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Click here to subscribe1967/68 EUROPEAN CUP SEMI FINAL Real Madrid v Manchester United played 15 May 1968 at the Bernabeu, Madrid. Rare large format 4-page programme published in Madrid. Titled ''REAL MADRID - MANCHESTER - COPA DE EUROPA - 15 Mayo 1968'' Includes full team line-ups inside and team group pictures of both teams plus a review of the first leg at Old Trafford etc. Neatly folded both ways as issued only. Fair-generally good
1969 NASL INTERNATIONAL CUP West Ham United (Baltimore Bays) Rare generic programme which previewed all the Baltimore Bays (West Ham) home matches played in May 1969 in the NASL International Cup including Wolverhampton Wanderers (Kansas City) on 2/5/1969, Tottenham Hotspurs (Friendly) on 15/5/1969, Dundee United (Dallas) on 17/5/1969, Aston Villa (Atlanta) 27/5/1969 and Kilmarnock (St. Louis) on 30/5/1969. 8-page issue with a write up on each opponent, dates of matches and other tournament information, slight scuffs and wear to cover. Fair
1971 INTER-CITIES FAIRS CUP (Playoff) played 22/9/1971 at the Nou Camp, Barcelona. Rare print error issue of the Barcelona club revista ''BARCA'' dated 14/9/1971 which extensively previews the match. Includes team line-ups plus large format Leeds United team group pictures, pen pictures and history write up on Leeds etc. This issue is wrongly numbered 827 and should have been numbered 826. 827 was issued the following week and is dated 21/9/1971. This is one of the early print runs before the error was rectified and the remaining issues were destroyed. Light horizontal fold. Generally good
GLASGOW RANGERS 1972 Trofeu Ribeiro Youth Tournament played 23/4/1972 - 30/4/1972 in Lisbon. Rare Press ticket issued to Fernando dos Santos of the Portuguese sports news agency ''A Bola'' which allowed access to the stadium every day of the tournament. The tournament included Porto, Glasgow Rangers, Ajax & Red Star Belgrade. Slight paper loss on entry. Generally good
SCOTLAND / IRELAND 1972 Independence Cup Brazil played 7/6/1972 - 9/7/1972 in Brazil. Rare official ''FIFA NEWS'' issue previewing the tournament entitled ''Trophy of the Independence Cup Brazil 11th June to 9th July, 1972'' Includes colour covers of the Independence Cup Trophy, the back cover depicts the official tournament poster. internally includes full tournament preview ''Match Programme'' section which includes the Group details, tournaments fixtures, stadium and host City's and lists all the teams and match officials etc. The tournament featured 20 nations (from all five FIFA confederations) and was played across Brazil in June/July 1972 and included Scotland, Republic of Ireland, Soviet Union (USSR), Africa, Argentina, Concacaf, France, Iran, Portugal & Yugoslavia. Brazil defeated Portugal in the Final. Four punch holes, no loss of print. Fair-generally good
SCOTLAND / IRELAND 1972 Independence Cup Brazil played 7/6/1972 - 9/7/1972 in Brazil. Rare official ''FIFA NEWS'' issue dated July 1972 which extensively reviews the tournament. Entitled inside ''Torneo Independencia do Brasil 1972 - Dates, Venues, Matches, Results, Referees and Classifications'' includes reviews of every game and also team group photo of Brazil who defeated Portugal in the Final. Four punch holes, no loss of print. Fair-generally good
1973 EUROPEAN CUP FINAL Ajax v Juventus played 30 May 1973 at Red Star Stadium, Belgrade. Rare Official 36-page Juventus ''CALCIOFILM'' issue dated 6/6/1973. Includes extensive Final coverage with many pictures and reports, full team line-ups and reviews of the previous European Cup Finals etc. Generally good
A RARE AND FINE ICON SHOWING THE FOUR HYMNS TO THE MOTHER OF GOD (DOSTOINO EST) Russian, Palekh, circa 1800 Tempera on wood panel with kovcheg. Finely executed in great detail with gold borders and gold details. Minor areas of retouching. 31 x 26 cm. SELTENE UND FEINE IKONE 'WAHRHAFT GEZIEMEND IST ES, DICH SELIGZUPREISEN' (DOSTOJNO EST) Russland, Palech, um 1800 Verbund zweier Bretter mit zwei Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, partielle Vergoldung. 31 x 26 cm. Partiell rest.
