Original vintage Soviet propaganda poster - Our homeland opened the way to space for mankind - with photographs of Soviet cosmonauts - Yuri Gagarin, Gherman Titov, Andriyan Nikolayev, Pavel Popovich, Valery Bykovskiy, Valentina Nikolayeva-Tereshkova, Vladimir Komarov, Konstantin Feoktistov, Boris Yegorov, Pavel Belayev, Aleksei Leonov, Georgiy Beregovoy, Vladimir Shatalov, Boris Volynov, Aleksei Yeliseyev, Yevgeni Khrunov, with a quote by Vladimir Lenin above the title - The realised dream - socialism - will open up new grandiose prospects for the most daring dreams. - a caption to the side of the photos reads - The successes in space exploration are evidence of the enormous social, economic, cultural and scientific transformations carried out by the Soviet people under the leadership of the Communist Party as a result of the Great October Socialist Revolution. - with a medal of USSR Cosmonaut pilot below, and an illustration of a monument dedicated to a Russian and Soviet rocket scientist and astronautic theory pineer Konstantin Tsiolkovsky (1857-1935). Horizontal. Good condition, folds, creasing, staining. Country of issue: Russia, designer: A. Fomichev, size (cm): 40x60, year of printing: 1969.
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Original vintage propaganda poster - That's one small step for a man, one giant leap for mankind - Neil Armstrong, 10:56 P.M., Sunday, July 20, 1969, featuring a photograph from Apollo 11 Space mission depicting the American astronaut Buzz Aldrin in a space suit walking on the moon with Neil Armstrong, the Earth, and the Lunar Module Eagle with an American flag all seen in the visor reflection. Very good condition, minor staining. Country of issue: USA, designer: Unknown, size (cm): 90x59, year of printing: 1969.
Original vintage propaganda poster Day of World Solidarity with the struggle of the people of South Africa June 26, featuring a silhouette of a person in black with a white map set over the face, orange letters 'R' and a smaller silhouette of a person on orange background with a barbed wire ring around it. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Very good condition, fold, creasing. Country of issue: Cuba, designer: Rene Felix Mederos Pazos, size (cm): 53x31.5, year of printing: 1970.
Original vintage propaganda poster Victoria o Muerte! Victoure ou la Mort! Victory or Death!, featuring an illustration of people with guns, explosives and a green, red, and yellow flag. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Excellent condition, folds minor creasing. Country of issue: Cuba, designer: Rafael Morante Boyerizo, size (cm): 53x33, year of printing: 1971.
Original vintage propaganda poster commemorating Solidarity Day with Syria 8 March, featuring an illustration of two men in black clothing with keffiyeh headscarves waving flags of Palestine and Syria, with silhouettes of more people standing behind them, set over blue background. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Good condition, creasing, tears. Country of issue: Cuba, designer: Lazaro Abrue Padron, size (cm): 53x33, year of printing: 1971.
Original vintage anti-racism propaganda poster published by the Organisation of Solidarity with the People of Asia Africa and Latin America (OSPAAAL), an organisation founded in Havana Cuba in 1966 as a political movement to fight imperialism and defend human rights, producing revolutionary posters in Spanish, English, French and Arabic that were stapled into their Tricontinental magazine and sent to subscribers around the world. Dynamic design by the graphic designer Morante (Rafael Morante Boyerizo; b 1931) with the OSPAAAL logo and text above - Power to the People George - in honour of the African-American activist and Black Panther Party and Soledad Brothers member George Lester Jackson (1941-1971) who was shot dead by guards at San Quentin Prison following an unsuccessful escape attempt, featuring a black and white silhouette of the dying man with his blood running down in the red, white and blue colours of the American flag from three gun shot wounds against a white background. Horizontal. Excellent condition. Country of issue: Cuba, designer: Rafael Morante Boyerizo, size (cm): 33x53, year of printing: 1971.
Original vintage anti Vietnam War propaganda poster issued by OSPAAAL, featuring an illustration of the president of the United States Richard Nixon with vampire or beast fangs portrayed as a bird of prey ripping red burning Indochina out of the map with it's talons, with a map of South East Asia as background. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Good condition, folds, creasing, small tears. Country of issue: Cuba, designer: Rene Felix Mederos Pazos, size (cm): 53x33, year of printing: 1971.
Original vintage Soviet work safety propaganda poster - Remember! Machines do not forgive mistakes - featuring an illustration of a finger wrapped in a bandage in front of a gear cog wheel with the bold red warning lettering above and below. Published by Shipbuilding Publishing House. Excellent condition. Country of issue: Russia, designer: V. V. Semyonov, size (cm): 89x59, year of printing: 1972.
Original vintage Soviet propaganda poster Peace Labour May, featuring an illustration of a builder giving commands in a construction site with a construction crane above the red banner and large bold red lettering doubling as a number '1' for 1 May Labour Day, set over white background with green frame. Very good condition, creasing. Country of issue: Russia, designer: I. Babin, I. Ovasapov , size (cm): 110x59, year of printing: 1974.
Original vintage propaganda poster commemorating September 23 Day of Solidarity with Puerto Rico, featuring military planes, rockets and helicopter in a black bucket with an orange caption 'Go Home' set over light blue background. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Excellent condition, folds minor creasing. Country of issue: Cuba, designer: Heriberto Echeverria, size (cm): 53x33, year of printing: 1970s.
