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RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, TOGETHER AGAIN 3 colour screenprint, created in 2020, signed28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, KEEP MOVING 3 colour screenprint, created in 2020, signed28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, TOGETHER AGAIN 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

THREE POST WWI PROPAGANDA LEAFLETS FROM THE AUSTRIAN PROVINCE OF KARNTEN, these leaflets are from 1919 to 1921 and the first is protesting at the Jugoslavischen terror following the occupation of Karnten by Serbian soldiers in 1919, the second letter is about a mass meeting that was to be held on the 25th October 1919 in Klagenfurt and this was issued by the Eherechtsreformvereign, the third leaflet is headlined ' Der Deutschosterreicher fliht sein Vaterland' and was calling for citizens of Karten to vote white, all three are only one page each and was backstamped by the German party archive in Karnten when they was deposited on January 22nd 1943, these were previously sold at Cavendish Philatelic Auctions on 17th December 1997 and was 598, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

THREE ANTI-DOLFUSS NAZI PROPAGANDA LEAFLETS, two feature black printed words with a large red Swastika in the centre and the smaller one features black print on a white paper with a small black swastika on the side, Dollfuss was appointed to chancellor of Austria in 1932 and was murdered by the Nazis in 1934, this was previously sold by Cavendish Philatelic Auctions on 17th December 1997 and was part of lot 956, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

Propaganda poster “They tell you; Strike! But is stopping work the right way to help Prime Minister Jaruzelski? "The condition of the poster is visible in the photos. Dimensions: 33 cm x 67.5 cm

Original Soviet Anti-Polish propaganda poster, issued after the Defense War around October/November 1939. It depicts the "liberation" of the peasant from the yoke of the "Polish Lords" with sketches signed "That's how it was - That's how it is!".Good Condition. Dimensions: 20cm x 46cm.

A photo measuring 17.2 cm x 12.4 cm, showing general Marian Spychalski speaking to soldiers at the square.There is a stamp visible on the reverse: Polish-Soviet Friendship Society, Main Board, Propaganda Department.General condition visible in the photos.

A World War II Arabic language anti-Nazi propaganda leaflet, demonstrating the dangers of allowing German occupation to/w twelve sheets of boys'-comic style German war propaganda

Italy 1944 Social Republic War Propaganda Issue (SG 21-32), Used, Cat Val £325.

Italy 1923 Tercentenary of the Congregation `DE PROPAGANDA FIDE` set of 4 (SG 129-132), Used, Cat Val £400. The 1l value has a small mark on the reverse which is just visible on the front in the left hand margin.

Eleven vinyl albums from the 70's and 80's including Pink Floyd- The Dark side of the Moon, Be Bop Deluxe- Live! in the Jet Age, ELO- Out of the Blue, ELO- Discovery, Blondie- Parallel Lines, The Police- Zenyatta Mondatta, Bryan Ferry- Another Time, Another Place, Lets Stick Together, In Your Mind and Sparks- Propaganda, (11) All covers show the usual age and storage related issues with the vinyl having light marks and scratches throughout, but the overall condition is good.      

United Kingdom, The Sinking of the SS Lusitania, cast satirical copy of above in original box, issued by British Government to show that the sinking of the liner was premeditated, for propaganda purposes. As above but dated 5 May. Another but without official box. (2). Both Extremely Fine.

Queen Anne, undated, a cast uniface silver plaque, by J. O’Brisset, crowned bust left, ornately draped and cuirassed, signed ob on shoulder, field stippled, 70 x 50mm (Farquhar VII, p.58; cf. MI II, 299/117). Good very fine and very rare £400-£600 --- Provenance: bt Baldwin Based on the busts by John Croker, the portrait of Anne in majesty is essentially a piece of anti-Jacobite propaganda.

Set of twenty nine original ' Fighting Pencil ' 1944-1974 Russian propaganda posters commemorating victory in World War Two

A propaganda printed cloth panel, inscribed 'The Reformers Attack on the old rotten tree - or the foul nests of the cormorants in danger', framed

An Interesting Grouping of Postcards and Letters Sent to Kaiser Wilhelm II by British Nationals During WW1, the postcards and letters are often addressed to his propaganda name of Kaiser Bill and some to the Emperor of Germany etc. The letters and cards are mostly all of a derogatory nature or mocking him, one card says on the reverse ‘To the Kaiser Bill and the Clown Prince – King of the Baby Killers Headquarters Berlin’, another ‘Just a card wishing you many happy returns of the day. May you never live to see this card’. Many are on period propaganda or comical postcards and some hand written letters / envelopes. An interesting insight into the expected bad feeling between the British public and the leader of the German Empire at the time. (30 items)