A LARGE AND RARE ICON SHOWING THE FOUR HYMNS TO THE MOTHER OF GOD Central Russian, Palekh, early 19th century Tempera on wood panel with kovcheg. The background made of gold. The image devided into four compartments. The Mother of God in a circular glory being in the centre of each composition. The enthroned and standing Mother of God flanked by saints, prophets and hierarchs. The lower right part showing the standing Mother of God flanked by cherubim, seraphim, angels and archangels. The images executed finely with great attention to detail. Wearings. 53.5 x 48 cm. SELTENE UND GROSSFORMATIGE IKONE 'WAHRHAFT GEZIEMEND IST ES, DICH SELIG ZU PREISEN' Zentralrussland, Palech, Anfang 19. Jh. Holztafel mit zwei Stirnseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, Goldgrund. 53,5 x 48 cm. Das obere linke Bildfeld zeigt die auf einem reich ornamentiertem Goldthron sitzende Gottesmutter Platytera mit dem Christusknaben vor einer Aureole. Zu beiden Seiten flankieren sie Engel. Zu ihren Füßen huldigen der Gottesmutter zwei Gruppen von Heiligen, Aposteln sowie Johannes der Vorläufer und Königen aus dem Alten Testament. Das rechte obere Bildfeld zeigt mit nahezu identischem Bildaufbau die stehende Gottesmutter Blacherniotissa. Am unteren Bildrand stehen zwei Gruppen von Aposteln. Das untere rechte Bildfeld - ebenfalls die Bildaufteilung der oberen Darstellungen aufgreifend - zeigt die thronende Gottesmutter mit dem Christusknaben flankiert von Joachim und Anna. Zu beiden Seiten und zu ihren Füßen Heilige, Märtyrer und Kirchenväter. Das linke untere Bildfeld zeigt die stehende Gottesmutter vor einer Strahlenaureole. Der Hintergrund ist in acht Felder unterteilt. Die einzelnen Felder zeigen die neun Engelshierarchien nach Pseudo-Dionysios Areopagita. Dieses Ikonenthema visualisiert einen Teil der Liturgie zum Heiligengedenken, bei dem der Chor besonders die Würde der Gottesmutter hervorhebt. Dabei werden die einzelnen Abschnitte des Hymnus (1. Wahrhaft geziemend ist es, dich selig zu preisen, Gottesgebärerinin ... 2. Ewigseelige und ganz Unbefleckte und Mutter unseres Gottes... 3. ...geehrter als die Cherubim und unvergleichlich herrlicher als die Seraphim ... 4. die du unversehrt Gott, das Wort, geboren hast, in Wahrheit Gottesgebärerin, dich preisen wird) je in einem Feld wiedergegeben. Bereibungen.
A VERY RARE ICON SHOWING THE HANDOVER OF THE ICON OF THE DORMITION OF THE MOTHER OF GOD BY THE MOTHER OF GOD Russland, um 1900 Russian, circa 1900 Schwere Zypressenholz-Tafel. Ölmalerei auf Kreidegrund, vergoldeter Rand ornamental Oil on wood panel. The gilt borders ornately incised and painted in faux enameling. The lower edge minimally chipped. On the reverse stamp (illegible). 26.7 x 22.5 cm. SEHR SELTENE IKONE MIT DER ÜBERGABE DER ENTSCHLAFEN-IKONE DURCH DIE GOTTESMUTTER Russland, um 1900 Schwere Zypressenholz-Tafel. Ölmalerei auf Kreidegrund, vergoldeter Rand ornamental graviert. 26,7 x 22,5 cm. Verso Stempel (unleserlich). Unterer Rand min. best.
