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An interesting collection of documents and other items to include German propaganda, Eight Army Service of Thanksgiving leaflet etc

Norman Rockwell, Original World War II Propaganda Poster ' Ours .... to fight for Freedom from want ' published by the U.S. Printing Office 1943, 100cm x 141cm, framed and glazed

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 collection of six royal commemorative medallions, a pair of English reproduced Lusitania propaganda medals after Goertz, a wax seal and a silk rosette

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, Communist Party Propaganda, Children's items, Advertising material and much more. Many items, conditions vary.

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.

A Chinese propaganda poster circaÊ1970. Framed in a wood frame. 1975. (52 x 76 cm)

A collection of original U2 magazines / fanzines to include: 'U2 Magazine' issues #1, 2, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 15, 16. 'Propaganda' issues #1-16 with spare #1 and #20.

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.

Two WWII propaganda posters

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.

Good collection of early 20th Century Greeting Cards and ephemera, to include Christmas examples, Easter, Anti German Propaganda The last will and testament of the Kaiser opposer of peace, and various other cards and ephemera, (qty) 

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

A USSR propaganda poster of Vladimir Lenin 58x115cm

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

GERMAN PROPAGANDA: WORLD WAR II: a group of 4 pre-WWII German propaganda publications, to include Lydia Schurer-Stolle's 'So Sind Wir..': Inge Wessel's 'Das Neue Buch Fur Madels', and similar, all 8vo in original cloth, without dustjackets. (4)

[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.

9 x British WWI & WWII reproduction propaganda posters.

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.

A WWI ball and labyrinth propaganda game 'Trench Football' with printed instructions verso titled 'Mode of Attack'. Contains one small ball.

A collection of four late 20th Century replica Russian USSR Soviet Union WWII propaganda posters comprising an example with soldier and notation for 1941-1945, another with Communist leader, one with soldier in red and another of a worker (AF). Rolled with one being torn as mentioned and some wear. Measures approx; 60cm x 37cm.

A SEATED MAO PROPAGANDA PORCELAIN FIGURE Seated in a woven chair, with cigar inhand 36cm high x 24cm wide Condition: Minor signs of wear commensurate with age and use Provenance: Property from an Emerald Hill shophouse, the home of the interior designer behind ‘Galerie Cho Lon'

A MAO PROPAGANDA PORCELAIN FIGURE The figure with one arm raised, on square plinth base * Condition: Minor signs of wear commensurate with age and use

A collection of WW II period photographs to include German propaganda examples, German Officers and amphibious vehicles etc. (approx. 50)

A quantity of Russian USSR propaganda posters, torn a/f

Britain's Great Flood Disaster by Hank Janson, together with Dr. Michael F. Connors - Dealing in Hate - the development of Anti-German Propaganda. (2)

Germany / USA. 1915 Lusitania medal complete with box and papers designed by karl Goetz and circulated by the allies as a means of propaganda. Also another without box. (2)

Germany. 1920 bronze "Gesslerhut" on the Palatinate propaganda medal by Karl Goetz. OBV fasces surmounted by helmet with caricatured French colonial troops in background / REV large authorative arm emerging from the ground and ensnaring a nude German woman who is harassed by French colonial troops below text "Im jahre des heils" (in the year of salvation) 1920. D60mm

A selection of German Propaganda stamps 'Liquidation of Empire'

3. Reich, 2 farbige Propaganda-Postkarten. "Die Polizei im Fronteinsatz" zum Tag der Deutschen Polizei 1942 und "Tag der Briefmarke" 1938, gelaufen, in gutem Zustand. Dazu das Buch "Nürnberg 1933. Der erste Reichstag der geeinten deutschen Nation", guter Zustand.

Great Britain Stamp Collection in Albums(10) plus loose, from 1840 1d black(tear) & 2d blue, 1948 Silver Wedding £1 Mint, value in decimal mint issues up to 2008 including Presentation Packs, Booklets, First Day Covers, Smiler Sheets(2000-2018), some definitives. Folder with 1944 German Propaganda Stamps 1/2d-3d used(3 boxes)

A vintage 20th Century French propaganda poster reading 'Avec De Gaulle Oui A La Ve République (With De Gaulle Yes To The 5th Republic)'. The poster depicting a picket being held above a crowd of people with tone of blue, red and white. To the lower right 'IMP. Lievin Danel, Lille. Measures approx; 77cm x 58cm.  