Original vintage propaganda poster commemorating September 25 Day of Solidarity with Mozambique, featuring a colourful machine gun in purple, yellow and orange shades, with bold black lettering, set over black background. OSPAAAL - Organization of Solidarity of the People of Asia, Africa & Latin America is a Cuban political movement that was founded in Havana in 1966. Excellent condition. Country of issue: Cuba, designer: Unknown, size (cm): 53x33, year of printing: 1970s.
Original vintage French PSU propaganda poster - Tenants unite. Refuse the blocking of rents. Impose control over the charges / Locataires unissons nouse. Refusons le debloquage des loyers. Imposons le controle sur les charges. - featuring an illustration of buildings with clenched fists raised in protest, and a caricature of a landlord in a top hat smoking a cigar throwing 'charges' papers through the door. Issued by the Unified Socialist Party / Parti Socialiste Unifie, the party was founded in 1960 and dissolved in 1990. Good condition, folds, creasing, small tears, browning, staining. Country of issue: France, designer: Unknown, size (cm): 76x57, year of printing: 1970s.
Original vintage propaganda poster promoting traffic safety and road etiquette titled Traffic Education Boards Dedicated to Austrian School Children / Verkehrserziehungs tafeln, gewidmet der österreichischen Schuljugend, issued by Austrian Automobile Motorcycle and Touring Club / Österreichischer Automobil Motorrad und Touring Club, featuring an illustration on road safety with people on bicycles carrying small children, careless bicycle riding without holding handlebars or carrying sharp objects, a family walking in the middle of the road with an overloaded tractor behind them, a man sleeping on a haystack instead of controlling the bulls pulling the cart, boys playing on the road by throwing rocks at the road sign, a car speeding towards the cows walking and laying on the road. Fair condition, tears, creasing, large tear on right edge with tape on image, staining, punched holes with string, sticker on top edge, wooden bars on top and bottom edge. Country of issue: Austria, designer: Unknown, size (cm): 118x84, year of printing: 1970s.
Original vintage propaganda poster promoting traffic safety and road etiquette titled Traffic Education Boards Dedicated to Austrian School Children / Verkehrserziehungs tafeln, gewidmet der österreichischen Schuljugend, issued by Austrian Automobile Motorcycle and Touring Club / Österreichischer Automobil Motorrad und Touring Club, featuring an illustration on road safety with people running to catch the tram, crossing the road without care, riding motorcycle, children playing in the road, cars and trucks turning. Fair condition, tears, creasing, staining, punched holes with string, sticker on top edge, wooden bars on top and bottom edge, staples along top edge, paper loss on bottom right corner. Country of issue: Austria, designer: Unknown, size (cm): 118x84, year of printing: 1970s.
Original vintage propaganda poster flyer issued by the Soviet troops during the Afghan war. Make a choice! Death or Life - featuring an illustration of a Mujahideen warrior in white clothing and headscarf with a weapon over his shoulder stood before contrasting images, to the left of prosperity with a man depicted in a field, with tractor harvesting crops, a mosque and mountains in a distance set over green background with wheat and an emblem of Democratic Republic of Afghanistan wrapping the peaceful view; to the right of death with an image of skulls and bones with dollar sign coins surrounded by barbed wire set over black background. The reverse of the poster features an address to the people to support the new Afghan state. Very good condition, tear on left edge, double sided. Country of issue: Afghanistan, designer: Unknown, size (cm): 19x13, year of printing: 1980s.
Original vintage propaganda poster Against Apartheid issued in co-operation with the United Nations Special Committee against Apartheid, featuring artwork by an American pop artist Roy Lichtenstein (1923-1997) of brush strokes in a yellow frame. Excellent condition. Country of issue: France, designer: Roy Lichtenstein, size (cm): 85x60, year of printing: 1983.
Original vintage Soviet propaganda poster with various elements of artistic and decorative design for wall newspapers, stands, thematic exhibitions issued to help the artist - designer and organiser of visual agitation, with colourful rockets, Yuri Gagarin, satellite and space stations, with banners - USSR Cosmonautics motherland; Accelerating scientific and technological progress is a requirement of life; Space in the service of man; Encounters in orbit; Prevent the militarization of outer space; For the good of the world; Glory to Soviet science; quotes by S. Korolyov - Space for science, only for peaceful purposes, for the benefit of man, tirelessly unraveling the hidden secrets of nature - this is the path along which Soviet space research is being developed and carried out.; The flight of the first Soviet spacecraft Vostok-1 forever entered the history of mankind, opened the era of practical space exploration by man.; The flights of international crews and the launches of satellites under the Interkosmos program have become evidence of the enormous potential for fraternal cooperation based on socialist internationalism and comradely mutual assistance. Good condition, tears, creasing, staining, paper loss in bottom left corner. Country of issue: Russia, designer: V. Degunov, size (cm): 104x79, year of printing: 1985.
Original vintage Soviet propaganda poster - For peace on earth and in space! - featuring a smiling image of the Air Force pilot and first man in space Yuri Gagarin (1934-1968) in uniform in shades of blue and white in front of clouds with a dove of peace below to commemorate the 25th anniversary of Gagarin's achievement. Very good condition, minor staining. Country of issue: Russia, designer: M. Lukyanov, size (cm): 55x43, year of printing: 1985.
Original vintage Soviet propaganda poster Motherland, Party, Time is calling: Communists, forward! featuring white silhouettes of engineer, welder, builder, scientist, farmer, and worker with factories, tractors, construction, fields, and electric power stations all in red with an open book titled Communist Party of the Soviet Union with an image of Vladimir Lenin and a quote - The Party is the mind, honour, and conscience of our era! Good condition, folds, creasing, tears. Country of issue: Russia, designer: B. Parmeev, size (cm): 96x65, year of printing: 1986.
