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2X ERIN GO BRAGH PROPAGANDA FLAGS

A pine framed signed colour print together with Whitley Bay colour print, plaque, propaganda posters etc

Cürten, Ferdinand Carl, 897 in Düsseldorf; † 30. Mai 1945 auf Schloss Amelunxen: Marktplatz in Düsseldorf, dat. 1919Öl auf Presspappe, 60 x 54cm, rechts unten signiert und dat 19, rückseitig eigenhändig betitelt "Marktplatz in D´dorf", datiert und zus. Bez. Opus 9, zeitgenössischer wohl originaler Prunkstuckrahmen, Firniss gebräunt, originaler alter Zustand ohne Restaurierungen etc.Cürten wurde 1919 Mitglied der Künstlervereinigung Das Junge Rheinland, dessen Mittelpunkt die Altstadt-Galerie der Johanna Ey war. 1923 verließ er die Gruppe und trat der neu gegründeten „Rheingruppe“ bei, die sich 1928 zur „Rheinischen Sezession“ weiterentwickelte. Zwischen 1919 und 1933 war er an den Ausstellungen des Jungen Rheinlands, der Rheingruppe und der Rheinischen Sezession beteiligt.[2] - Durch die Beschlagnahmen im Rahmen der Propaganda-Aktion „Entartete Kunst“ im Sommer 1937 wurden zwei Bilder von Ferdinand Carl Cürten aus der Kunstsammlungen der Stadt Düsseldorf durch die Nationalsozialisten entwendet und zerstört: Aquarell III (EK-Inventar Nr.:2266) und Zigeuner (EK-Inventar Nr.:1995) Wikipedia)

Cürten, Ferdinand Carl, 897 in Düsseldorf; † 30. Mai 1945 auf Schloss Amelunxen: Corneliusplatz in Düsseldorf mit Strassenbahnen - dat. Jan. 1919Öl auf Leinwand, 60 x 55cm, rechts unten signiert und dat. 19, rückseitig eigenhändig betitelt "Cornelisplatz", datiert und zus. Bez. 19.9.7 (Werksnummer), zeitgenössischer wohl originaler Prunkstuckrahmen, Firniss gebräunt, originaler alter Zustand, ohne Besch. oder Restaurierungen etc.Cürten wurde 1919 Mitglied der Künstlervereinigung Das Junge Rheinland, dessen Mittelpunkt die Altstadt-Galerie der Johanna Ey war. 1923 verließ er die Gruppe und trat der neu gegründeten „Rheingruppe“ bei, die sich 1928 zur „Rheinischen Sezession“ weiterentwickelte. Zwischen 1919 und 1933 war er an den Ausstellungen des Jungen Rheinlands, der Rheingruppe und der Rheinischen Sezession beteiligt.[2] - Durch die Beschlagnahmen im Rahmen der Propaganda-Aktion „Entartete Kunst“ im Sommer 1937 wurden zwei Bilder von Ferdinand Carl Cürten aus der Kunstsammlungen der Stadt Düsseldorf durch die Nationalsozialisten entwendet und zerstört: Aquarell III (EK-Inventar Nr.:2266) und Zigeuner (EK-Inventar Nr.:1995) Wikipedia)