THE TAMWORTH HERALD - WAR YEAR EDITION, an Archive of the Tamworth Herald Newspaper covering 1942, articles include reports of POW's and individuals killed or missing in action, a report of a Fazeley man in action at Dieppe and patriotic propaganda from the Tamworth Gaslight and Coke Company and the Tamworth District Electric Supply Company, local issues continued to make up the majority of the Editorial. The newspapers are bound in one album, editions contain between 6-10 pages (3-5 sheets), foxing throughout and some editions have creases and minor tears, the album binding is worn

'PANK-A-SQUITH''Pank-a-Squith' board game, the coloured printed board depicting a spiral of illustrated squares within a purple, green and white striped border, folding board with centre hinge, 'lizard' patterned outer red boards, 'Pank-A-Squith' embossed in black, 450 x 450mm., lacking game pieces and sheet of rules, [Germany, 1909]Footnotes:Named for the key opponents in the struggle for votes for women, Emmeline Pankhurst and the then Prime Minister Herbert Asquith, this rare board game was first advertised in Votes for Women on 22 October 1909, and was one of several games sold via the Women's Social and Political Union in order to disseminate propaganda and raise funds. The aim of the game was to reach the Houses of Parliament and the goal of Universal Suffrage whilst encountering various events and difficulties along the way. Square 6, for example, shows a suffragette breaking the windows of the Home Office, 16 exhorts the player to 'send a penny to Suffragette Funds' and square 43 depicts the forced feeding of hunger strikers. Other squares represent Holloway Prison and the Great Votes for Women Demonstration in Hyde Park. The six game pieces shaped as suffragettes and the sheet of rules which would have originally accompanied the board are not present.For further information on this lot please visit Bonhams.com

'PANKO' - PLAYING CARDS'Panko or Votes for Women. The Great Card Game. Suffragists v. Anti-Suffragists' [complete pack of 48 pictorial playing cards], illustrations by E. T. Reed of 'Punch', printed in black, red, purple and green, each card numbered 10, 20, 30 or 40 in red or green, versos with purple on white geometric design, with printed sheet of rules, creased and marked, in original card slip case, lacking base panel, within outer printed box lacking both end panels, worn, 97 x 72mm., London, Peter Gurney Ltd., c.1909 (2)Footnotes:'PANK! PANK! PANK!' – 'PANKO OR VOTES FOR WOMEN': A complete set of the popular Suffragist card game with sheet of rules.The pack comprises four Suffragist suits and four Anti-Suffragist suits, each of six cards, the object being to exchange cards and collect a complete suit in a game similar to rummy. The present set has the points printed on each in red (for Anti-Suffragists) or green (for the Suffragists) and its original printed sheet of ten rules. The game, costing two shillings, was widely distributed by the Women's Social and Political Union, the advertisement claiming 'Not only is each picture in itself an interesting memento, but the game produces intense excitement without the slightest taint of bitterness', and was used a way of subtly disseminating propaganda into domestic circles. As Elizabeth Crawford writes, 'the translation of the mechanics of the women's suffrage campaign into board and card games was a masterstroke that originated from within the Women's Social and Political Union. Not only were funds raised, but the message of the cause was brought into domestic circles where more rabid propaganda might not have been welcomed' (Crawford, E., The Women's Suffrage Movement, A Reference Guide 1866-1928, 1999, p.235)For further information on this lot please visit Bonhams.com