Original vintage feminism propaganda poster for Women's Liberation Struggle Conference / Nari Mukti Sangharsh Sammelan in Patna, India from 5-8 February 1988, featuring a black and white illustration of women clenching their fists in anger while holding sickle, torch on fire, and a rolling pin, set over red background. This poster is for the third Conference attended by women activists of all classes, it held discussions on women, work and property, violence, health and ecology, communalism, culture and religion, patriarchy and struggles. Fair condition, creasing, staining, several tears on edges. Country of issue: India, designer: Dilip Chowdhury Associates, size (cm): 63x40, year of printing: 1988.
Original vintage WWI Propaganda Poster - Come Now Be Honest With Yourself, with a Quote from Lord Kitchener speaking at Guildhall on 9 July 1915 reading "Your arms, uniform and accoutrements are ready waiting for you" . Illustration of weapons and uniform appear next to the quote. British Army Recruitment Poster - Published by the parliamentary recruiting committee. Printed by David Allen and Sons Harrow, Middlesex. Fair condition, folds, paper losses on folds and in margin, minor creasing, mis-registered print marks. Country: UK Year: 1915 Size (cm): 127x102 (Horizontal).
Original vintage WWI Propaganda Poster - National Tuberculosis Day. Veterans (Journe Nationale des Tuberculeux. Anciens Militaires.) Designed by Jules Abel Faivre, he was born in Lyon, France. He attended Ecole nationale des beaux-arts de Lyon for three years. He then attended the Societe Nationale des Beaux-Arts and Academie Julian. He was a member of the Societe des Artistes Francais. He lived in La Croix-Valmer. Professionally, he created propaganda posters for the French Army in World War I. He drew comics for Le Rire, L'Echo de Paris, and Le Figaro. Illustration depicts a soldier holding a cane under a blossoming tree, looking out over a vast green landscape. Poor condition, large paper losses, tears, light staining, punched holes. Country: France Designer: Abel Faivre Year: 1917 Size (cm): 104x80
Original vintage WWI Propaganda Poster - National Tuberculosis Day. Veterans (Journe Nationale des Tuberculeux. Anciens Militaires.) Illustration depicts a sick soldier kneeling next to the sea. Designed by Jules Abel Faivre, he was born in Lyon, France. He attended Ecole nationale des beaux-arts de Lyon for three years. He then attended the Societe Nationale des Beaux-Arts and Academie Julian. He was a member of the Societe des Artistes Francais. He lived in La Croix-Valmer. Professionally, he created propaganda posters for the French Army in World War I. He drew comics for Le Rire, L'Echo de Paris, and Le Figaro. Fair condition, large restored tears, creasing, light staining, paper losses in margin. Country: France Designer: Abel Faivre Year: 1917 Size (cm): 111x80
Original vintage World War Two Dutch propaganda poster - To the Children of the Netherlands / Aan de Kinderen van Nederland, featuring a great illustration by Jan Le Witt (1907-1991) and George Him (1900-1981), the successful design team Lewitt-Him (1933-1955), depicting Princess Beatrix, Princess Irene, and Princess Margriet as three little girls in a house with a red flag and flag of the Netherlands, a bird carrying a daisy, and a ship going on the water, the handwritten message on the window blinds reads - We are so glad we can come back. Father and Mother have told us so much about you. See you very soon! Trix Irene Margaret / Wij zijn zoo blij dat we terug kunnen komen. Vader en Moeder hebben ons zooveel over jullie verteld. tot heel gauw dus! Trix Irene Margriet - Printed by Smeets Weert. Horizontal. Good condition, folds, creasing. Country of issue: Netherlands, designer: Lewitt Him, size (cm): 54x73, year of printing: 1944.
Original vintage World War Two propaganda poster printed in the Nazi Germany - The Hitler Youth calls for donations, give joyfully, generously and quickly! / Die Hitlerjugend ruft zur Spende, Gebt freudig, reichlich und behende! - featuring colourful illustrations of children, toys, soldiers, and coins over a poem about donation, with a call at the bottom of the poster - Confidently give more for the well-being of your homeland than you have planned! Printed by A. Bagel, Dusseldorf. Excellent condition, light browning. Country of issue: Germany, designer: Unknown, size (cm): 30x21, year of printing: 1940s.
Original vintage World War Two Dutch propaganda poster featuring an image of Queen Wilhelmina addressing the people of the Netherlands in 1944 - We shall not rest until the great object is accomplished: To give birth to that Fatherland must prove that innumerable sacrifices made have not been in vain. - Queen Wilhelmina of the Netherlands withdrew to London at the start of the Second World War during the German attack in 1940, she remained in exile and actively resisted the Nazi Germany, she returned to the Netherlands in 1945. Good condition, folds, creasing, small tears. Country of issue: UK, designer: Ashley, size (cm): 74x50, year of printing: 1940s.
Original vintage World War Two Dutch propaganda poster featuring an image of Queen Wilhelmina addressing the people of the Netherlands in 1944, pasted onto a red brick wall - We shall not rest until the great object is accomplished: To give birth to that Fatherland must prove that innumerable sacrifices made have not been in vain. - Queen Wilhelmina of the Netherlands withdrew to London at the start of the Second World War during the German attack in 1940, she remained in exile and actively resisted the Nazi Germany, she returned to the Netherlands in 1945. Good condition, folds, creasing. Country of issue: UK, designer: Henrion, size (cm): 75x49, year of printing: 1940s.