A German World War II No.20 Landwerk Division propaganda poster "Zeichne Kriegsanleihe! - 3000 Feindliche Schiffe mit 5,5 Millionen Tonnen wurden vom 1. Februar bis 1. August 1917 durch U-Boote Versenkt. - Das ist Ebensoviel, wie wenn Tag und Nacht Unaufhörlich in jeder 1/4 Stunde ein Guterzug von 30 bis 35 Wagen Vernichtet Wird", printed by Kartenstelle Koekelare with map verso of "Dixmude and Environs", 94 cm x 70 cm

EL LISSITZKY (1890–1941) PLATE, CIRCA 1925 painted ceramic, impressed 2864 Dimensions:19cm diameter Note: Literature: El Lissitzky 1890-1941, Retrospektive, Hannover, 1988, cat. no.197 Note: El Lissitzky was a Russian-born artist, designer, typographer, photographer and architect who designed many exhibitions and propaganda for the Soviet Union in the early 20th century. His development of the ideas behind the Suprematist art movement was very influential in the development of the Bauhaus and the Constructivist art movements. His stylistic characteristics and experimentation with production techniques developed in the 1920s and 30s have influenced graphic designers ever since.

Propaganda Maps. Levinksy (Vladislav & Mirinov S. E.), Europe in 1915 (in Russian), Moscow [1915], a Russian edition of Levinsky's Polish version of a Franch satirical war map, which had been originally published in Paris in 1914, some spotting and creasing, occasional repaired marginal closed tears, trimmed to the neatline, 420 x 560 mm, together with a coloured lithographic Russian satirical postcard of Europe with individual countries satirised with faces, title in Russian, 140 x 175 mm, with Muller (E.). Europe [1914], a black and white satirical postcard of Europe with the country's leaders shown in profile, 90 x 135 mm, plus Krotowski (Stephan). Africa circa 1919, a German propaganda colour postage stamp of the continent of Africa showing a grotesque top hat-wearing monster representing Great Britain, reaching out to grasp German West Africa (now Namibia), 610 x 42 mm, and Neumont (Maurice, after). Taises-Vous! Méfiez-vous! La Pieuvre Germanique a des tentacules partout (Be Quiet! Don't Trust anyone! The German Octopus has its tentacles everywhere), circa 1915, a French propaganda colour postage stamp of Europe showing the German octopus with its tentacles in France, 40 x 43 mmQTY: (5)

Gill (Leslie MacDonald). The London Season, published in The Graphic, June 1st 1929, colour photolithographic allegorical map, central fold strengthened on recto, 345 x 465 mm, together with Empire Marketing Board (publishers). Highways of the Empire, circa 1930, colour printed map postcard, 100 x 145 mm, with a photographic glass slide of the same image, overall size 82 x 82 mm, plus Ceylon Tea Propaganda Board (publishers). Map of Ceylon showing her Tea Industry, circa 1933, small colour lithographic postcard flyer of a map of Ceylon, 130 x 85 mm, and an untitled allegorical map of North-western South America, old folds, 350 x 195 mm, plus a colour print of a 'Study for a Chancel, L. MacDonald Gill, Architect,' 220 x 135 mm, with The Studio, July - December 1944, volume 128 (2 copies), December 1944 and May 1925, including Gill's illustrated article 'Decorative Maps' and in the 1925 edition and illustrated article on Gill's pictorial maps, mixed bindings, plus Home and Country Magazine, March 1936, a periodical with a front cover of a map of England and Wales designed by MacDonald Gill (cartobibliographically unrecorded), and two London Transport Souvenir Maps circa 1980 titled 'London 1922 - In the Heat of Summer' and 'London 1928 - Country Bus Routes', large colour printed folding pictorial maps, each approximately 725 x 895 mm, each with publisher's colour printed stiff card wrappers, with Farjeon (Eleanor). Nursery Rymes of London Town, The Citadel Press, 1947, additional half-title and an allegorical colour frontispiece by MacDonald Gill, publisher's cloth, wrapped in clear library cover, ex-library with card pocket stuck to rear pastedown, 8voQTY: (14)

GERMAN WWI & WWII MEDALS AND RELATED ITEMS, lot comprises a 1914 iron cross, believed silver, with iron claw? (magnetic), 1936 National Socialist Teachers League badge, believed copy WWII Wound badge, British made swastika Socialist Party badge, blue enamel cross of honour of the German Mother medal with ribbon, inscribed verso '16 Dezember 1938' and a Lusitania medal propaganda replica in original box with paperProvenance: private collection Denbighshire