A RARE ICON SHOWING THE MOTHER OF GOD, HELPER IN BIRTH Russian, 19th century Tempera on wood panel. The background made of silver, covered by a golden lacquer. Four selected saints on the borders, the Guardian Angel and St. Barbara among them. Partially restored. 38 x 30.4 cm. SELTENE IKONE MIT DER GOTTESMUTTER 'HELFERIN BEI GEBURTEN' Russland, 19. Jh. Verbund zweier Bretter mit zwei Rückseiten-Sponki (verloren). Eitempera auf Kreidegrund, versilberter Hintergrund goldfarben lasiert. 38 x 30,4 cm. Vier Randheilige, darunter der Schutzengel und die heilige Barbara. Fehlstellen ausgebessert.
A VERY RARE ICON SHOWING CHRIST, THE GOOD SHEPHERD Russian, mid 19th century Tempera on wood panel. The haloes made of silver, covered by a golden lacquer. Several areas of restoration. 35.6 x 29.8 cm. SEHR SELTENE IKONE MIT CHRISTUS, DEM GUTEN HIRTEN Russland, Mitte 19. Jh. Holztafel mit zwei profilierten Rückseiten-Sponki. Eitempera auf Kreidegrund, versilberter Nimbus goldfarben lasiert. 35,6 x 29,8 cm. Restaurierungen.
A RARE ICON SHOWING JESUS AND THE SAMARITAN WOMAN AT JACOB'S WELL Greek, 16th century Tempera on wood panel with kovcheg. Finely executed on a gold ground. Losses to the lower border. 29.5 x 20 cm. Literature: Exhibition catalogue: Van een anderen wereld, Kononklijk Museum voor schone kunsten Antwerpen, Antwerp 1997, Nr. 53. SELTENE IKONE MIT CHRISTUS UND DER SAMARITERIN AM BRUNNEN Griechenland, 16. Jh. Holztafel, Kowtscheg, Eitempera auf Kreidegrund, Goldgrund. 29,5 x 20 cm. Substanzverluste am unteren Rand. Literatur: Ausstellungskatalog: Van een anderen wereld, Kononklijk Museum voor schone kunsten Antwerpen, Antwerpen 1997, Nr. 53. Please note: this lot has been imported from outside the EU for sale to be sold at auction under Temporary Admission. When Hargesheimer releases such property to buyers in the EU, the buyer will become the importer and Import VAT is payable at 7% on the hammer price. To receive a refund of VAT amounts/Import VAT a non-EU must have registered to bid with an address outside of the EU and provide immediate proof of correct export out of the EU. Exports made by companies from other EU member states will be exempt from VAT if they state their VAT identification number. Bitte beachten Sie, dass dieses Lot aus einem Drittland temporär für die Versteigerung eingeführt wurde. Bei der Übergabe des Kunstwerkes durch Hargesheimer Kunstauktionen Düsseldorf an den Käufer wird dieser zum Importeur und schuldet Hargesheimer Kunstauktionen Düsseldorf die Einfuhrumsatzsteuer in Höhe von z.Zt. 7%. Von der Umsatzsteuer befreit sind Ausfuhrlieferungen in Drittländer (d.h. außerhalb der EU) und bei Angabe der UmsatzsteuerIdentifikationsnummer Lieferungen an Unternehmen in EUMitgliedsstaaten.
A RARE ICON SHOWING THE HEALING OF THE LAME MAN WITH OKLAD Russian, circa 1800 Oil on wood panel. Overlaid with a brass oklad. Losses to the edges. 18 x 15 cm. SELTENE, KLEINFORMATIGE IKONE MIT DER HEILUNG EINES LAHMEN MIT OKLAD Russland, um 1800 Einzeltafel. Ölmalerei auf Kreidegrund. Messing, getrieben und versilbert. 18 x 15 cm. Kleine Fehlstellen im Randbereich.