'ANGEL OF FREEDOM' MEDALLIONCircular medallion depicting the 'Angel of Freedom' designed by Sylvia Pankhurst, silver and guilloche enamel in purple, white and green, with suspension ring, hallmarks of James Fenton or Joseph Fray, Birmingham, 1910, 32mm. diameterFootnotes:A RARE SUFFRAGETTE PENDANT DESIGNED BY SYLVIA PANKHURST.In 1909 the Kensington WSPU shop advertised, amongst its stock of badges, jewellery and other ephemera, 'the exhibition angel set in pendant' (Crawford, p.305), presumably the present piece which shows the angel motif designed by Sylvia Pankhurst for the Prince's Skating Rink Exhibition of May 1908. Comprising fine enamel guilloche-work on silver, it would have undoubtedly been one of the more expensive pieces on offer. Whilst the hallmarks confirm the place and date of manufacture as Birmingham, 1910, the makers mark is less conclusive, with Joseph Fray and James Fenton both possible candidates. Their marks are very similar and often confused, even in the specialist literature on the subject. The present piece passed through the hands of Elizabeth Crawford some years ago: '...a 'true' piece of suffragette jewellery...' she writes, '...have never found another...' (womanandhersphere.com) and is illustrated on the front cover of her seminal Reference Guide. The WSPU was one of the first movements to take advantage of the use of logos and visual marketing to promote their cause and Sylvia Pankhurst, a highly talented artist, designed much of its merchandise and propaganda, most notably her 'Angel of Freedom' which appeared on so many items. She had won a scholarship to the Manchester Municipal School of Art from 1900-1902, where she was awarded the prize for best female student and in 1903 undertook a commission to paint a mural scheme on the new Pankhurst Hall in Salford, built in honour of her father Richard. In 1904 she won a scholarship (first of only six to be awarded that year) to the Royal College of Art but soon gave up a potentially successful career as a painter to join her mother and sisters in the fight for universal suffrage. From then on she used her considerable artistic talents for the good of the cause, not only, as seen here, designing many of the smaller items created to raise funds but also producing large wall paintings and banners for events such as the Skating Rink Exhibition. In 1907, she produced a series of drawings, The Women Workers of England, which documented the working conditions of female workers in cotton mills and potteries (see Hester Reeve, 'The Suffragette as a Militant Artist', sylviapankhurst.gn.apc.org).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