A collection of Electronic LPs and 12" to include artists; Boys Don't Cry, Box Of Toys, Big Fun, The Big Dish, Bentley Rhythm Ace, Apollo 440, Yello, Zero B, Shriekback, Senser, S'Express, Red Box, Propaganda, The Prime Movers, Pink Rhythm, Native Europe, Pauline Murray & The Invisible Girls, The Dream Academy, Thomas Dolby, Adamski, as well as other artists; All conditions vary from Good plus to Very Good with generally Very Good sleeves. (34)

Deckeldose, Sowjetunion, um 1930 Polychrome Aufglasurbemalung. Vollplastisch gearbeitete Deckeldose in Form eines Bastkorbes mit Früchten. Steckdeckel mit Hammer und Sichel. Ungemarkt. Kleine Farbabplatzer. Maße 13 x 15 cm.Keywords: Russland, Sowjetunion, Propaganda A Soviet box with cover with hammer and sickle, circa 1930 A Soviet box with cover with hammer and sickle, circa 1930Polychrome Aufglasurbemalung. Vollplastisch gearbeitete Deckeldose in Form eines Bastkorbes mit Früchten. Steckdeckel mit Hammer und Sichel. Ungemarkt. Kleine Farbabplatzer. Maße 13 x 15 cm.Condition: IIKeywords: Russia, Soviet Union

-- "art again - not propaganda"-- - Eigh. Brief m. U. "George". 1 S. Folio. Mit kl. Aquarell unten in der linken Ecke. Unter Glas gerahmt. 34,5 x 28 cm. (USA) 2.V.1941.An seinen Freund und Förderer Bernard Reis über den Wechsel von Stil und Inhalt seiner jüngeren Werke. Bedankt sich für eine kritische Beurteilung seiner Arbeiten durch Bernard, kann sich jedoch nicht mit der Überschrift befreunden, welche einen Niedergang ("decline of a great artist") suggeriert, sondern man sollte eher Kampf und Entwicklung des Künstlers ("struggle and development") beschreiben, dessen neuere Werke ebenso beeindruckend seien wie seine früheren Schöpfungen. Verteidigt seine Abwendung von seinen marxistischen Themen und Anhängern: "...The Marxist are just dogmatic and don’t like me cause I do not make them the beloved 'cheap' gods and devils - I simply can’t. For me it is art again - not propaganda ...". - Bestellt Grüße an Rebecca ("Becky") Reis. - Die Schrift stark verblasst und daher an wenigen Stellen nicht mehr lesbar; im oberen Rand gelocht; Faltspuren.

