely claimed Crispus had attempted to rape her. This led to the elevation of Constantine II as commander of Gaul in the same year, despite his being only ten at the time. Depicted here possessing the clear likeness of his father, the young Caesar is also portrayed on the reverse in his role as Prince of Youth, armed and garbed in military dress. An important part of the imperial propaganda, this coinage was intended to inspire public confidence in Constantine Caesar and to reassure the population of the empire that the line of succession remained secure.
Lot 674
Civil War, Vindex AR Denarius. Uncertain mint in Gaul, AD 68. MONETA, head of Juno Moneta to right, PACI•P•R, clasped hands holding winged caduceus. Martin -, cf. 55 for obverse type and 41-43 for reverse type; BMC -; RIC -; C. -; Nicolas -. 3.83g, 17mm, 6h. Near Extremely Fine. Unique and unpublished. Of great numismatic interest. Vindex was a descendent of a family of chieftains granted Roman citizenship during the time of Julius Caesar and who were admitted to the Senate by Claudius. On account of this it is tempting to view his revolt as a campaign for Gallic independence. The numismatic evidence, however, suggests the contrary and demonstrates that rather than having an anti-Roman agenda, Vindex was specifically anti-Neronian and anti-tyrannical. Indeed, allegedly in one of his speeches he condemned Nero on all fronts, only complimenting him when he stated he had done the right thing putting his own mother to death, as she had borne such a monster. His coinage employs consistently Augustan propaganda, recalling the great Pax inaugurated by Augustus following his defeat of Marc Antony, as seen on the reverse of this coin. The coins of Vindex are notoriously rare and difficult to obtain. Until relatively recently they had largely been ignored by scholars, though in the 1970s Peter-Hugo Martin, Colin Kraay and Etienne-Paul Nicolas all published studies on this obscure series. Despite the revolt being brief, a matter of just a few months, the coinage is exceptionally diverse. This is due in great part certainly to the large number of men Vindex was able to call to his standards - by his account, over 100,000 though more probably about 20,000 as reported by Plutarch - and the need to pay them. This remarkable and unique coin pairs Juno Moneta (Juno 'who warns') with a reverse type that is only otherwise known with an obverse type featuring a female head and the legend BONI EVENT (Martin 41-43). The Juno obverse was previously known only with a reverse that reproduced the types of T. Carisius (Crawford 464/2), which had been struck a little over a century before. In that context the head of Juno Moneta must be connected to the coinage implements depicted on the reverse (namely the dies and tongs), and her depiction should be understood to be in the guise of the protectress of the money. Juno Moneta's appearance here cannot be a mere error of mixed die sets, since the portrait is of a significantly superior style to that used to strike Martin 55, which is crude and shrewish. It is worth noting that the obverse type of Juno Moneta is also used on the denarii of L. Plaetorius Cestianus (Crawford 396/1), where it is paired with a reverse type of no connection to monetary matters. The massive 10th Century encyclopedic work known as the Souda draws on old oral traditions that Juno had counselled the Romans to undertake none but just wars. Roman tradition also revered Juno as a protectress who warned of impending disaster and of how to avert it; Cicero suggests that the name Moneta derived from the verb 'monere', because during an earthquake, a voice from her temple had demanded the expiatory sacrifice of a pregnant sow to stay the tremors. He also connects her epithet to the old legend wherein Juno's sacred geese had warned the Roman commander Marcus Manlius Capitolinus of the surprise attack made by the Gauls during the siege of the city in 390 BC. We may therefore interpret her presence in this instance as being that of a protectress of the Roman people, and patroness of a just effort to remove the cancer at the heart of the empire.