'PANKO' - PLAYING CARDSTwo sets of 'Panko or Votes for Women. The Great Card Game. Suffragists v. Anti-Suffragists' [complete pack of 48 pictorial playing cards], illustrations by E. T. Reed of 'Punch', printed in black, red, purple and green, each card numbered 10, 20, 30 or 40 in red or green, versos with purple on white geometric design, with printed sheet of rules, creased and marked, some small tears, in original card slip case, within outer printed box, marked and slightly worn, 97 x 72mm., London, Peter Gurney Ltd., c.1909; the second set printed without the numbers, in original card slip case within outer printed box, marked and worn, lacking sheet of rules, 97 x 72mm., London, Peter Gurney Ltd., c.1909 (3)Footnotes:'PANKO OR VOTES FOR WOMEN': Two sets of the popular Suffragist card game, one with sheet of rules, the other being the uncommon, possibly earlier, un-numbered edition.The game, costing two shillings, was widely distributed by the Women's Social and Political Union, the advertisement claiming 'Not only is each picture in itself an interesting memento, but the game produces intense excitement without the slightest taint of bitterness', and was used a way of subtly disseminating propaganda into domestic circles. As Elizabeth Crawford writes, 'the translation of the mechanics of the women's suffrage campaign into board and card games was a masterstroke that originated from within the Women's Social and Political Union. Not only were funds raised, but the message of the cause was brought into domestic circles where more rabid propaganda might not have been welcomed' (Crawford, E., The Women's Suffrage Movement, A Reference Guide 1866-1928, 1999, p.235).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A well-documented Second War ‘1945’ Lancaster Rear Gunner’s D.F.C. group of five awarded to Flying Officer K. G. W. Mantock, Royal Air Force Volunteer Reserve, who flew in at least 46 operational sorties with 467 (R.A.A.F.) and 57 Squadrons, including the Peenemünde Raid 17/18 August 1943 - with his final sortie being the Dresden Raid, 13/14 February 1945 Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1945’, in Royal Mint case of issue; 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany; Defence and War Medals 1939-45, with M.I.D. oak leaf, campaign medals mounted for wear, generally good very fine (5) £2,000-£2,400 --- D.F.C. London Gazette 20 July 1945. The original Recommendation states: ‘Pilot Officer Mantock has completed two operational tours in Bomber Command, the first of 26 sorties with No. 467 Squadron, the second of 20 with No. 57 Squadron. During his first tour he took part in five attacks on targets in Italy: Milan, Genoa, Turin and Spezia (twice). Targets in Germany included Peenemünde, Essen, Cologne, Stettin and Berlin. On a raid on Berlin on the 3rd September, 1943, the aircraft in which he was the rear gunner, was attacked by enemy fighters after having been damaged by anti-aircraft fire. One engine had to be feathered, while a second did not function to full power. During the whole time of the attack by enemy aircraft he kept his Captain informed of their manoeuvres thus enabling successful evasive action to be taken. His courage and coolness on this occasion contributed considerably to the safe return of the crew and aircraft to Base. Throughout his second tour, included in which were attacks on many heavily defended targets such as Stuttgart, Karlsruhe, Siegen and Dresden, he has carried out his duties with courage and enthusiasm and has been one of the most reliable gunners in his Squadron. He is recommended for the award of the Distinguished Flying Cross.’ M.I.D. London Gazette 8 June 1944. Kenneth Gordon William Mantock served with the Royal Air Force Volunteer Reserve during the Second War. His initial postings included to No. 1 A.A.S., Manby and 1661 C.U, before being posted as a Air Gunner for operational service with 467 (R.A.A.F.) Squadron (Lancasters) at Bottesford in March 1943. Mantock was crewed with Flight Sergeant Tillotson as his pilot, and he flew in at least 26 operational sorties with the Squadron, including: Bayonne; Frankfurt; Spezia (2); Pilsen; Stettin; Dortmund (2); Dusseldorf (2); Essen; Wuppertal; Cologne (3); Gelsenkirchen; Turin; Genoa; Mannheim; Milan; Peenemünde Raid, 17/18 August 1943; Berlin, 13 September 1943, ‘Nicely Shot Up Came Back On 2 1/2 Engines’ (Log Book refers); Munich; Hanover; Bochum and Hagen. Having completed his first operational tour, Mantock was posted to No. 5 L.F.S. in January 1944. He returned to operational flying when posted as a Rear Gunner for service with 57 Squadron (Lancasters) at East Kirby in September 1944. Mantock advanced to Flight Sergeant October 1944. He was crewed with Flying Officer Watt as his pilot, and Mantock flew in at least 19 operational sorties with the Squadron, including: Darmstadt; Stuttgart; Boulogne; Bremenhaven; Munchen Gladbach; Munster; Karlsruhe; Heligoland; Wilhelmshaven; Bergen; Oslo; Houffalize; Royan; Danzig Bay; Siegen; Karlsruhe; Kiel Bay and the Dresden Raid 13/14 February 1945. Mantock advanced to Flying Officer April in 1945, and subsequent postings included 1660 H.C.U., R.A.F. Habbaniya and R.A.F. Woodford. Sold with the following related items and documents: M.I.D. Certificate, dated 8 June 1944, in OHMS envelope addressed to recipient at ‘74 Poole Road, Westbourne, Bournemouth, Hamps’; Royal Air Force Observer’s and Air Gunner’s Flying Log Book (5 December 1942 - 1 August 1946); named Buckingham Palace enclosure for D.F.C.; Air Gunner’s Brevet; 57 Squadron Battle Order for 13 February 1945; Telegram from recipient to wife, informing her that he has finished his first tour and is coming home on leave; an example of a Propaganda Leaflet dropped by the R.A.F. on Hamburg; and a number of photographs including recipient with his crew, and of his aircraft ‘Thermo Excreta’.

Three Propaganda leaflets from the Iraq war, each 8 cm x 15 cm.