Hotel-Etiketten. - Koffer-Aufkleber. Umfangreiche Sammlung von ca. 950 originalen Hotel-Etiketten, teils in Originalgraphik, meist Farblithographie oder Offset. Alle sauber montiert auf Tonkarton. Zwischen 10 x 8 und 20 x 16 cm. Europa, Afrika und Asien ca. 1900-1950.Eine veritable Kulturgeschichte der Hotellerie ergibt sich anhand dieser vielfältigen, farbenfrohen Sammlung von Hotel-Etiketten, die zahlreiche Koffer der Reisenden aus und in die ganze Welt zierten. Da vielfach neben den zahlreichen Stadtveduten auch die Hotels selbst abgebildet wurden, bieten die Etiketten interessante historische Ansichten einer meist vergangenen Zeit, da nichts so oft umgebaut und modernisiert wurde, wie Hotelfassaden oder -interieurs. Die meisten Etiketten stammen aus der Zeit um 1930. Auf vielen sind auch die besonderen Vorzüge der Hotels vermerkt, wie z. B. beim Hôtel Venezia, Torino, "Ascenseur - Luce elettrica", Hôtel Royal Superga ebendort bietet eine "Auto-Garage" etc. Vorhanden sind hier Brasilien (ca. 20), Deutschland, Österreich, Schweiz (ca. 70), Indien (ca. 6), Italien (ca. 100), Japan und China (ca. 120), dabei auch zahlreiche Restaurant- und Teestuben-Etiketten, Portugal (ca. 100), Spanien (ca. 100), Tschechien (ca. 60) Ungarn (ca. 80) und vieles, vieles mehr, z. B. Albergo Croce di Malta, Firenze, Albergo Pensione, Balestri, Firenze, Albergo Rufolo, Ravello, Alpenhof, Bad Aussee, Alpenrose, Feldkirch, Aston, Stockholm, Bali Hotel, Den Pasar, Bayerischer Hof, Leipzig, Beau Rivage, Interlaken, Carlton, Bratislava, Clark's Hotel, Benares, Continental Savoy, Kairo, Copacabana, Rio de Janeiro, Coq d'Or, Ostende, Corvetto Plaza, Genova, Crazy Corner, Ginza Tokio, Eden, Düsseldorf, Eskilstuna, Stockholm, Excelsior, Rio de Janeiro, Excelsior, Sao Paulo, Fenix, Lisboa, Gellert, Budapest, Goldener Hirsch, Rothenburg, Grand Hotel & Des Palmes, Palermo, Grand Hotel Bellevue, Cortina d'Ampezzo, Grand Hôtel Kitzbühel, Grand Hotel Regina, Salsomaggiore, Grand Hôtel, Falun, Grand Hotel, Napoli, Guldhedens, Göteborg, Haarlass, Heidelberg, Horfolk Hotel, Nairobi, Hotel Astor, Dresden, Hotel Belgica, Puerto de la Cruz, Tenerife, Hotel Bellevue, Hamburg, Hotel Cavalletto e Doge Orseolo, Venezia, Hotel Central, Wien, Hotel Colón, Sevilla, Hotel Compostela, Santiago, Hotel de la Gare, Venezia, Hotel Erzherzog Johann, Semmering, Hotel Héviz, Gyöngyvirág, Hotel Hokyoko, Kobe, Hotel Imperial, Vienne, Hotel International, Prag, Hotel La Pace, Pisa, Hotel Las Salina, Peñon de Ifach, Hotel Massimo d'Azeglio, Roma, Hotel Moskva, Gottwaldow, Hotel Mosser, Villach, Hotel Mozart, Wien, Hotel Nettuno, Pisa, Hotel Oriente, Barcelona, Hotel Post, Bad Ischl, Hotel Regina, Wien, Hotel Reichshof, Hamburg, Hotel Sacher, Baden, Hotel Sta Caterina, Amalfi, Hôtel Stella, Firenze, Hotel Suizo, Gerona, Hotel Terme, Abani Terme, Hotel Timeo, Taormina, Hotel Turismo, Luanda, Hôtel Venezia, Torino, Hotel Victoriano, Granada, Intourist, (Ost-)Berlin, Knaust, Sundsvall, Langbian Palace, Dalat, Luisenhof, Hannover, Majestic Hotel "Già Baglioni", Bologna, Margitsziget, Budapest, Mollberg, Helsingborg, Palace Hotel, Milan, Palace Hotel, Praha, Palace, Bahia, Brasil, Palace-Hotel, Göteborg, Parc Hotel Concordia, Cortina, Pensione Villa Barbara, Lerici, Royal Hôtel S. Marco, Ravenna, Savoy-Hotel, Davos,Schwarzer Bär, Jena, Seilerhaus, Zermatt, Semiramis, Kairo und viele, viele hunderte mehr. "Aufkleber auf Koffern hatten ursprünglich ganz praktische Gründe: Hoteldiener brachten Name und Adresse des an- oder abreisenden Gastes auf dessen Gepäck an, um Verwechselungen auszuschließen. Findige Hotelbesitzer ließen etwa ab 1880 neben den ersten lithografisch gedruckten Postkarten auch typografisch gestaltete Etiketten herstellen. Den Koffer mit Aufklebern, den Visitenkarten bekannter Hotels, schmücken zu lassen, galt von Beginn an als ebenso selbstverständlich wie schick. 'Wenn ich in irgendeinem großen Hotel in Berlin, Dresden, München, Wien, Montreux, Zürich, London oder Paris Koffer sah, die Etiketten aus allen Erdteilen trugen, aus Kairo, New York, San Francisco, Sidney, Buenos Aires, Schanghai, Yokohama, Kapstadt oder Kalkutta, dann habe ich immer ein wenig Neid empfunden. Vor allem beneidete ich die Besitzer dieser Koffer um die Stunden der Erinnerung, die leuchtend auftauchen, wenn das Auge wieder einmal auf den kleinen, bunten Kunstwerken ruht. Es sind kaleidoskopartige Bilder, die uns, wie ein orientalischer Märchenerzähler, von entschwundenen, glücklichen Tagen und von Zeiten des Weltdurchstreifens vorplaudern,' schrieb Harry Nitsch 1927 in seinem Buch 'Das Hotel - und Gastgewerbe - Moderne Propaganda-Methoden'.Die Hoteletiketten, in englischsprachigen Ländern "Luggage Labels" genannt, waren die heißgeliebten Clubabzeichen der Globetrotter dieser goldenen Tage - Reisetagebuch und Ansichtskarte zugleich adelten Sie das Gepäck des Reisenden mit seiner ureigensten Geographie, die nicht in wenigen Tagen zu haben war. Die schönsten Exemplare entstanden in der Zeit zwischen 1900 und 1930. Mit dem einsetzenden Massentourismus der sechziger Jahre und der zunehmenden fotografischen Berichterstattung durch Print und TV wurde diese Form der Reiseandenken nicht mehr gebraucht." (Der Spiegel 01.03.2008, 16.40). - Wenige doppelt, hin und wieder unwesentliche Gebrauchsspuren, meist sehr gut erhalten.