PEDRO LÓPEZ CALDERÓN (Mexico, first half of the 18th century)"Virgin of Guadalupe".Oil on canvas. Re-coloured.It has repainting.It has a frame of a later period.Signed and located in the central inferior zone.Measurements: 163 x 115 cm; 180 x 131 cm (frame).Inscribed in a mandorla, the praying Virgin is presented accompanied by numerous saints and little loves that occupy the rest of the composition. The work also has small borders in which the figure of the Virgin is repeated. It is noteworthy that the figures hold crowns in their hands, thus combining the theme of the Virgin's coronation with the iconography of the Guadalupana. This representation acquired great richness and variety, especially from the 17th century onwards. Our Lady of Guadalupe is a Marian devotion of the Catholic Church, whose image has its main centre of worship in the Basilica of Guadalupe, in the north of Mexico City. According to Mexican oral tradition, it is believed that the Virgin Mary appeared four times to Saint Juan Diego Cuauhtlatoatzin on the hill of Tepeyac. Juan Diego, in the last apparition of the Virgin, carried in his ayate some flowers that he had cut on Tepeyac, according to the Virgin's order. He unfolded his ayate before Bishop Juan de Zumárraga, revealing the image of the Virgin Mary, a brunette with mestizo features. Since ancient times, the Mesoamerican peoples had already venerated a deity called Tonantzin on the hill of Tepeyac, hence a certain syncretism with the assimilation of the message brought by the Virgin Mary. This event was known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.Pedro López Calderón was a Mexican painter active during the first half of the 18th century. Devoted mainly to religious painting, he collaborated regularly with orders such as the Franciscan Order of San Luis Potosí. The scholar J. Armando Hernández points out that very little information is known about this painter's biography, apart from the fact that he worked in Mexico at the beginning of the century, that he was deputy major of the confraternity and image of Nuestra Señora del Socorro of the painters' guild (Mexico City), and that he was a tertiary of the Order of Saint Augustine. He apparently found a niche in the north of the viceroyalty, especially with the Franciscan order, as evidenced by a "San Juan Nepomuceno" which belonged to the convent of Propaganda Fide in Guadalupe and the works "San Juan Nepomuceno" and "San Nicolás de Bari" in Durango. In addition, we know of a "Santa Cena" in the church of San Fernando, Mexico, and another "San Juan Nepomuceno" signed in that city in 1723. Hernández also states that it is known that in 1726 he appraised paintings that had belonged to an important captain, and in 1729 those of the Marquis of Valle de la Colina. Likewise, in 1722, together with Antonio de Torres, he appraised the paintings that had belonged to the master goldsmith Pedro de Palacios. This last piece of information, Hernández points out, gives us clues about the masters with whom López Calderón lived, such as the aforementioned Antonio de Torres and his contemporary Miguel Cabrera. Other works by López Calderón are currently preserved in the sacristy of the church of San Francisco in San Luis de Potosí, as well as in a work dedicated to him in the presbytery. It is also in the Museo Regional Potosino.

3x Third Reich NSDAP Printed Posters, the posters all with sections of speeches made by Adolf Hitler and Joseph Goebbels for propaganda. The posters were produced by the official printer for the NSDAP. Generally good condition.

Clausen (George, 1852-1944). Making Guns, 1917, 5 lithographs on pale cream wove paper, watermarked Holbein (from the set of 6), consisting of The Furnace, The Great Hammer, Turning a Big Gun, The Radial Crane, and Lifting an Inner Tube (lacking Where the Guns are Made), two with publishers blindstamp towards lower left margin, generally good strong impressions, in clean condition (one or two light surface marks), all in original card window-mount (one with card mount partly deficient, together with the original title page, and original upper wrapper with printed title label (both some marks and upper wrapper frayed with some loss, overall size 63 x 51 cm (24.75 x 20 ins), sheet size 51 x 38 cm (20 x 15 ins), and inverse, ??Qty: (5)Footnote: Clausen's series Making Guns formed part of The Great War Britain's Efforts and Ideals, a sequence of 66 prints by various artists of the day including C. R. W. Nevinson, Augustus John, Frank Brangwin, and others, commissioned by the secret Government Department commissioned by Wellington House, the secret Government department set up to produce artistic propaganda. The works were printed by Avenue Press, and each set was published in an edition of 200 impressions, the Efforts being sold for 2 guineas, and the Ideals sold for 10 guineas.Clausen's set depicts gun making at the Royal gun factory at Woolwich, Arsenal.

Oliver Fielding-Clarke's copiously annotated copy of Notes for Equipment Officers of the Royal Flying Corps, with loosely inserted photographic portrait of the same against a Communist propaganda backdrop; a small quantity of post-war pamphlets and propaganda publications relating to the Communist Party, to include Statements by Two Captured U.S. Air Force Officers on Their Participation in Germ Warfare in Korea, published by The World Council of Peace, and The Corporate State, by A. Raven Thomson; a small quantity of programmes and other publications relating to Russian ballet, and a Russian children's book illustrated with colour lithographs, 1922; Oliver Fielding-Clarke's Grand Lodge certificate and masonic regalia in personalised leather case; Dr Fielding-Clarke's pocket diary for 1905; a partially-filled photograph album, including a theatrical portrait designed to look like Napoleon, and two pocket card games