Shanghai Defence Force, China, a 1920's photograph album containing approximately 170 snapshot photographs in total, approximately 100 of which depicting China, of which a good number of Shanghai Defence Force British troops and navy and related in Shanghai during the period of unrest and tension in 1927, when the force was established to protect British interests and properties in the 9 square mile International Settlement, the wealthiest port in China, from Chinese nationalist forces. Images include trooping of the colours of the 2nd battalion of the Cold Stream Guards at the racecourse, King's Birthday Parade, June 3rd/4th, 1927, which happened during the fiercely anti communist atmosphere prevailing at the time in the foreign community, image approx 21 x 27cm; plus a contemporary pro communist/anti British imperialist printed propaganda leaflet titled "The Devil's Tattoo", produced by the Shanghai Defence Force Revolutionary Soldiers Committee, directed at the military tattoo held in honour of the King's Birthday "...The Shanghai Tattoo is not intended as a birthday compliment to his B-. Majesty. In reality it is a vulgar, arrogant, provocative display of pride and force on the part of the local authorities and british militarists. In their ignorant fear and rage they hope thereby to intimidate the Chinese into the continued acceptance of british Imperialism. Like a cat hunching its back when confronted by a enemy; trying to make itself look more ferocious and powerfull than it really is; the Shanghai die-hards and british military braves have arranged this Tattoo so as to strike fear and terror, by a display of men and munitions, into the hearts of Chinese workers and nationalists...”, approx 40 x 22cm, printed; various other images of British parading/marching troops in Shanghai streets etc; photo captioned in pencil verso "Building a blockhouse" depicting busy street scene North Honan Road (Henan Road), Shanghai, with rickshaws and pedestrians and construction work overseen by soldiers; two photos of internment camps, Shanghai; A few photos depicting battalion embarking at Hong Kong for Shanghai, February 18th, 1927; a few small snapshots showing street scenes, market, street vendors, boats, Bund, etc, Shanghai; withdrawal of Devonshire Regiment from Shanghai at quay, late 1927; various ships in South China Station, Singapore, Weihaiwei, Shanghai etc, including HMS Berwick, Achilles, Neuralia etc; British soldiers, Singapore; Junks/boats, Singapore; good quantity of snapshot photographs of mainly Peking (Beijing), China, including North West corner of the old city wall; Temple of Heaven; Forbidden City; Summer Palace; Jade Fountain marble pagoda; Beihai Park winter palace; camle caravan outside Peking; Cantonese soldiers standing by car; food market, alley way etc; plus others Flower Pagoda, Canton; plus several others Japan, Sri Lanka etc, images corner mounted, several captioned in pencil verso, various sizes approx 4 x 6cm - 23 x 28cm, oblong album (25 x 33cm), contemporary cloth, ribbon tied

Railwayana - Two albums of vintage postcards depicting locomotives, stations and trucks to/w other topography, World War I propaganda pin-ups etc

Moscow is a book published by State Art Publishers for the World Fair in 1939 in New York. Colour illustrated endpapers. Soviet propaganda publication profusely illustrated with reproductions of photographs showing Moscow architecture & street scenery, Stalin and other Soviet officials, parades, citizens, workers, etc. It has two tipped-in fold-out with artwork and photographs each at the rear of the book, printed on both sides as published. The motifs are images of "Moscow of the Past" in one, the other depicts "Buildings preserved by the Soviet Government for their historical value". Design of the book is attributed to Alexander Rodchenko, Russian artist, sculptor, photographer and graphic designer; one of the founders of constructivism and Russian design. Very good condition, very light wear along edges and head and tail of spine. Tight copy with binding and interior is also in very good condition. Country of issue: Russia, designer: A Rodchenko, V Stepanova, size (cm): 26x20.5, year of printing: 1939. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/

Original vintage advertising poster for an art exhibition The Great Utopia The Russian and Soviet Avant-Garde 1915-1932 held at the Solomon R. Guggenheim Museum in New York City from 25 September to 15 December 1992. Dynamic design featuring an image of a 1930 propaganda poster by the Russian painter and designer Valentina Kulagina (1902-1987) created for International Women Workers' Day featuring two ladies working in a factory assembly line with a demonstration march depicted below, the text running vertically on both sides in white letters against red with the information text for the exhibition in the white margin below. Excellent condition, printed on thick paper. Country of issue: USA, designer: Valentina Kulagina, size (cm): 76x48, year of printing: 1992.