A WWII Second World War Third Reich Nazi German propaganda / souvenir book for visitors to Nazi Germany during the Olympic year. The book containing black and white photos including German cities, countryside, history and culture, people, dignitaries, rallys etc. Photos compiled by Pay Christian Carstensen, Hans Hitzer and Friedrich Richter and it was published by Verlag Volk und Reich in Berlin in 1936. English translated. 

Two Liberal Party propaganda posters, 'To end slack times, vote Liberal' and 'Vote Liberal and Start again', printed by C. Nichols & Co., publ. by the Liberal Publication Department, each 76 x 48cm

Two Liberal Party propaganda posters, 'Money buys more under free trade' and 'Women should vote Liberal and For our sake vote Liberal', one printed by Johnson Wykes & Paine, both publ. by the Liberal Publication Department, each 73 x 47cm

A mixed group of militaria, including a complete set of WWII playing cards/card game, with caricature images of Churchill, Chamberlain, Goering, Hitler, Goebbels, Ribbentrop, Army, Navy and RAF, together with three WWII propaganda papers, miscellaneous first aid treatment and air raid precautions pamphlets, post cards, motor car ration book, and a collection of books, many first editions, including 'The Hump' by Jack Barnard MC, 1960 (first edition); 'The Wooden boxes' by Derek Kinne, 1955 (first edition); toen 1940 - 1945, 1960 (first edition). (1 bag)

A small collection of original screen print anti nazi British propaganda panphlets featuring caricature images of Adolf Hitler.

Soviet and Eastern Propaganda posters, four in total, various sizes (4).

A propaganda poster 'Make no mistake this time vote Liberal' on board

Two reproduction wartime propaganda posters, each being framed

Lot to include framed propaganda / recruitment posters and German military related publications including five large format volumes of Illustrirte Zeitung Leipzig. [6]. [W]

Six German Third Reich propaganda miniature photo-books

A collection of US military, propaganda and other match books

Forster (E.M., writer, 1879-1970) Autograph Letter signed to Baroness [Moura] Budberg, 1p., 8vo, Abinger Hammer, Dorking, 17th February 1940, "I'm at present trying to do a 'propaganda' broadcast for the B.B.C and I think I would rather get it off my mind and chest before I attempt anything else...I had a very nice lunch with H. G. W[ells] the other day: I wish you had been able to be there...", pen mark verso, folds. ⁂ An intriguing remnant of Forster's link with a notorious member of the Russian liberal aristocracy, Maria Ignatievna Zakrevskaya, later Baroness Budberg, affectionally known as Moura (1892-1974).Moura, a mysterious saloniste of the Bloomsbury group and wider London arts circle, was - under the cover of various fictions and rumours - a suspected double-agent to the British and Russian intelligence services. She was a Russo-Baltic exile living in London and mistress of, among others, H.G. Wells and Maxim Gorky.

Hong Kong.- Volonteri (Simeone) Carte Topographique de l'ile de Hong Kong dressée par Mgr. S. Volonteri de la Congregation des Missions Etrangères de Milan Vic. Apoost du Ho-non (Chine) ancien Missionaire de Hong-Kong, detailed bilingual map of Hong Kong and its environs, with locations in Chinese and French, lithographs, on thin wove paper without watermark, map 250 x 300 mm (9 7/8 x 11 3/4 in), sheet 310 x 475 mm (12 1/4 x 18 3/4 in), very minor offsetting, two vertical folds, probably as issued, unframed, printed by Stab. Fratelli Tensi, Milan, 1874 ⁂ Scarce; we can trace no other copies sold at auction. Monsignor Simeone Volonteri (1831-1904) was an Italian missionary, who spent a decade in Hong Kong, and in 1860 joined the Mission of the Propaganda in the Roman Catholic Diocese of Hong Kong. Prior to producing the present map Volonteri made one other of Hong Kong in 1866, 'Map of the San-On District, (Kwangtung Province)'.

Irish Rebellion of 1798.- Letter distributed as propaganda giving an account of the Irish Rebellion of 1798, beginning "Having now a little peace and quietness, I sit down to inform you of the dreadful bustle and confusion we are in from these bloodthirsty rebels, most of whom are, thank God, killed and dispersed". manuscript, 2½pp., laid down in an album with other ephemera, including: a rare broadside printing of William Cowper's "Johnny Gilpin of Cheapside going farther than he intended"; a Ripon printed "Weather Table" (untraced): a printed form for Royal Hospital for Seamen, loosely inserted; a small manuscript broadside concerning the "sun's rising and setting to every inclination"; a defective copy of the very rare Halifax printed "Geography in Miniature"; a broadside Heroic Epistle from Major B-r-n to Captain S-th wtc.,, newspaper cuttings etc., some ff. loose, folds, browned, original half calf, worn, printed label "Varieties" on upper cover, upper cover detached, spine worn and creased, ephemera v.s., album 4to, v.d., 1798- [early 1800s].