GEORGE GROSZ (1893-1959)Clown und Partner inscribed extensively (lower right); stamped with the artist's atelier stamp (on the reverse)watercolour, pen and India ink and collage on card37.8 x 27.9cm (14 7/8 x 11in).Executed circa 1922Footnotes:The authenticity of this work has been confirmed by Dr. Ralph Jentsch. This work will be included in the forthcoming volume of the George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceGalleria Schwarz, Milan, no. C 2601 (by 1958).Anon. sale, Parke-Bernet, New York, 19 November 1969, lot 15a.Jay C. Leff Collection, New York.Anon. sale, Sotheby's, New York, 22 October 1975, lot 219.Anon. sale, Sotheby's, London, 4 December 1985, lot 37.Anon. sale, Sotheby's, Munich, 31 May 1990, lot 109.Private collection, UK (acquired at the above sale).ExhibitedDusseldorf, Kunsthalle Dusseldorf, Dada: Dokumente einer Bewegung, 5 September - 19 October 1958, no. 21.Hanover, Kestner-Gesellschaft, Dada, Photographie und Photocollage, 6 June - 5 August 1979, no. 52.Caracas, Museo de Arte Contemporáneo de Caracas, El Espiritu Dada 1915/1925, 14 November 1980 - 15 January 1981.Realised circa 1922 in Berlin, Clown und Partner is a rare Dadaist collage by George Grosz. In typical Dadaist fashion Grosz here sets up a visual dialectic contrasting the somewhat tragic figure of the clown in outsized clothes with a photomontage element depicting a portly member of the bourgeoise in evening dress smoking a cigar. By contrasting these two opposing subjects yet simultaneously making visual comparisons between the two, most notably with the wild hair and formal dress, Grosz serves to evoke the Dada spirit of illogical coherence and thus underscore the satirical tone of the composition: Germany's elitist class has become a laughing stock.In 1919 George Grosz and John Heartfield joined the newly formed Communist party and, in accordance with Dadaism, set about expressing anti-bourgeois protest and a solidarity with the proletariat. Writing in 1925, George Grosz and Wieland Herzfelde set out their aims for the function of contemporary art: 'the artist cannot withdraw himself from the laws of social development – today the class struggle. A detached stance, above or on the side lines, still means taking sides. Such indifference and otherworldliness supports automatically the class in power – in Germany its bourgeoisie... The artist today, can only choose between technical construction and propaganda in the class struggle. In either case he will have to give up on pure art' (Grosz and Herzfelde quoted in H. Hess, George Grosz, London, 1985, p. 85). Grosz first turned to collage in 1919 when, together with John Heartfield, he produced a series of drawings and photomontages to deconstruct traditional bourgeois art and to imbue it with fresh impact and democratic value.Grosz was enchanted with the circus and its cast of performers from an early age. Writing in his autobiography he described his formative attraction to the bohemian, anti-establishment characters of the travelling circuses that frequented his childhood town of Stolp, 'Ah what boy has not been fascinated by circus life and activity? What I wouldn't have given to have gone out into the world with the rope dancers and jugglers and lived in a white wagon so richly decorated and gilded. Naturally not as the boy I was, but as a world-famous jumper or trapeze artist' (Grosz quoted in A Little Yes and a Big No, New York, 1946). After moving to Berlin in 1912, Grosz was able to fully immerse himself in circus, cabarets, and theatres of the metropolis, and it was in these places that Grosz could observe the interactions between the bourgeoisie and those at the fringes of society. His work from this key Berlin period is filled with acerbic observations and social commentary cementing his reputation as one of Germany's most celebrated satirists.The creative anarchy of Dada was to provide the fertile ground upon which André Breton would grow the Surrealist movement. Though Grosz himself did not join the Surrealists, the emphasis on nonsense and irrationality that had characterised Dada formed the foundations of Surrealism, with many artists who had been proponents of the earlier movement joining Surrealist ranks after the dissolution of Dada in the mid-1920s.For further information on this lot please visit Bonhams.com

A collection of WWII Period German Propaganda postcards: in six albums dated between 1935 to 1945, various themes and subjects including NSDAP cards, 1936 Olympics, Hitler Youth, military portraits, topographical, Exhibition and sporting events etc.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A collection of WWII period German postcards: including propaganda cards, artist illustrations of troops after Karl Blossfeld, NSFK, portraits and other related subject matter, in four albums.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

Bender, J. 'Postcards of Hitler's Germany' first edition 1995 in three volumes: together with Catella, F 'Propaganda Postkerten 1923-1945' and second volume 1929-1945, also a copy of 'Bildpostkarten' and a set of trade cards, 'German Orders & Decorations'.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

An early 20th century propaganda poster for Tariff Reforms

Chinese Propaganda Posters, including Prosperous New Year, Peoples Liberation Pay (11)

Harry Potter and the Deathly Hallows: Part 1 (2010) Prop pamphlet seen in the Ministry Of Magic in Harry Potter And The Deathly Hallows Part 1. These were seen being printed by Dolores Umbridge (Imelda Staunton) as Propaganda to Further the cause of Voldemort and the Pureblood wizards, 19 x 23 cm. Provenance: With certificate of authenticity.

Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928

Nazi Germany, Third Reich - Wehrmacht Propaganda, 1939 Invasion of Poland - Von Wedel (Hasso) & Hansen (Heinrich), Die Soldaten des Führers im Felde, first edition and only edition, Munich: Raumbild Verlag Otto Schönstein, 1939, printed in Fraktur, illustrated with 100 stereograph viewing cards (as called for) and complete with original folding aluminium lenses, 5 tipped-in plates and 3 tipped-in maps, contemporary green cloth over bevelled boards, the upper-cover lettered in black, 4to, [1]

Souvenirs of Berlin/1945, an album of b/w snapshot photographs by and/or collected by Jack Horabin, illustrating the German capital following the Battle of Berlin, the collapse of the Third Reich, and the start of the Cold War, images include ruins of Nazi architecture, soldiers and parades of the Soviet army and their tanks, Stalin and Russian Communist propaganda, Berliners, cloth over printed boards, oblong 8vo, (1); loose b/w photographs of the Western Front post-First World War, including cemeteries; some b/w portrait photographs of military men and soldiers; cigarette silks; etc

An album of seventy-five postcards, photographs and ephemera, some relating to WWI Red Cross auxiliary hospital Albert House, Buxton Road, Newtown, Derbyshire, including many group shots of soldiers and nurses, some named verso, including a touching letter from an Australian mother thanking a Mrs Hurst for her kindness to her injured son, also including Bairnsfather, propaganda portrait and war damage postcards, letters and greetings cards.

Approximately 190 postcards cWWI, including RP's of a captured German canon, a French Edith Cavell propaganda postcard, glamour including some by Bleuel, greetings, topographic and other cards.

Approximately 170 postcards, including two RP's of "The Diver during the Restoration of Winchester Cathedral 1907", a Tucks Oilette "Dressing the Diver", various WWI propaganda postcards and RP's of troops, printed cards of SS Maine at Havana Harbour, greetings cards, etc, also a small quantity of photographs and postcards sent home from the BEF during WWI.

A collection of mainly WWI postcards, including RP's of soldiers prior to receiving their uniforms, war-wounded, nurses, also a zeppelin, humour propaganda, swimmers and the Bradford Walking Race 1924, (approximately 84 cards).

A second World War propaganda poster - Tittle Tattle Lost the Battle, after Lacoste, 58 x 41 cm, together with a 19th century theatre advertisement for the New Theatre Royal Bristol, dated 1878, 73 x 23.5 cm, two framed Alex caricatures from the Daily Telegraph by Charles Peattie and Russell Taylor (both signed), 13.5 x 39.5 cm approximately max, etc, all framed (5)

Dandy (1940) 135, 136, 138, 139. Propaganda war issues. With Addie and Hermy the Nasty Nazis. Bright covers with wear to overhang edges. Cream/light tan pages [vg/vg+] (4)

Sexton Blake Library (1939-43) 658, 694, 707, 709, 711-713, 715, 723, 725-736, 738-740, 742-744, (New Series): 2, 3, 5, 9, 21, 45, 48, 53, 54. Including many propaganda war covers and stories. Bright covers with some staple rust showing through. A few [gd], balance [vg-/fn] (36)

26 Hefte der Olympia-Heftreihe der Olympiade 1936, komplett in Gemeinschaft mit dem Reichssportführer herausgegeben vom Propaganda-Ausschuß für die Olympischen Spiele Berlin 1936, Amt für Sportwerbung; Zust.überw.2

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information 38 x 25cmCondition report: Fading to colour and slight discolouration of near the base on the word 'ON' and on the bottom right corner. Slight crease mark visible form the reverse. Minor tears to top and side, 3mm and 2mm.

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information 50.8 x 38.3cmCondition report: Two minor crease marks through the center visible from the reverse. Minor tearto right hand side measuring 1 x 0.5mm

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information50.8 x 38.3cmCondition report: Minor creasing through the center and lower half.