Original vintage Second World War propaganda poster Unenviable Function - featuring illustration by V. Goryaev of a small policeman hanging onto a rope that has been used to tie up a woman in a red hat representing France - Words by A. Raskin ad A. Rokhovic reads - The policeman servile without ambition serves his master Adolf! 'Enlarging the functions of the police' he tightens the rope. One of a series of Soviet TASS news agency window posters printed in the UK at the end of the Second World War. Fair condition, folds, staining, paper losses in margin, tears. Printed by Stafford & Co. Ltd, Netterfield, Nottingham. Country: UK Designer: V. Goryaev Year: 1940s Size (cm) 76.5x51
Original vintage World War Two propaganda poster: Double Saving - Saving certificates grow in value / There is no income tax to pay - Save in National Savings Certificates. Colourful illustration featuring two hands signalling one and two next to the benefits detailed on the side. Issued by the National Savings Committee. Good condition, creases and small tears on margins. Country:UK. Year:1940s. Designer:Unknown. Size (cm):75x50
PORTRAIT OF A MAN PLAYING A GUITARSigned l.r. 'Jan Zamoyski'Oil on canvasImage size: 100 x 67cm. (39½ x 26¼in.)Framed size: 134 x 102cm. (53 x 40in.)Jan Zamoyski was born in Poland, and was a painter, stage designer and decorator. His style represented the traditionalist trend in art during the 1930s and socialist realist aesthetics in the post-war period. From 1921-1922, he studied under John Kauzik, Wladyslaw Skoczylas and Mieczyslaw Kotarbinski at the Municipal School of Decorative Arts in Warsaw. He continued his study at the School of Fine Arts under the tutelage of Tadeusz Pruszkowski during 1923-1928.In 1925 he, along with fellow creatives, founded the Brotherhood of St. Luke. The most notable exhibitions by the group were at the Warsaw Society for the Encouragement of Fine Arts (1928,1929, 1932, 1938.), the Institute of Art Propaganda (1938) and the Palace of Art at Krakow (1930, 1938). Zamoyski exhibited extensively abroad, including the Musée Rath in Geneva (1931), the Brooklyn Museum in New York (1933), Pruessiische Akademie de Künste in Berlin (1935) and the Dutch Association of St. Luke in Amsterdam (1936). Zamoyski also practised interior design; his involvement in the design and painting of the fresco that adorned the lobby of the Military Geographical Institute in Warsaw (1919-1949) depicting Polish history became the highlight of his interior design career.During the Second World War, Zamoyski was drafted and took part in the September campaign. From 1939-1945, Zamoyski was captured and sent to Oflag II B Arnswalde, a prisoner of war camp, where he taught art classes and gave lectures on art. After the liberation, Zamoyski continued to pursue a successful career in art and interior design. He was later awarded the Gold Cross of Merit (1954), the medal of the 10th anniversary of Peoples Republic (1955), Knight~s Cross of the Order of the Rebirth of Poland (1956), Officer's Cross of the Order of the Rebirth of Poland (1969) and the Cross of Military virtue, the equivalent to the Victoria Cross. By the end of his life, Zamoyski was highly regarded as both an artist and soldier in Poland, exhibiting unwavering patriotism for his country, evident in his art and military career.Provenance: The Tony Bingham Collection
A selection of WW1 and Commemerate medals including WWI British Anti-German propaganda Antwerp Iron Cross Medal, WW1 medal group inscribed 22043 Private E Moisey, WW1 medal group inscribed 196746 DVR D Alderman RA, 3 x WW1 No.4 Service Wounded Stripes made by SS Ltd, 2 Bullets. plus ribbon. Commemerate medals x 5 including Queen Victoria 1887 Jubilee, Coronation of George VI and Queen Elizabeth and 1935 George V and Queen Mary Silver Jubiliee.
Ephemera Collection, comprising large quantity of interesting pieces dating mostly early mid to late middle 20th century. Magazines, War Propaganda Communist Party Propaganda, Children's items, theatre programs, driving licenses, Advertising material and much more. Many items, conditions vary.
PUNK / WAVE / INDIE / COOL POP - 12" COLLECTION. Feel the grooves with the collection of 44 x (almost entirely) 12". Artists/Titles include Kasabian - Fire (10"), Propaganda - Only One Word, The Verve - All In The Mind, Dead or Alive, Manic Street Preachers - You Love Us, Yello - The Race, Pink - Cccan't You See, The Boo Radleys, Talk Free (signed copy), Yello, Ball and Chain, The Chain Gang, XTC, Ian Dury, Hendrix, The Committee, Fine Young Cannibals, FYC, The Communards, An Emotional Fish, Blue Rondo a La Turk, Kon Kan, Rain, Madness, The Boomtown Rats, Julee Cruise, The Fixx, The Candy Skins, Hugh Cornwell and Thomas Dolby. Condition is generally Ex - Ex+ / Archive.
A Collection of 19 Mid to Late Century Posters, to include WWII propaganda, 'Tittle Tattle Lost the Battle', 'The Downfall of the Dictators is Assured', 'Cartoonists Draw the Squander Bug', 'Let Us Go Forward Together', 'Coughs & Sneezes Spread Diseases', Panzer Tank, 'Careless Talk Costs Lives', 'Is Your Journey Really Necessary?', 'Join the Wrens', 'Der Feind Sieht Dein Licht', 'Infanterie', 'Britain Shall Not Burn - Beat Firebomb Fritz', plus 'I Take This Woman' Spencer Tracy and Hedy Lamarr, 'Harpers Bazaar', and various newspapers including the Evening Post dated July 1940, Daily Express 1941 & 1945 and Daily Telegraph 1945.