Binding.- Printed in 150 languages.- Oratio Dominica CL linguis versa, first edition, edited by J.J. Marcel, every page within typographic border printed in red, title with imperial arms of Napoleon, wide margins, contemporary English straight-grain purple morocco, gilt, bound for George Spencer, 4th Duke of Marlborough with his arms on covers, g.e., joints slightly rubbed, 4to, Paris, Typis Imperialibus, 1805.⁂ An exceptional copy of a typographic tour de force. This luxurious polyglot Lord's Prayer is a spectacular display of the types from Napoleon's newly refurbished Imprimerie Impérial, printed only weeks after his coronation and including many non-Latin types he had confiscated from the Propaganda Fide in Rome, celebrating Napoleon as Emperor and suggesting with all its languages that his influence should spread over the entire world. This copy is appropriately bound in luxurious Empire or Regency style gold- and blind-tooled morocco for the Duke of Marlborough. It presents 150 numbered renditions of the Lord's Prayer, each in a different language (or sometimes more than one variant of a single language), set in a wide variety of types, including Hebrew, Samaritan, Arabic (including variants for Persian, Turkish and other languages), Manchu, Chinese (followed by a transliteration below printed musical notes to indicate the tones), Estrangela Syriac, Armenian, Greek, Irish, Cyrillic (both the civil - Grazhdanskii - and Old Slavonic styles), Coptic and Ethiopic (for both Geez and Amharic).Provenance: Earl Spencer (arms on covers); Charles Barclay (bookplate).

Knud Larsen Bergslien, 1827 Voss – 1908 Kristiania SKI-BIRCHLEGS, DIE DEN BERG MIT DEM KÖNIGLICHEN KIND ÜBERQUERENÖl auf Leinwand.94 x 125 cm.Links unten signiert, ortsbezeichnet und datiert „K. Bergslien Christiana 1869.“Das Gemälde, auch „Die Birkebeiner“ genannt, zeigt Torstein Skevla und Skjervald Skrukka, die 1206 den Königssohn Haakon Haakonsson retten. Die beiden Dargestellten auf Skier, durch den winterlichen Wald fahrend, mit schwerer Bewaffnung mit Lanze, Bogen, Pfeil und Beil, hinter einem Schutzschild den aus dem Bild herausblickenden Königssohn warm eingepackt verbergend. Qualitätvolle bedeutende Darstellung eines der bekanntesten Historiengemälde des Künstlers.Birkebeiner nannten sich Rebellen der Zeit des norwegischen Bürgerkriegs im 13. Jahrhundert. Der Name rührt von der Propaganda ihrer politischen Gegner, der Bagler her, weil die Rebellen nach einer anfänglichen Niederlage in die Wälder flüchten mussten und bei der Kälte ihre Waden mit Birkenrinde umwickelt hatten. Die Bagler trachteten dem Königssohn Haakon Haakonsson, welcher später als König Haakon IV 1217-1263 Norwegen regieren sollte, nach dem Leben. Der Sage nach brachten die zwei besten Birkebeiner Skiläufer zu Weihnachten den Königssohn zu König Inge II. Wegen der übereilt zu erwarteten Bagler nahmen sie nicht den normalen Weg durchs Gudbrandsdalen, sondern zogen bei Frost, Schneetreiben und sehr schlechtem Wetter über die Berge ins Østerdalen.Knud Larsen Bergslien war ein norwegischer Maler der Nationalromantik. Von 1849-1852 besuchte er die Kunstakademie in Antwerpen. 1852-1854 war er Lehrer an der Zeichen- und Malschule in Bergen. 1855-1869 lebte er in Düsseldorf, hier übernahm er die Thematik des Volkslebens und widmete sich auch Themen aus der norwegischen Geschichte. 1969 kehrte er nach Norwegen zurück und wohnte in Kristiania.Anmerkung: Bergslien malte hauptsächlich Portraits, aber am bekanntesten sind seine Historienmalereien, wozu auch das hier vorliegende Gemälde gehört. Die Bekanntheit des Gemäldes wurde auch durch angefertigte Grafiken verbreitet. (1371469) (18)Knud Larsen Bergslien, 1827 Voss – 1908 Kristiania SKIING BIRCHLEGS CROSSING THE MOUNTAIN WITH THE ROYAL CHILD Oil on canvas.94 x 125 cm.Signed, place name and dated “K. Bergslien Christiana 1869” lower left.The painting, also known as The Birkebeiners, shows Torstein Skevla and Skjervald Skrukka rescuing the king’s son Haakon Haakonsson in 1206. The two figures on skis, driving through the wintry forest, heavily armed with spear, bow, arrow, and axe. The king’s son is wrapped warmly, hiding behind a shield and looking straight out of the painting.