Lot 445
Postcards Album a collection of approx 280 cards rom the early 1900's in vintage album including, Dudley Buxton - Comic, Social History, Historic Buildings, RP's including nice example o a shepherd with his flock, Royalty, ( prince John), Hunting with hounds, Birds ( Maud Scrivener), Propaganda and more ( some pin damage) Fair /Good
Lot 275
A book containing uncirculated, unmarked and used pre-war and post war stamps from Northern Rhodesia, Southern Rhodesia, Rhodesia and Nyasaland, Botswana, Orange State, Zimbabwe, Sabah, Z.AFR.Republiek, British South Africa Company and German including high value Deutsches Reich, Transkei, Reichspost, Bayern, Reichspost, K.Wurtt.Post, Deutsche Feldpost, Luftpost, Guernsey & Jersey (occupation), FUTSCHES REICH Operation Cornflake propaganda stamps, Grossdeutsches Reich, Danzig, Zone Francaise etc (20 sheets)
Lot 24
Sculpture: An important and monumental carved sandstone figure of a Russian revolutionary holding a red flag mid 20th century 238cm.; 94ins high This lot and the following two lots, 25 and 26, originally stood on the roof of the Communist Party Headquarters in Prague, and were removed following the 'Velvet Revolution' of 1991. In 1950 a set of six statues were commissioned of which three are offered here. Each was carved from a two ton block of sandstone, and since Czechoslovakia had recently become a Communist satellite, they fulfilled a primarily propaganda role in glorifying the exploits of the October 1917 revolution. It is certainly no coincidence that lot 25 looks like an idealised heroic representation of Stalin himself, who, prior to his death in 1953, still ruled the USSR with an iron fist. Given pride of place on the parapet of the Communist party headquarters, which later became the Lenin Museum, they were carved collectively by three of the leading Czechoslovakian sculptors of the time, Svata Hajerova, Irena Sedlecka and Ludvig Kodym. All three were awarded the prize of City of Prague and were Laureates of the State Prize for previous achievements. Of the three Irena Sedlecka is the only one still living and who went on to become a well-known sculptor in the West. Born in 1928 in Plzeò, Czechoslovakia, she studied at the Academy of Fine Arts in Prague and was awarded the Lenin Prize for sculpture before fleeing the communist regime in 1967. Her first private commission in Britain, in 1975, was from Kathleen Hunt of Walthamstow, for a 70cm resin statue of the Virgin Mary and the baby Jesus (The Madonna). She has sculpted many monumental portraits and busts since, including Freddie Mercury of Queen, now in Montreux, Switzerland; Beau Brummell in Piccadilly, London, and many in private collections. (Her statue of Mercury served as a model for the large illuminated statue that currently dominates the front of the Dominion Theatre in London since the May 2002 premiere of the musical We Will Rock You.) Commissioned portrait heads include Laurence Olivier (she also modelled the huge head used for his appearance in Dave Clark's musical Time at the Dominion Theatre), Donald Sinden, Paul Eddington, Richard Briers, Jimmy Edwards, Ted Moult, Bobby Charlton, Lord Litchfield and Sir Frank Whittle. In August 1992 her work was shown at the Czech Embassy in London as part of an exhibition devoted to the work of five distinguished Czech émigré sculptors. She has been married several times, lastly to the sculptor Franta Belsky, who died in 2000. In late 2010, visual artist Aleksandra Mir befriended Sedlecká. A series of interviews in the following spring led to the publication of a monograph on Sedlecká's life and work together with an unsolicited proposal of bringing the statue, now exiled in Montreux, back to London on temporary loan and to place it on the 4th Plinth in Trafalgar square. The idea has been met with varying reactions while the petition continues to gather signatures from all over the world.
Lot 587
Three Anti-Semitic propaganda items, c.1938/40, one a French booklet published by the Institut d’etudes des questions Juives entitled “Le chancre qui a ronge la France”, one a French leaflet warning to avoid Jews operating the black market and one a German coloured postcard with franked stamp to reverse linking Jews to Bolshevism (3) Condition reportGood condition
Lot 539
1971 (August-September). Sinn Féin propaganda overprints on British stamps, used on cover. Three covers, one with Ulster '71 3p overprinted SAOIRSE ÉIREANN / FIGHT FOR / UNITED IRELAND / 1916-1971, others with Northern Ireland regional stamps overprinted SUPPORT / SINN / FÉIN and DAIL /ULADH / 1971, the first with SEVENOAKS KENT machine cancel of 20 August 1971, the other two with BELFAST circular datestamp cancels.