Original vintage propaganda poster for the post-war US sponsored European Recovery Program (1948) known as the Marshall plan - Marshall Help / Marshall Hjalpen. Colourful design by Gusta Aberg depicting a barbed wire being cut by cutting pliers with Marshall Hjälpen written on the red and blue blades with white stars on the handle representing the American flag. This design was submitted to the Intra-European Cooperation for a Better Standard of Living poster competition on the theme of cooperation and economic recovery that was held in Europe for the Marshall Plan. Printed by Kuhn and Zoon Rotterdam. Good condition, creasing in margin, staining in margin. Country of issue: Netherlands, designer: Gusta Aberg, size (cm): 75x55, year of printing: 1950.

Original vintage Soviet space propaganda poster - 12 April Cosmonautics Day - featuring a colourful design depicting Yuri Gagarin (Yuri Alekseyevich Gagarin; 1934-1968), the Soviet pilot and cosmonaut who was the first man in space on 12 April 1961, in a helmet looking up at the black background with stylised yellow, red and white stars and lines shooting across from the right and the yellow and white lettering running vertically on the left side. Cosmonautics Day has been celebrated annually in the Soviet Union and Russia since 1962 and internationally since 2011 as the International Day of Human Space Flight. Good condition, restored tears, backed on linen. Country of issue: Russia, designer: L. Nepomnyashiy, size (cm): 97x68, year of printing: 1989.

Original vintage propaganda poster - Protect yourself / Protegez vous - featuring a gas mask and crossed gloves on a blue background. EDF (Electricite de France) SGR (Service General de Radioprotection). Le Guistin - Sodel - Paris. Good condition, restored tears and minor loss, minor staining, backed on linen. Country of issue: France, designer: Le Guistin, size (cm): 60x40, year of printing: 1940s.

Original vintage Soviet propaganda poster featuring an illustration of a scientist wearing protective gloves and a visor holding up a slide above four test tubes with the atom symbol in red above and industrial factory tanks in the background, the text reading: Steady is the progress of the Soviet Union, it has a grand plan of work – The achievements of our science are implements in industry! One of a set of political posters printed after the XXIV Congress of the Communist Party of the Soviet Union. Artwork by the notable Soviet political poster designer Viktor Koretsky (1909-1998). Horizontal. Excellent condition. Country of issue: Russia, designer: Viktor Koretsky, size (cm): 29x44, year of printing: 1972.

SIX CHINESE CULTURAL REVOLUTION PROPAGANDA POSTERS,1970s, five on the theme of food production, the sixth depicting a mother and child, three issued by the Shanghai People's Publishing House, comprising 'Awake in the Middle of the Night' designed by Liu Zhigui, 'Farmers with Machine' designed by Wu Guanghua, 'Fresh Breeze in the Shop' designed by Cheng Minsheng, 'Heart to Heart Talk' designed by Wenxi Liu, 'On the Spot Meeting' designed by Ma Jianya and 'Spring Rain' designed by Zhong Zhaolin, each approximately 53 x 76cm, loose (6)

Leni Riefenstahl signed 6x4 vintage black and white photo. Helene Bertha Amalie Leni Riefenstahl ( 22 August 1902 - 8 September 2003) was a German film director, photographer and actress known for her seminal role in producing Nazi propaganda. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

FREDERICK ROLFE (BARON CORVO): THE CARDINAL PREFECT OF PROPAGANDA AND OTHER STORIES, intro Cecil Wolf, London, Nicholas Vane, 1957 (250) out of series, original cloth backed decorative boards + MONTAGUE SUMMERS: WITCHCRAFT AND BLACK MAGIC, London, Rider & Co, [1945], 1st edition, original cloth, spine dulled, part d/w loosely inserted (2)

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Dancers.Oil on canvas.Signed in the lower left corner.Size: 51 x 41 cm; 60 x 50 cm (frame).A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1920, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.