A framed original wartime American propaganda poster. Frame size 63 x 83cm. Prov. Originally Susie Quattro collection, given to one of her drivers.

Missal (Augsburg Use). Missale secundum ritum Augustensis ecclesie diligenter emendatum & locupletatum: ac in meliorem ordinem q[u]e antehac digestum, [Dillingen: Sebald Mayer], 1555, [28], 471 leaves (of 472), lacking final blank ooo6 (as often), woodcut illustrations throughout by Matthias Gerung, including main title with the arms of Bishop Otto Truchsess von Waldburg, the Bishop’s vestments and Christ holding a chalice to receive his blood, at bottom five patron saints of Augsburg (Afra, Dionysius, Hilaria, Narcissus and Digna), to verso a full-page woodcut of the Virgin and Child with Saints Ulrich and Afra (dated 1555 to upper right corner), full-page woodcut facing the beginning of the main text of the Missal (with artist's monogram at foot), containing a central scene of the Adoration of the Sacrament of the Altar by the Apostles, Evangelists and Doctors, set within an architectural border with the Coronation of the Virgin and Saints at top, and in the bottom socle a small rectangular woodcut of the Last Supper, 10 full-page woodcut decorated part-titles using the same border, each with a different woodcut scene at the foot, numerous woodcut initials throughout, including two large ornate sets (measuring 93 x 75 mm and 63 x 54 mm), smaller initials (33 x 31 mm), and approximately 61 small woodcut illustrations, text printed in red and black in 4 different sizes of gothic type in two columns (except the prologue, calendar, verse to priests and colophon), 34 pages of printed music on red staves within vertical double rules, metal-cut calligraphic initials in red, the canon quire printed on vellum, with full-page crucifixion woodcut, large historiated initial, and paschal lamb roundel, title close-trimmed at head, folios 166-168, 390, 392-394, 460-461, and 463-463 with paper repairs to lower margins (not affecting text), burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, old printed auction catalogue description tipped in to front endpaper (dated 30/X/1980, Sotheby's), 20th century antique-style blind-ruled full pigskin, with clasps, thick folioQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Brunet III, 1766; Dodgson II, 218.14; Hollstein X, 73-77; VD-16 M-556; Weale-Bohatta 109.A celebrated masterpiece of illustrated liturgical printing, and the greatest technical and artistic production of Sebald Mayer, Dillingen’s first printer, as well as the most significant achievement of the artist Matthias Gerung in the medium of woodcut. This famous Missal according to the Augsburg ritual, whose bishopric was once the richest in Christian Europe, was printed by order of Bishop Otto Truchsess von Waldburg-Trauchburg and completed two months before the Peace of Augsburg on 25 September 1555 between Catholics and Lutherans, signed by Ferdinand I and the Germanic Electors. Otto Truchsess von Waldburg-Trauchburg (1514-1573) founded a university in 1549 in the Bavarian town of Dillingen in order to contribute to the development of the Catholic Counter-Reformation in Germany. At the same time he provided it with the most valuable propaganda tool: in 1550 he brought in from Ingolstadt the printer and typographer Sebald Mayer, who continued to practice his art there until 1576.

A 1935 ANTI-NAZI PROPAGANDA LEAFLET, this depicts a donkey with Swastika branded blinkers, it is printed in black and red and the reverse features German text with a list of Hitlers promises from the 1st February 1933, the reality on 1st May 1935 and asking what will have happened by 1st May 1937, the front features the donkey and the words 'Are you still with the NSDAP', the distributers of these leaflets risked being sent to concentration camps or even worse punishments, provenance for this item is that it was previously sold at Cavendish Philatelic Auctions on 17th December 1997 and was lot 961, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

ANTI-NAZI BOOKLET OF CARTOONS CALLED NAZI-SPIEGEL, this was publishes by the Federal Commissar for Propaganda of the Dollfuss regime in Austria, inside the booklet is a series of cartoons with captions accusing the Nazis of a campaign of intimidation and terror to for Austria into a union with Germany under Adolf Hitler, provenance is that this was previously sold at Cavendish Philatelic Auctions on 17th December 1997 and was lot 958, Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request

Collection of WWII propaganda pamphlets, Mappin and Webb St Georges Hospital bi-centenary medal, two commemorative medals and a Hudson and Co whistle, within a small vintage suitcase.