Lot 397
A Russian plate in the Soviet propaganda style 20th century, after a design by Mikhail M. Adamovich, painted with a portrait of Lenin, ration cards and the slogan 'He Who Does Not Work Does Not Eat', blue hammer and sickle mark, and a Continental porcelain plate decorated with panels of flowers in the manner of Meissen for the Turkish market, interlaced LL mark, 24.8cm max. (2) Cf. Nina Lobanov-Rostovsky, Revolutionary Ceramics, pl.2 for the original design of the Russian plate.
Lot 400
Two Russian porcelain cups and saucers with Soviet Propaganda designs, Imperial Porcelain Manufactory dated 1892, 1898 and 1917, one painted in black and white on a pink ground with equestrian figures beneath wintry trees, hammer and sickle mark for 1922, the other with cyrillic text between large leaves after a design by Rudolf Vilde, a Russian porcelain plate showing the construction of a large bridge, and a mid 20th century soup bowl printed with a banner above a horse pulling a plough, various marks, 24.7cm max. (6)
Lot 401
Four Russian porcelain plates with Soviet Propaganda designs 20th century, one originally designed by Rudolf Vilde with work instruments and flowers to the rim, the well with cyrillic script above books, translating to 'Knowledge Lightens Work', one designed by Sergei Chekhonin with a red inscription to the rim, one attributed to Pierre Ino with two children reading stop large patterned letters, the last by Chekhonin with five shaped panels of script to the rim, further colourful letters to the well, various marks, 25.5cm max. (4) The last plate exhibited at M Ekstein Ltd, 90 Jermyn Street, December 14th to 24th 198, with paper label for the same.
Lot 403
Five Russian porcelain plates with Soviet Propaganda designs 20th century, one originally designed by Pototskaya with books to the well and script around the rim, another painted with a javelin thrower beside a sport programme and with brightly coloured cyrillic script around, one by Rudolf Vilde with a Russian worker taking a hammer to Death, another with a figure riding a winged horse over the burning ruins of a city, the last with a portrait of Lenin, various marks, 24.5cm max. (5) The last exhibited at M Ekstein Ltd, 90 Jermyn Street, 14th - 24th December 1987, with paper label for the same.
Lot 402
Five Russian porcelain plates with Soviet Propaganda designs 20th century, four after designs by Sergei Chekhonin, one copying a famous design of a hammer and sickle on a black roundel within a wide border of fruit and flowers, one with two red sickles around floral garlands, another with a central hammer and sickle surrounded by cyrillic letter, the last with a blue hammer and sickle on a floral ground, another plate originally designed by Mikhail Adamovich with a gilt monogram above a five-pointed star, the blue rim with gilded instruments of labour, various marks, 26.7cm max. (5) One exhibited at M Ekstein Ltd, 90 Jermyn Street, December 14th - 24th 1987, with paper label for same.
Lot 300
EARLY 20th CENTURY FAMILY POSTCARD ALBUMwith towns and cities, humour, family portraits (including WWI military), "Souvenir" Australian Imperial Forces - European War 1914, propaganda, 'Cecil Grace in Flight' (postmark 1910), greetings, 'Hands Across the Sea', shipping (including The "Lusitania", White Star - Dominion R.M.S."Megantic", S.S.Aquatania Cunard Line, H.M.A.S."Australia" and Allan Royal Mail Line T.S.S."Scandanavian"), approximately 230 cards, many have been posted, viewing requiredNote: the family lived in Larkhall, some emigrating to the United States of America around 1912.
Lot 611
Collection of mostly German area in seven volumes incl a few German states, unified issues with some slightly better Third Reich incl odd propaganda postcard and cover, Allied Occupation with a few single franking covers, West and East Germany to 1980s, also some Denmark and volume of GB RAF covers, better stamps generally absent and cond mixed in places (Hundreds)
![Beano 147 (1941). Propaganda war issue. Big Eggo Nazi spy cover story [fn]](https://cdn.globalauctionplatform.com/6111658d-da51-4dd9-b975-a65f01194e46/023c31f2-d8a0-474d-950f-2bebe31e4c22/468x382.jpg)
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7826 item(s)/page