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information 38 x 25cmCondition report: Minor fading to edges of paper consistent with age. Overall good condition

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information 38 x 25cmCondition report: Very minor fading to colour round the rim of the poster commensurate with age and use

'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information38 x 25cm   Footnote: Emblazoned across tea-towels, mugs, t-shirts, and tote bags, the ‘Keep Calm and Carry On’ motif is today considered an iconic, even ubiquitous, cultural touchstone, synonymous with wartime Britain. However, for many who lived through the Second World War, the re-emergence of the poster, in 2001, would be the first time, alongside the rest of the British public, that they would see the image. Conceived in 1939 by the government appointed Ministry of Information, ‘Keep Calm and Carry On’ was one in a series of three posters intended to boost the morale of the beleaguered British public. Each featuring the same bold font over a coloured background and below the symbolic crown of King George VI, the simple and forthright designs communicated the severity of the political situation with typically British restraint. The first two posters - which read ‘Your Courage, Your Cheerfulness, Your Resolution; Will Bring Us Victory’ and ‘Freedom is in Peril; Defend it with all Your Might’ – were produced by His Majesty’s Stationery Office (HMSO) and were displayed on public transport, upon hoardings and in shop windows across the country. Unlike the previous designs in the series, ‘Keep Calm and Carry On’ was not immediately sanctioned for public release. Though it is often claimed that this design was held in reserve, only to be released in the event of severe attacks on British soil, sources suggest that, whilst this may be true in part, there was also a general feeling of apprehension amongst MOI officials surrounding the tone of the message. Responding to reports that indicated civilian morale pointed more towards boredom than fear, the poster was never officially released for public consumption. Whilst a small number of the posters were retained, it is believed that around 2.45 million copies were pulped in 1940 in an effort to relieve the serious paper shortage facing the government. In 2001, a bookseller in Alnwick, Northumberland, discovered a test printing of the poster amongst a consignment of secondhand books bought at auction. After reproducing the image and selling it through the Victoria and Albert Museum in London, the image, previously rejected for failing to understand the mood of the nation, quickly became a quintessentially British glyph, firmly and irrevocably embedded within the collective psyche of the nation. Condition report: Slight crease mark near the bottom left hand side, 38 x 25cm

Militärischer Nachlassfünf Fotos 1. Weltkrieg, mit Gruppen- und Einzelaufnahmen; ein Wehrpass, 2. Weltkrieg, dazu 2 Begleitschreiben; ca. 15 militärische Fotos (davon eines in Zolluniform); fünf Propaganda-Postkarten und kleiner Posten Briefverkehr (mit Feldpost), ein Ausweis: Militärregierung-Befreiung; eine Zeitschrift "O selige Zeit o Weihnachtszeit" und ein Sängerausweis; dazu ein NVA-Konvolut, 10 Fotos mit Brückenlege-LKW aus den 1970er Jahren, ein Wehrdienstausweis, eine Erkennungsmarke; ein Gesundheitsbuch und eine kleine Tischdecke der "Nationalen Volksarmee" mit dem Hoheitszeichen der DDR, Maße ca. 29 cm x 29 cm.

Fotoalbum Ostfrontaußergewöhnliches Album mit ca. 80 Fotos von der Ostfront, darunter auch erbeutete russische Propaganda-Aufnahmen, dazu zahlreiche Skizzen sowie Tages- und Durchhaltebefehle, z.B. über die Eroberung Kiews, dazu eine frühe Fertigung einer NVA Leinenjacke Gr. m 48, ohne Effekten, innen Gestempelt "III/M 1810 46 48m", guter Zustand.

A quantity of military badges with a British WW1 Propaganda Iron cross Condition Report:Available upon request

A WWII British propaganda poster “WATCH YOUR TALK FOR HIS SAKE”, printed by Lowe & Brydone of London, 19¾” x 13”; & a Miss Evelyn Laye (actress) Evan Williams Henna Shampoo poster, 19¼” x 15¼”, each in glazed frame.

An Everett Edgcumbe, London, oak cased scientific instrument, the dial marked 'Volt' and 'F.G.', the case measures approximately 32cms wide; together with Selling The War: Art and Propaganda in World War II, by Zbynbek Zeman.

A box of film reels relating to the 1936 Berlin olympics, believed to include Nazi propaganda footage. Also includes a 1938 plate with Swastika to base.

A World War Two, Nazi propaganda money box caricature of Sir Winston Churchill BOOK A VIEWING TIME SLOT ON OUR WEBSITE FOR THIS LOT. IMPORTANT: Online bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.