WW1 Lusitania Medal: Iron propaganda medal for the sinking of the ship in 1915,this is an English striking in used condition.

Propaganda / Endsieg-Plakat "Deutsche Frauen helfen siegen!" (3. Reich), Hrsg. von derHauserpresse Hans Schäfer, Frankfurt am Main, ca. 60 x 83 cm. Ausgeblichen, Ränder eingerissen.

A large pre-WWII Second World War Third Reich Nazi German propaganda / election badge. Screw back example with the front bearing the Swastika. The perimeter ' Deutschland Ist Erwacht ' translating to Germany Is Awake. Marked to vero ' Breslau No. 06932. Measures approx 4.5cm.

A large collection of assorted WWII Second World War Third Reich Nazi German photographs / propaganda images to include; uniformed soldiers, aircrafts and tanks, portraits, soldiers in Paris, gatherings, sport events, rally marches, parades and more.

A Vietnam War era propaganda poster. Hand painted on cloth and varnished the poster an American B52 over the city of Ha Noi. Measures approx 46x33cm. Rolled.

A collection of WWII Second World War Third Reich Nazi German propaganda ephemera along with a Anglo German Youth Movement badge. Four ' Des Fuhrers ' miniature button books given as a token gift to those who had donated to the Winter Relief fund and a Freude und Arbeit (Joy and Work) magazine.

1940s framed Original WWII TITTLE TATTLE LOST THE BATTLE Propaganda Poster. 55cm x 44cm

Jacques-Louis David (1748 – 1825) was a French neoclassical painter who played a significant role in the art world during the late 18th and early 19th centuries. He is known for his powerful historical and revolutionary paintings that captured the spirit of the times, as well as his role as a prominent figure in the French Revolution.David's work is often associated with neoclassicism, an artistic movement that drew inspiration from classical antiquity, emphasizing clear forms, strong composition, and moral messages. He became the leading proponent of neoclassical art in France and was influential in shaping the visual language of the period.Some of David's most notable works include:1. "Oath of the Horatii" (1784): This painting depicts a legendary episode from ancient Rome, showing three brothers taking an oath of loyalty to Rome before going off to fight. The painting is characterized by its dramatic composition and emphasis on patriotism and sacrifice.2. "The Death of Sardanapalus" (1827): One of David's later works, this painting depicts the suicide of the Assyrian king Sardanapalus as he orders the destruction of his possessions and concubines. It is known for its intense emotion and dramatic rendering of the tragic scene.3. "The Death of Marat" (1793): This painting portrays the assassination of Jean-Paul Marat, a prominent revolutionary figure. David's portrayal of Marat's death as a martyrdom was intended to rally support for the revolution.4. "Napoleon Crossing the Alps" (1801): This iconic portrait of Napoleon Bonaparte on horseback was intended to depict him as a heroic and powerful leader. The painting exemplifies David's ability to use visual rhetoric to convey a specific message.David's involvement in the French Revolution was significant. He was an active supporter of the Revolution and served as a member of the revolutionary government. He also played a role in the visual propaganda of the time, creating images that glorified revolutionary ideals.After the fall of Napoleon and the restoration of the monarchy, David's political affiliations led to his exile. He spent several years in Brussels before returning to Paris near the end of his life.Jacques-Louis David's legacy is intertwined with his impact on both art and history. His neoclassical style and his use of art for political and moral purposes influenced subsequent generations of artists. He left a lasting mark on the art world and remains a significant figure in the history of European painting.Measures 40 x 26.25.

Four posters, to include Russian propaganda posters

U2, a collection of promotional and other items to include Propaganda U2 World Service Magazine with U2 Melon Remixes For Propaganda CD and compliments slip with original packaging, two Staring At The Sun kaleidoscopes, two Sweetest Thing chocolate wrappers, U2 Lemon Remixes 12" vinyl limited edition no. 0113/1000, Discotheque promo CD single and mirror ball in original box etc.

Sex Pistols, a collection of 7" vinyl to include Anarchy In The U.K / I Wanna Be Me x3 640 112, VS 1431 & VS 609, No One Is Innocent (A Punk Prayer By Ronald Biggs) / My Way VS 220, C'Mon Everybody / The God Save The Queen Symphony VS 272 x2, God Save The Queen / Did You No Wrong VS 181, Something Else / Friggin' In The Riggin' VS 240 x2, Pretty Vacant / No Fun VS 184 (in later card sleeve), Silly Thing / Who Killed Bambi VS 256 x2, Holidays In The Sun / Satellite VS 191 x2 and Stepping Stone / Pistols Propaganda VS 339. (15)