A collection of various tokens and medallions, including a Victorian New Zealand United Service Hotel token 1874 and a Fowlers London Whale Fishery halfpenny token 1794, together with a contemporary forgery of a George III counterstamped Spanish dollar 1792, a small collection of commemorative medals and medallions, including a Lusitania propaganda copy, and a small collection of ancient Roman and two later English hammered coins, including a Severus Alexander sestertius.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A TRAY CONTAINING APPROXIMATELY ONE HUNDRED AND TWENTY SINGLES including 15 Promo singles of non collectables and a promo copy of Zion De Gallier Me, other artists include Four Tops, Lonnie Donnegan, Fleetwood Mac, Wings, Major Accident, The Doors, Manfred Mann, Bo Diddley, The Moon, The Animals, The Tempations, Prince, Gary NumanElvis Presley, aPicture disc of Dont Kill It Carol by Manfred Mann, a 10 boxset of Only on eWord by Propaganda etc
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![[FOUGASSE]: (1887-1965) Cyril Kenneth Bird. British cartoonist remembered for his warning propaganda posters of World War II.](https://cdn.globalauctionplatform.com/ce7d8d81-6c8c-4c2c-99d1-ae5800fe9415/5b0e829e-9ad1-4b2a-bf07-ae5b00d9ab4a/468x382.jpg)
[FOUGASSE]: (1887-1965) Cyril Kenneth Bird. British cartoonist remembered for his warning propaganda posters of World War II. An original 8 x 12.5 (20 x 32 cm) colour lithograph poster designed by Fougasse and published by the Ministry of Information, London, c.1940, the image depicting two ladies in conversation over tea and cakes against a backdrop of wallpaper featuring recurring images of Adolf Hitler, with the printed text Don't forget that walls have ears! below and the caption Careless Talk Costs Lives at the base. Some very light, extremely minor age wear, VG
HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. An historically important Autograph Manuscript, unsigned, two pages, 4to, n.p. (Munich?) n.d. (February 1925), in German. The holograph notes were prepared by Hitler in advance of a speech (the first following his release from prison) he delivered in Munich's Burgerbraukeller on 27th February 1925. In the upper left corner Hitler has penned the year 1918 followed by the questions 'What had happened?' and 'Just what went wrong', continuing with a diagram separating the political parties 'on the Left "Proletariat"….Marxism….finished for good due to criminality' and 'on the Right "Bourgeoisie"……bourgeois parties….broke down due to cowardice' and also including the 'Volunteer Corps - Nationalist Organisations, Citizens Defending Themselves', the manuscript continuing with other relevant points he intended to deliver within the speech, 'Stick to the facts. Parties reject violence (cowardly). Associations are non-political (stupid. They keep pulling their chestnuts out of the fire). During all this the nation is destroyed, plundered domestically and internationally. Could anything still help? Founding of the NSDAP [National Socialist German Workers' Party, more commonly known as the Nazi Party] Goal. Programme', and to the second page Hitler writes further notes, 'Development. 1919-20-21-22-23. 8th November Result: Inflation. 1924 Parliament. Struggle within the movement. Did anyone care about us? No. My release. December 1924, February 27th 1925. Buttmann. The division is impending. I and Held. I and Rohm. I and Ludendorff. Lies. The old movement……The movement? In a different Germany. Here.' Autograph material of Adolf Hitler is extremely rare in any form, and the present notes are of particular significance in Hitler's rise to power, this particular speech representing a landmark moment in the re-establishing of the Nazi Party and Hitler cementing his position as 'der Fuhrer'. A couple of extremely minor, very small holes at the intersection of a couple of folds, VG'If anyone comes and tries to make conditions to me then I say to him: friend, wait and see what conditions I have to make to you. I am not wooing the masses. After a year you shall judge, my party comrades; if I have not acted correctly, then I shall place my office in your hands again. But until that moment this is the rule: I lead the movement alone, and no one shall set me conditions so long as I personally bear the responsibility. And I once more bear entire responsibility for everything that happens in the movement' (extract from Adolf Hitler's two-hour speech delivered at the Burgerbraukeller, Munich, 27th February 1925)Hitler joined the tiny German workers party in 1919, He quickly became its leader. On 9 November 1923, at the height of the great German inflation (on 20 November, one U.S. dollar was equal to four trillion German marks), Hitler risked a coup. He led his followers through the streets of Munich to the Feldherrnhalle, a war memorial, where waiting police opened fire. Sixteen of Hitler's followers were killed; Hitler himself was arrested, and after a trial that he turned into a political platform, he was sentenced to four years in prison. The party was banned, and its remnants degenerated into squabbling factions. Hitler stood outside the fray, using his time in prison to write Mein Kampf. He was released in December 1924 after serving only nine months of his term, and set about rebuilding the party. The authorities lifted the ban on the Nazi Party on 16 February 1925. Hitler now arranged one of his rhetorical masterpieces: a mass meeting on 27 February to re-establish the party. He chose the same beer hall from which he had launched his abortive revolution fifteen months earlier. Three thousand people packed the hall, and several thousand more were turned away. He entered to the passionate applause of the audience, and gave [a] two hour speech….Its first three-quarters offered nothing that most in the audience had not already heard, and would hear again in Hitler's future speeches. He reviewed Germany's history, claiming that past conservative parties had no contact with the masses, and that leftist parties pretended to address the problems faced by ordinary Germans, but actually served the interests of the Jews who controlled them. He also outlined his views on propaganda. In the last quarter of the speech, he moved to re-establish his control of the party. He claimed absolute authority. Anyone unwilling to obey could go his own way. Hitler 'forgave' those who had made mistakes in his absence, and demanded that there be no criticism of him or the party for a year. The audience responded with enthusiasm. After the speech, Hitler had arranged…..'a piece of pure theatre'. The Nazi leaders who had fought for supremacy while Hitler was in prison all 'mounted the platform and, among emotional scenes, with many standing on chairs and tables and the crowd pressing forward from the back of the hall, shook hands, forgave each other, and swore undying loyalty to the leader'……The speech succeeded. Hitler once again was absolute leader of the party' (from Landmark Speeches of National Socialism, edited by Randall L. Bytwerk, Texas A&M University Press, 2008)