A RARE SILVER CIGARETTE CASE COMMEMORATING THE FOUNDATION OF THE SOVIET AIR FLEET Russian, Moscow, Nikolay Petrovitch Khaspekov, 1923 Of rectangular form with rounded corners. Gilt interior. Marked with assayer's mark, 84 standard and master's mark 'NPKh' in Cyrillic. 11 cm long, 152 gr. Im Frühjahr 1923 gab Trotzki den Befehl: Der Mann der Roten Armee - der Engel der In the spring of 1923 Trotsky gave the order: The man of the Red Army - the angel of the revolution - needs wings. The republic should use all its strength and build an air fleet and an aviation industry. A Voluntary Society of Friends of the Air Fleet (ODVF) was formed to raise funds for aircraft for military and civil aviation. The Russian Voluntary Air Fleet Joint Stock Company 'Dobrolet' was established in the USSR on 17 March 1923 to develop the country's air fleet. The authorised capital was 2 million roubles. The main objective was to organise airmail, passenger and cargo lines, solve problems of the national economy related to aviation and develop the Soviet aviation industry. Leon Trotsky initiated the foundation of Dobrolet. As People's Commissar for Military and Naval Affairs, he assigned the new company the strategic role of creator of the country's aviation power. SELTENES ZIGARETTENETUI ZUR GRÜNDUNG DER SOWJETISCHEN LUFTFLOTTE Russland, Moskau, Nikolaj Petrowitsch Chaspekow, 1923 Silber, innen vergoldet. L. 11 cm, 152 g. Punziert mit Marke der Bezirksbeschauadministration mit Feingehalt '84' und Meisterzeichen 'NPCh' in Kyrillisch. Im Frühjahr 1923 gab Trotzki den Befehl: Der Mann der Roten Armee - der Engel der Revolution - braucht Flügel. Die Republik sollte ihre ganze Kraft einsetzen und eine Luftflotte und eine Luftfahrtindustrie aufbauen. Eine freiwillige Gesellschaft der Freunde der Luftflotte (ODVF) wurde gegründet, um Spenden für Flugzeuge für die militärische und zivile Luftfahrt zu sammeln. Die russische Aktiengesellschaft der Freiwilligen Luftflotte 'Dobrolet' wurde am 17. März 1923 in der UdSSR gegründet, um die Entwicklung der Luftflotte des Landes voranzutreiben. Das genehmigte Kapital betrug 2 Millionen Rubel. Das Hauptziel war die Organisation von Luftpost-, Passagier- und Frachtlinien, die Lösung von Problemen der Volkswirtschaft im Zusammenhang mit der Luftfahrt sowie die Entwicklung der sowjetischen Luftfahrtindustrie. Leo Trotzki initiierte die Gründung der Dobrolet. Als Volkskommissar für Militär- und Marineangelegenheiten wies er der neuen Gesellschaft die strategische Rolle des Schöpfers der Luftfahrtmacht des Landes zu.
A MONUMENTAL AND RARE ICON SHOWING THE INCREDULITY OF ST. THOMAS Russian, 18th century Tempera on wood panel with kovcheg. Christ standing in the center surrounded by the Apostles. St. Thomas to the left. Against an architectural setting. Executed in in contrasting reds and blues. The haloes and border stripped to gesso, restored. 84.8 x 71.5 cm. MONUMENTALE UND SELTENE IKONE MIT DEM UNGLÄUBIGEN THOMAS Russland, 18. Jh. Verbund dreier massiver und schwerer Laubholz-Bretter mit zwei Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, partielle Vergoldung. 84,8 x 71,5 cm. Achsialsymmetrische Komposition. Mittig ganzfigurige, frontale Darstellung Christi. Zu beiden Seiten flankieren ihn die Apostel. Thomas, der links von ihm steht, ist gerade im Begriff seinen Finger in die Wunde Christi zu legen. Im Hintergrund Architekturkulisse. Reizvoller Farbkontrast zwischen Rot und Blau. Farbe der Nimben und des Randes abgenommen, rest.
A RARE ICON WITH FINIFTI SHOWING THE RESURRECTION OF CHRIST WITHIN A SURROUND OF TWELVE MAJOR FEASTS Russland, Rostow, Mitte 19. Jh. Russian, Rostov, mid 19th century Holztafel mit einer Rückseiten-Querleiste, Emailplaketten, Metallbasma. 27,5 x 22,3 cm. Set into a wood panel. Overlaid with a metal basma. Minimally chipped. 27.5 x 22.3 cm. SELTENE FINIFTI-IKONE MIT DER AUFERSTEHUNG CHRISTI UND ZWÖLF HOCHFESTEN Russland, Rostow, Mitte 19. Jh. Holztafel mit einer Rückseiten-Querleiste, Emailplaketten, Metallbasma. 27,5 x 22,3 cm. Min. best.