Venetian school of the 19th century. Follower of Francesco Zanin (1824-1884)."La Salute".Oil on canvas.Size: 45 x 66 cm; 64 x 82 cm (frame).The work presented here is part of the tradition of Venetian Vedutism, whose history began in the 18th century, although its antecedents date back to the second half of the 15th century. Proud of its power, the city then considered the queen of the Mediterranean because of its commercial contacts reinforced it by means of a veritable visual propaganda. With the precise and opportunely idealised representation of the scene of so many historical and legendary episodes, a myth was consolidated that was destined to endure over time, even if in the 18th century only shaky foundations remained to sustain it. On the other hand, the creation of the genre was also based on the influence of the Nordic painters who settled in Italy in the 16th century, many of whom specialised in landscape painting (unlike the Italians, who concentrated mainly on the human figure). The new trend soon became popular in Italy as well, although for the time being it remained confined to a minor genre. These Dutch and Flemish painters, who settled in Rome, produced views characterised by admiration and nostalgia for the beauty of the classical city, combined with an analytical description of the details, typical of the Flemish tradition, which the Vedutists would eventually inherit. However, they are still views in which the urban setting is subordinated to a narrative episode. The term "Vedutism" itself defines a pictorial genre based on the depiction of places in which buildings are present, sometimes populated by a more or less numerous number of characters. The protagonist of the painting is therefore the urban landscape, always depicted according to the laws of perspective.

ROBERT INDIANA (New Castle, Indiana, USA, 1938 - Vinalhaven, Maine, USA, 2018)."LOVE.Handmade wool tapestry.Signed in the lower right corner.Size: 241 x 241 cm.Robert Indiana is one of the preeminent figures on the American art scene since the 1960s, leading the development of the assemblage technique, the Hard Edge movement, and American Pop Art. Indiana studied at the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, and also at the Edinburgh College of Art. As well as a painter, Robert Indiana has been a theatrical and costume set and costume designer, in productions such as Santa Fe Opera's The Mother of Us All, and acted in the film Eat directed by Andy Warhol.He proclaimed himself to be "the American painter of signs" and throughout his long career he explored, and at the same time constructed, the American identity through diverse iconography.His particular visual language, which could be defined as 'lyricism', marked by slogans such as HUG, EAT and the famous "LOVE". It has become the emblem that continues to unite many artistic generations and is now part of the collective unconscious worldwide.The iconic LOVE series, recognised by LO and VE stacked one on top of the other and arranged in a square, and to which our piece belongs, was first used in a set of poems written in 1958. Then, in the summer of 1965, MoMA commissioned Indiana to design the Christmas cards, finally approving this red, blue and green design. Its true semantic translation is deeply linked to Christianity and the artist's childhood, brought up according to the Church of Christ, Scientist. In an epistolary with collector Larry Aldrich, Indiana shares that there was a phrase 'God is Love' written by the founder of this church, Mary Baker Eddy, which was an unofficial motto of scientific Christianity. From this was born the idea of higher love that Indiana eventually wanted to convey through all his work from the 1960s until his death. In 2008 Indiana created a very similar image for Barack Obama's presidential campaign, in which this symbol was used for various propaganda items.The tapestry featured in our auction, while not the artist's most common technique, ultimately conveys the essence of his entire oeuvre and iconography.Robert Indiana had hundreds of solo and group exhibitions worldwide. Particularly in Spain he exhibited on three occasions, in 1992 at the Galería 57, in 2009 at the Galería Barcelona, and finally in 2012 at the Museo de Pasión in Valladolid.

NIKOLAI KOGOUT (Russian, 1891-1959),'We do not want to fight - but we will defend the Soviets' (Воевать мы не хотим - но советы отстоим!), 1922, a rare Russian Civil War pro-Soviet Communist anti-Finnish propaganda poster, lithographic poster laid down on archival linen, published in Moscow, 72 x 102cm Finland, along with Poland and Ukraine and a number of territories previously held by the Russian Empire, declared their independence from Russia in 1917 following the Revolution. The separatists, along with the emerging Russian Republic, were regarded as a dangerous enemies by the communists throughout the Russian Civil War of 1917-1923.Condition report: Some loss to the lower edge.

DMITRY MOOR (Russian, 1883-1946),'Red Guard Doesn't Want Blood, But Is Standing Ready' (КРАСНЫЙ СТРАЖ НЕ ХОЧЕТ КРОВИ, НО СТОИТ ОН НАГОТОВЕ), c.1922, a rare Soviet Communist anti-Polish propaganda poster, colour lithograph, laid down on archival linen, published in Moscow, 72 x 102cmFrom late 1918 until 1921, Poland fought an aggressive war against the Russian communists, culminating in the Treaty of Riga, after Russia sued for peace after their defeat at the Battle of Warsaw. The poster warns of Poland's continued hostile intentions and the potential Soviet response to such actions.Condition report: Some loss to the lower border. Some restoration, linen backed. See additional images.