RADEK KARL: (1885-1939) Marxist Activist and international Communist leader. In 1917 Radek was one of the passengers on the sealed train that carried Lenin and other Russian revolutionaries through Germany after the February Revolution in Russia. Appointed Vice-Commissar for Foreign Affairs, he took part in the Brest-Litovsk treaty, and planned the distribution of Bolshevik propaganda amongst German troops and prisoners of war. Radek was accused of treason during the 1930s purges and sentenced to 10 years. He was killed in the labor camp. Rare T.L.S., Radek, with holograph annotation referring to the address in his hand, one page, folio, n.p., 14th July, n.y., to Guilbeaux, in German. Radek states in part `Dear Comrade Guilbeaux, we will send you 300 francs, including 200 francs for you, for the Pravda articles and bulletin work…From now on we will underline the articles we want you to translate for the French edition..´ further saying `.. What is important is to have them in French. To be distributed among all socialist French press, without distinction…´ Before concluding Radek states `..and if the means we have assigned were insufficient, we still have more funds for this purpose..´ Folded. With one small stain not affecting the signature. G Henri Guilbeaux (1885-1938) French Politician. A prominent figure against World War I. He published the magazine Demain ("Tomorrow") that became a point of reference for all who were against the war, including articles by Lenin, Trotsky, etc... Because of his political credo he was judged by default in France and sentenced to death but could escape to Russia with the help of Lenin where he became an active communist member of the Comintern, supporter of Trotsky.
RIEFENSTAHL LENI: (1902-2003) German Film Director, best known for Triumph of the Will (1935), the Nazi propaganda film. Vintage signed Ross postcard photograph of the controversial German director in a head and shoulders smiling pose. Signed `Leni Riefenstahl´ in dark blue fountain pen ink to the lower border. VG
RIEFENSTAHL LENI: (1902-2003) German film director, known for her role in producing Nazi propaganda. A.L.S., Leni Riefenstahl, one page, 4to, Munich, 11th February 1957, to Mr. Gunston (?). Riefenstahl apologises for her bad English and continues to inform her correspondent 'I am very sorry to tell you, that your letter from the 18.8. must be lost - I never get him. In this time I was in East-Africa till the middle of December. Perhaps you are so kind and write me again, that's all, what I can tell you'. Some light creasing and a couple of small staple holes to the upper left corner, about VG
CILEA FRANCESCO: (1866-1950) Italian Composer. Best known for his operas Adriana Lecouvreur (1902) and L´Arlesiana (1897) with his celebrated aria `E la Solita Storia del Pastore´ also known as Lamento di Federico. A good A.M.Q.S., `F. Cilea´, with a three lines inscription, to an 8.5 x 10.5 (21,5 x 27 cm) page removed from an autograph album, in Italian. Cilea states `Alla gentilissima Signora Marina Chaliapin, che al celebre nome paterno aggiunge le sue doti personali di grazia, di bellezza, d´intelligenza.´ ("To the very kind Madam Marina Chaliapin, who adds her personal gifts of grace, beauty and intelligence to the famous paternal name."). Cilea has also carefully penned beneath a two bars of music which he identifies and entitles `Dall´"Arlesiana"´(`From the "Arlesiana"´), adding the musical tempo `Lento´. Dated in Cilea´s hand at the conclusion, `Varazze (Genova) 1st of August 1937. XVth´. The written and signed page has been neatly affixed in an attractive way to the autograph album page. Bearing to the verso an autograph with inscription by Carmine Gallone (1885-1973) Italian film Director. A controversial screenwriter for his pro-Fascist propaganda. Signed in Venice, august 1937. Small overall minor age toning to edges. About VG Provenance: The present page originates from the personal autograph album of Marina Chaliapin (1912-2009), the daughter of Russian opera singer Feodor Chaliapin (1873-1938), widely regarded as one of the finest bass singers of the 20th century, and his mistress Marina Petsold (1882-1964) who became the singer's second wife in 1927. Chaliapin's daughter was married to Luigi Freddi (1895-1977) the Italian journalist and politician who edited the journal Il Popolo d'Italia and who was also hugely influential in Italian political cinema in the second half of the 1930s and beginning of the 1940s
FREUD SIGMUND: (1856-1939) Austrian neurologist, the founder of psychoanalysis. T.L.S., Sigm, one page, 8vo, Vienna, 4th June 1924, to Edward [Bernays, his nephew], on his personal printed stationery, in German. Freud thanks Bernays for having sent him a copy of the B'nai B'rith news ('It goes into our archive') and continues 'As a result of the June payment, my debt to you is still $310…..I beg you to note that I now have only one account with the Anglo-Austrian Bank in London in my name and I ask you to service that address instead of those others'. Some very light, extremely minor age wear and with just one very small tear to the right edge, otherwise VG Edward Bernays (1891-1995) American theorist, considered as a pioneer in the field of public relations and propaganda. B'Nai B'rith International is a Jewish service organisation founded in 1843 that is committed to the security and continuity of the Jewish people and the State of Israel and to combatting antisemitism and other forms of bigotry.