A RARE ICON SHOWING GOD FATHER WITH OKLAD Russian, 2nd half 19th century Oil on wood panel. Overlaid with a chased brass oklad. 31 x 23.5 cm. SELTENE IKONE MIT GOTTVATER MIT OKLAD Russland, 2. Hälfte 19. Jh. Einzeltafel mit zwei Rückseiten- und zwei Stirnseiten-Sponki. Ölmalerei. Getriebenes Messingoklad. 31 x 23,5 cm.
A VERY LARGE AND RARE ICON WITH THE VISUAL REPRESENTATION OF THE LORD'S PRAYER 'OUR FATHER' AND THE MOTHER OF GOD 'O VSEPYETAYA MATI' Russian, Old Believer's Workshop, circa 1800 Tempera on wood panel. Finely executed on gold ground. The prayer 'Our Father' rendered allegorically over two register and five scenes each one illustrating a verse; beginning from the central scene at the top frieze, God Father encircled by archangels in a double glory standing for: Our Father, who art in heaven. The lower scenes symbolising the verses: Give us today our daily bread and forgive us our trespasses as we forgive those who trespass against us, and lead us not into temptation but deliver us from evil (Adam and Eve in the Paradies). The figures portrayed with elongated proportions. Painted with bright colours. Minor losses. 80.2 x 28.5 cm. GROSSFORMATIGE UND SELTENE IKONE MIT DEM 'VATERUNSER' UND DER GOTTESMUTTER 'O VSEPYETAJA MATI' Russland, Altgläubigen-Werkstatt, um 1800 Holztafel mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund, Goldgrund. 80,2 x 28,5 cm. Spiegelsymmetrischer Bildaufbau mit dem in einer Aureole thronenden Gottvater im oberen Bereich. Seine Hände hält er segnend erhoben. Neun Erzengel, auf Wolken stehend, entourieren ihn (Vater unser, der Du bist im Himmel). Im Bildzentrum thematisiert ein Rundmedaillon die Eucharistiefeier der Apostel (Geheiligt werde Dein Name, Dein Reich komme. Dein Wille geschehe). Unten links wird die Anbetung der drei Könige, unten rechts Adam und Eva im Paradiesgarten gezeigt, darunter erscheint die Hölle (Und führe uns nicht in Versuchung, sondern erlöse uns von dem Bösen). Mittig knien Männer vor einem Tisch (Unser täglich Brot gib uns heute). Min. Farbabsplitterungen.
A RARE AND SMALL ICON SHOWING THE ARCHANGEL RAPHAEL AND TOBIAS Russian, 2nd half 19th century Oil on wood panel. Executed on a gold ground. Minimally worn. 17.8 x 14.4 cm. SELTENE UND KLEINE IKONE MIT DEM ERZENGEL RAPHAEL UND TOBIAS Russland, 2. Hälfte 19. Jh. Laubholz-Tafel. Ölmalerei auf Kreidegrund, Goldgrund teils graviert. 17,8 x 14,4 cm. Min. berieben.
A VERY RARE ICON SHOWING THE ARCHANGEL MICHAEL AND JOSHUA, SON OF NUN Russian, Palekh, 19th century Tempera on wood panel with double kovcheg. Executed with gold details. St. Michael is shown an angel with sword drawn, standing before a kneeling man in armor and helmet. Two selected saints on the borders: Andrey and Athanasios. Minor areas of retouching. 31 x 26.8 cm. SEHR SELTENE IKONE MIT DEM ERZENGEL MICHAEL UND DEM HEILIGEN HEERFÜHRER JOSUA Russland, Palech, 19. Jh. Verbund zweier Bretter mit zwei Rückseiten-Sponki (einer verloren). Doppeltes Kowtscheg, Eitempera auf Kreidegrund, partielle Vergoldung. 31 x 26,8 cm. Josua stammt aus dem israelitischen Stamm Ephraim. Erstmals tritt Josua in Ex 17,9 EU im Auftrag Moses als Heerführer im Kampf der Israeliten gegen Amalek auf. Josua gehört als Anführer des Stammes Ephraim zusammen mit Kaleb, dem Sohn Jefunnes aus dem Stamm Juda, zu den Kundschaftern der zwölf Stämme, die die Eroberung des Landes vorbereiten sollen. Die Kundschafter finden eine Riesentraube und bringen sie mit ins Lager. Josua und Kaleb wollen die Eroberung vorantreiben, während die Führer der anderen Stämme zaudern und nicht bei der Eroberung teilnehmen wollen. In einer Theophanie in Jos 5,13 EU begegnet Josua in Gilgal einem Mann mit Schwert, einem Gottesboten, wie sich herausstellt. Diese Beschreibung setzt diese Ikone bildlich um. Zwei Randheilige: Andrej und Athanasios. Punktuelle Einstimmungen.