WINSTON CHURCHILL - 'SALUTE THE SOLDIER','Salute the Soldier', 1944, a British propaganda poster, part of the War Savings Campaign, the poster gave communities across Great Britain a chance to directly support the troops fighting what was regarded as 'The People's War', chromolithographic poster, published by HM Stationery Office, London, 38 x 51cmCondition report: Poster is linen backed, slight brown to the paper and minor repairs, see additional images.

THIS IS POLAND,'Das Ist Poland', 1924, a German anti-Polish propaganda poster, highlighting the perceived political brutality in Poland after the signing of the Treaty of Versailles, chromolithographic poster, laid down on archival linen, published by Druck G Siebert & Söhne, Berlin,49 x 69cm

° ° Nicole, Pierre, Arnauld, Antoine, Renaudot, Eusèbe [Et. Al.] Perpétuité de la foi de L’Église Catholique Sur L’Eucharistie par Nicole, Arnauld, Renaudot, Le P. Paris, Etc., Sur La Confession, par Denis de Sainte-Marthe … C’est-A-Dire, Sur les principaux points qui divisent les Catholiques d’avec les Protestants, par Scheffmacher, Publiée par J,-P. Migne. 4 volumes, Paris, 1841. (Volume 1 a reprint(?) of 1848.)Text in French. An ex-library copy, with labels in the inside front covers and no other stamps or labels. Contemporary buckram bindings with leather spine labels. The spines faded, spine label of the fourth volume with small abrasions; Catholic Church, Congregatio de Propaganda Fide. Collectanea S. Congregationis De Propaganda Fide sen Decreta Instructiones Rescripta Pro Apostolicis Missionibus. Vol. I. Ann. 1622-1866. NN. 1-1299. Vol. II. Ann. 1867-1906. NN. 1300-2317. 2 volumes, Rome, Ex Typographia Polyglotta, 1907. Text in Latin. Contemporary quarter cloth bindings with red and green leather spine labels. The spines a trifle rubbed. A good set. *With the ownership inscription of Thomas F. Bishop on the front free endpaper and the bookplate of Philip Edward Hallett (1884-1948) on the inside front cover. Text in Latin. Contemporary quarter cloth bindings with red and green leather spine labels. The spines a trifle rubbed. A good set. *With the ownership inscription of Thomas F. Bishop on the front free endpaper and the bookplate of Philip Edward Hallett (1884-1948) on the inside front cover; Roberts, Charles. [Ed.] Calendar Genealogicum. Henry III. and Edward I. Two volumes, Published by Authority of the Lords Commissioners of Her Majesty’s Treasury, under the Direction of the Master of the Rolls. 1865. Folding facsimile in volume one. Library labels on the inside front covers, but no other stamps or labels. Original blind-stamped cloth bindings, the covers slightly mottled. Some offsetting to the title page of volume one, otherwise a nice set; Jourdain, Charles. Mémoire Sur Les Sources Philosophiques des Hérésies d’Amaury de Chartres et de David de Dinan. Paris, Imprimerie Impériale, 1870. An offprint from the second part of volume 26 of the ‘Mémoires de l’Académie des Inscriptions et Belles-Lettres.’ Library labels on the inside front covers, but no other stamps or labels. Cloth binding, titled in gilt on the spine, with the original blue wrappers bound in; Gams, Pius Bonifacius. Series Episcoporum Ecclesiæ Catholicæ, Qua Series, Quæ Apparuit 1873 Completur et Continuatur Ab Anno Ca. Ad 20. Febr. 1885. Regensberg, 1886.Text in Latin. Library labels on the inside front covers, small library stamp on the front free endpaper, but no other stamps or labels. Contemporary cloth binding, the covers faded and most of the spine missing, but joints firm, bound with Urbis et Orbis Extensionis seu Concessionis Officii et Missae addito Doctoris Titulo ad Universam Ecclesiam in Honorem b. Alberti Magni Confessoris Ordinis praedicatorum et episcopi Ratisbonensis. Small folio, Regensberg(?) 1931.Text in Latin. Library label on the inside front covers, but no other stamps or labels. Contemporary quarter cloth binding, the spine fade, the covers rubbed and worn; Catholic Church. Cantus Ecclesiasticus Passionis D. N. Jesu Christi Secundus Mattæum, Marcum, Lucam et Joannem Editus Sub Auspiciis Sanctissimi Domini Nostri PII Papæ IX. Fasc. II. Continent Verba Christi Necnon Lamentationes Tridui Sacri. Small folio, Regensberg, 1877; Cantus Ecclesiasticus Passionis D. N. Jesu Christi Secundus Mattæum, Marcum, Lucam et Joannem Editus Sub Auspiciis Sanctissimi Domini Nostri PII Papæ IX. Fasc. III Continent Verba Synagogæ Necnon Præconium Paschale Sabbati Sancti. Small folio, Regensberg, 1877. Text in Latin. Library labels on the inside front covers, but no other stamps or labels. Limp cloth boards, edges slightly faded, the spines fraying and Darley-Doran, Robert E. [Et. Al.] The Foundation Collection of the Early Copper Coinage of the Muslim Community. Two volumes, London, 2015. Original cloth bindings, slightly rubbed, small tear to lower outer hinge of volume 1. Some ink annotations to a few of the photographic illustrations. *A catalogue of the collection of André de Cleremont, coin specialist and dealer.