Brooks, Louise. Die Büchse der Pandora (Pandora's Box). 11 (1 kolorierte) Filmstills in originalen Vintage-Fotografien. Jeweils ca. 30 x 23 bzw. 23 x 30 cm. Unter modernen Präsentations-Passepartous montiert ca. 30 x 40 bzw. 40 x 30 cm (7) und 65 x 49 cm (3) sowie mit Passepartout unter Glas in teilvergoldetem Holzprofilrahmen gerahmt. Berlin um 1929.Großformatige Vintage-Abzüge der "Südfilm AG Nero-Film" für den 1929 uraufgeführten Stummfilm des Georg Wilhelm Pabst (1885-1967) "Die Büchse der Pandora", der wegen seiner freizügigen Szenen und vor allem wegen einer der ersten Darstellungen einer lesbischen Frau im Film schon am 30. Januar 1929 mit dem "Jugendverbot - Zulassungskarte der Filmprüfstelle Berlin B.21540, 8 Akte 3255" belegt worden war. Für Erwachsene lief er allerdings in den Kinos und erlange schnell Weltruhm. Zugrunde liegen "Wedekinds Dramen vom Aufstieg und Untergang der Tänzerin Lulu, die den Männern, denen sie begegnet, den Tod bringt, bis sie schließlich selbst das Opfer des geheimnisvollen Mörders Jack the Ripper wird ... Pabst hat seinen Film ganz auf zwei Wirkungsmöglichkeiten gestellt: auf expressive Großaufnahmen und auf atmosphärische Bildimpressionen" (Krusche-Labenski, 1996, S. 116f.).Genau diese eindrücklichen Bilder wurden als "Filmstills", als Standbilder für die Presse, die Magazine und vor allem in originalen Fotoabzügen für die Aushänge an den Kinos auf festem Fotokarton abgezogen. In der Hauptrolle brillierte Louise Brooks (1906-1985) als Lulu, weitere Rollen konnte Pabst mit Fritz Kortner, Franz Lederer, Carl Goetz, Michael von Newlinski, Daisy d’Ora, Gustav Diesel, Alice Roberts, Karl Etlinger und Siegfried Arno besetzen. Vorhanden sind hier die Nummern 4, 8, 14, 27, 28, 33, 40, 43, 47 und 2 ohne Nummer, die alle die Brooks in Verführungsszenen zeigen, als prachtvoll gekleidete Glamour-Dame (mit Straußenfeder-Kopfputz), etc. Die kolorierte Fotografie mit einer der bekanntesten Szenen, den Lulu packenden Chefredakteur Dr. Schön (Fritz Kortner; 1892-1970), der an dem hübschen Gossenmädel zerbricht. - Teils mit stärkeren Gebrauchsspuren, alle Fotos mit zahlreichen Nadelstichen in den Ecken und teils auch wenigen in der Darstellung, Eckläsuren, keinen Ausbtrüchen, Knickspuren, etwas gebräunt und mit Oberflächenläsuren, Kratzern und Bereibungen sowie vereinzelten Druckstellen. Ein Foto (47) mit größerer Fehlstelle im Bildhintergrund (nicht in den Figuren). Das kolorierte Foto ist allerdings in bemerkenswert gutem Zustand erhalten (hier gerahmt). Vier der Fotos mit dem Blindstempel der Zensur mit dem Reichsadler: "Film Prüfstelle Berlin - Genehmigt". Am 9. April 1934 wurde das Verbot der "Film-Oberprüfstelle O.7290" auf Antrag des Reichsministers für Volksaufklärung und Propaganda Joseph Goebbels erlassen. Louise Brooks war nach Amerika zurückgekehrt, wo sie jedoch an ihre Erfolge in den "Roaring Twenties" nicht mehr anknüpfen konnte.