A group of four Russian political posters comprising three propaganda posters (one reproduction) together with a Congress of Communists poster - 'To Waste Time is to Waste Everything' (1988)

A selection of Polish advertising posters comprising: MIEDZYNARODOWY DZIEN DZIECKA (INTERNATIONAL CHILDREN'S DAY) (1952) - special poster - for the holidays that was introduced to Poland in 1952 which takes place on June 1st - coincides with beginning of Summer and is usually treated as a special day free of lessons; INWENCJA LUDOWA WE WZORNICTWIE (1970) (FOLK INVENTION IN DESIGN) - Polish exhibition poster; SALON SZTUKI WSPOTCZESNEJ (CONTEMPORARY ART EXHIBITION, APRIL 1978) - advertising poster and PRZEZ ŚWIAT IDĄCE WOŁANIE - POKÓJ (A CRY THROUGH THE WORLD - PEACE) Polish one sheet propaganda poster - all four feature artwork by WALDEMAR ŚWIERZY - various conditions - rolled (4)

A RMS Lusitania cast metal British propaganda medal in original box with leaflet Location: Cab

WW2 German Adler Favorit typewriter by Heinrich Keyer with handwritten note describing that it was recovered from a wrecked Mercedes staff car outside of the Propaganda Offices in Berlin before it had been reached by the Red Army 

A WWI recruitment or propaganda poster, 'To the women of Britain', 73 x 47cm, in a contemporary oak frameCondition report: Visually good order, not inspected out of frame.

INDIE PUNK - 7" COLLECTION. Wicked collection of around 55 x 7" featuring Indie Punk artists largely from the 90s/2000s. With sevens from the likes of Danger Gens, The Blue Smarties, The On Offs, Stopstarts, Infadels, Grand National, Nilon Bombers, The Basement, Blink, The Auteurs, The Comas, The Anomalies, The Motorettes, Glitterbox, 10,000 Things, The Outskirts, Strip Kings, Propaganda, Special Needs, The Stills, The Ripps, Brakes, Smart Alecs, The Rumble Strips, The Bishops and THe Magic Numbers. Condition is primarily Ex to Ex+.

A SEATED MAO PROPAGANDA PORCELAIN FIGURE Property from an Emerald Hill shophouse, the home of the interior designer behind ‘Galerie Cho Lon' Inscribed to the front, raised on square base 36cm high Condition: No obvious condition issues

Modern loose leaf album of WW2 German postcards, photographs and other paper ephemera including Adolf Hitler, Luftwaffe, comic, soldier and group portraits, memorial cards, propaganda images, interesting postmarks etc

Three modern loose leaf albums containing over two-hundred and thirty war and military related postcards and ephemera including battlefield and trench views, Kings front visit, marching soldiers, propaganda images, interesting postmarks, War Bond campaign cards etc

A large collection of Second World War propaganda leaflets

Sundry items of military ephemera including Second World War fascist Italian propaganda postcards, together with Imperial Japanese, and Imperial and Weimar German banknotes

Cinderella Stamps, in seven stock books, including revenues, forgeries, propaganda etc, around 7000 stamps some adhesion in places.

Seven Stockbooks and an Album, including British Commonwealth stamps, Sweden, Indo China, Cinderella material including poster, propaganda and forgeries (3000+) some adhesion in places.

Cinderella Material, including revenues, forgeries, propaganda, ephemera etc (6000) stamps, some adhesion in places, housed in ten stock books.