Nietzsche-Archiv in Weimar. Schriftwechsel mit dem Berliner Verleger Wolfgang Keiper, bestehend aus 32 maschinen- oder handschriftlichen Briefen und 1 Postkarte des Archivs an Keiper und ca. 47 Durchschlägen der Briefe von Keiper an das Archiv. Zus. mehr als 100 S., eng beschrieben. Meist gr. 4to. - Dazu 4 umfangreiche Briefe von Elise Gast an Keiper. Weimar, Berlin-Neukölln und Annaberg (Erzgebirge) 13.XII.1943 - 15.II.1945.Trotz des relativ kurzen Zeitraums eine sehr umfangreiche Korrespondenz, da der Berliner Klein-Verleger Wolfgang Keiper ausgerechnet in der Spätphase des Weltkriegs mit großem Eifer Teile von Nietzsches Werken in kommentierten Faksimile-Drucken herausbringen wollte, darunter eine vierteilige Feldpost-Ausgabe von "Also sprach Zarathustra". Keipers Verlag spezialisierte sich auf Faksimile-Drucke bahnbrechender oder grundlegender Schriften großer Geistes- und Naturwissenschaftler. Von Johann Kepler und Hans Pfitzner, Schelling, Haym und anderen waren bereits Schriften bei Keiper erschienen; es sollten als nächste Nietzsche ("Fünf Vorreden" hatte Keiper schon ediert), Kant und Max Planck folgen. Die Korrespondenz zwischen Keiper und den Vertretern des Nietzsche-Archivs, Max Oehler, Rudolf Dempe und Dr. Günther Lutz, behandelt sowohl allgemeine Fragen der Auswahl und des in Weimar vorhandenen Materials als auch die Beschreibung der Manuskripte und detailliert die Probleme der Papiere, Formate, Typographie, Druckvarianten, Foto-Möglichkeiten (durch den Fotografen Held in Weimar) und Faksimilierung, Einband-Stoffe, Papierbeschaffung und vieles andere, zunächst für "Götzendämmerung", "Ecce Homo" und "Lebenslauf". Großen Umfang des Schriftwechsels nehmen auch Keipers Wünsche hinsichtlich der Kommentierung der Ausgaben ein: eine Bibliographie aller Nietzsche-Drucke vor und nach Gründung des Archivs sowie andere Hilfe und Mitarbeit in Weimar. Beide Seiten geben sich große Mühe, auf die Wünsche des Anderen einzugehen und die Drucklegung trotz schwierigster äußerer Umstände voranzutreiben. Bei Kriegsende liegen schließlich vom Keiper Verlag vor: "Fünf Vorreden", "Mein Leben", "Wir Furchtlosen", "Also sprach Zarathustra" und "Werke, Handschriften Briefe". - Reichhaltiges Material zur Nietzsche-Forschung und zur Situation des Nietzsche-Archivs in den letzten Jahres des Zweiten Weltkriegs. - Beiliegend die Durchschriften je eines Briefes von Keiper an das Reichs-Propaganda-Ministerium, Referat Wissenschaft, in Berlin (19.V.1944) und an den Fotografen Held in Weimar. - Dabei: Elise Gast (geb. Wagner), Ehefrau von Nietzsches engem Mitarbeiter und Herausgeber Heinrich Köselitz alias Peter Gast (der wie Nietzsches Schwester wesentliche Eingriffe in Nietzsches Texten vornahm), Hüterin eines "Peter-Gast-Archivs" in Annaberg (1874-1966). 4 eigh. Briefe m. U. "Elise Gast". Zus. ca. 6 S. Gr. 4to. Annaberg (Erzgebirge) 2.VIII. - 18.XII.1944. - Recht umfangreiche Briefe an den Berliner Verleger Wolfgang Keiper, der sich auf Geschichte der Wissenschaften spezialisiert und neben der Herausgabe einzelner Schriften Nietzsches eine luxuriöse "Jubiläums-Ausgabe" zum 100. Geburtstag (Okt. 1944) geplant hatte. Er plante auch eine Würdigung des Nietzsche-Mitarbeiters Peter Gast (1854-1918) und bittet daher in dem vorliegenden Briefwechsel dessen Witwe um Auskünfte über die Materialien im "Peter-Gast-Archiv" und um Hilfe bei der Erstellung einer möglichst vollständigen Bibliographie der selbstständigen und unselbstständigen Veröffentlichungen von Peter Gast. Elise gibt ausführlich Auskunft: "... betreffs 'König Wenzel', 'Nausikaa' und 'Orpheus' kann ich Ihnen nur den Bescheid geben, daß außer einer Ouvertüre für König Wenzel (1885) alle drei Arbeiten als Entwürfe vorliegen. - 'Der Apulische Hirtenreigen ist unter die Blätter der Nausikaa gewandert, dort mag er viele Jahre ruhen' - schreibt mein Mann am 7. April 1883 an Friedrich Nietzsche, demnach ist auch dieser nur ein Entwurf geblieben. Was das Pastorale über ein böhmisches Volkslied aus dem Jahre 1888 anlangt, das habe ich in meinem Verzeichnis schon angegeben. Es ist dies die Komposition die Nietzsche als Claude Lorrain bezeichnet ... Ihre Frage nach einer autobiographischen Skizze meines Mannes muß ich ... zu meinem größten Leidwesen verneinen. Der Nachlaß seines großen Freundes Nietzsche, für den er sich zu selbstlos einsetzte, hat leider das eigene Schaffen zu sehr verdrängt und sein allzu früher Tod hat diesem Schaffen ein ebenso frühzeitiges Ziel gesetzt. - Zu der gütigst übersandten Tabelle über die schriftstellerischen und musikalischen Arbeiten meines Mannes möchte ich Sie bitten, bei den von Pfeiffer veröffentlichten Briefen nicht Cäcilie Gast, sondern nur Cäcilie G. zu setzen. Eine Cäcilie Gast hat nie existiert, das Fräulein aber, mit dem mein Mann in regem Briefwechsel stand, hat zufällig auch den Buchstaben G am Anfang ihres Familiennamens ...". In den folgenden Briefen nennt sie noch eine ganze Reihe literarischer und musikalischer Werke ihres Mannes, versendet auch das Manuskript der Komposition "Das deutsche Schwert" im Original. Im letzten Brief gibt sie u. a. die Auskunft: "... Die Frage nach einem Gemälde meines Mannes möchte ich mit einem nein beantworten. Das Bild das ich besitze, bringt nicht die Wesenszüge und den Charakter zum Ausdruck, die im Antlitz meines Mannes lagen. Dagegen gibt es ein sehr schönes Bild im Nietzschearchiv in Weimar. Es ist vom Bruder meines Mannes, Rudolf Köselitz, München, angefertigt ...". - Beiliegend 2 Durchschriften von Briefen Keipers an Elise Gast. - Die Briefe von dieser gelocht; kleine Faltenrisse. - Umfangreiches Material zur Nachwirkung Friedrich Nietzsches im 20. Jahrhundert.
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