A VERY RARE AND VERY FINE ICON SHOWING THE EUCHARIST Russian, Old Believer's Workshop, circa 1860 Tempera on wood panel with two splints on the back. The haloes made of gold. The faces rendered finely with soft colours. The border elaborately decorated with foliate scrolls and strap work. Border damaged. 40.6 x 35.8 cm. Die Ikone hat eine einzigartige Komposition. Sie thematisiert eines der der The icon has an unique composition. It thematises one of the main sacraments of the Church: the Eucharist, the transformation of the prepared gifts (bread and wine) into the Body and Blood. The purpose of this sacrament is the consecration of the body and blood of Christ. The purpose of this sacrament is to sanctify the faithful, as each communicant carries a particle of Christ, God himself, within him. In terms of content, the icon conceives of this great sacrament as the identity of the Holy Gifts, over which the Eucharistic Prayer is said, to the true Body and Blood of Christ. In the centre of the composition, within a bright red rhombus, is Jesus Christ. Standing at the altar, his right hand is folded in a gesture of blessing, and with his left hand he points to the prosphora (bread) and the chalice containing the wine. A red rhombus is superimposed on a blue square forming an eight-pointed figure with images of angels in the corners. The corners are inscribed in a green globe, framed by baroque elements in the form of branches and flowers. Inside the cartouches is a text from the Gospel that describes the content of the image: "I am the bread that came down from the earth // I am the bread that made my flesh // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood. My blood // will have eternal life, and I will raise him up at the last day" (John 6: 51,54). In the four corners are representations of the four saints James, Basil the Great, John the Theologian and Gregory Dvoeslov, Pope of Rome. On the left and right are raised angel figures, one holding the chalice with the Holy Gifts (left), the second holding the censer with the burning coals. In the corners are the figures of the four evangelists, writing the Gospel texts. Thus the icon reveals the history of the formation of the doctrine of the Eucharist from the Gospel texts to the performance of the sacrament through liturgy and practice. The theology of the Eucharist was witnessed to in the New Testament, established by Jesus Christ himself at the Last Supper, in the instructions to the disciples and in the references to the administration of the Eucharist in apostolic times, quotations are found in each of the Gospels (Jn. 6: 51-56; Mt. 26: 17-30; Mk. 14: 12-26; Lk. 22: 7-39). The first liturgy was composed by St. James, the Brother of God; three texts are used in the modern Church: the Liturgy of St. Basil the Great, the Liturgy of St. John Chrysostom and the Liturgy of the Sanctified Gifts attributed to St. Gregory Dvoësloff, Pope of Rome. This icon indicates all the authors of the liturgy. An interesting feature of the icon is its possible origin in a workshop of the Old Believers, as witnessed by the writing of Christ's name by IC XC and the double-fingered blessing of Christ. The icon is distinguished by its programmatic character, the author's interpretation of the theme and the uniqueness of the composition. SEHR SELTENE UND SEHR FEINE IKONE MIT CHRISTUS UND DER EUCHARISTIE Russland, Altgläubigen-Werkstatt, um 1860 Holztafel mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund, partielle Vergoldung. 40,6 x 35,8 cm. Randbereich besch. Die Ikone hat eine einzigartige Komposition. Sie thematisiert eines der der Hauptsakramente der Kirche: die Eucharistie, die Verwandlung der zubereiteten Gaben (Brot und Wein) in den Leib und das Blut. Das Ziel dieses Sakraments ist die Konsekration des Leibes und Blutes Christi. Der Zweck dieses Sakraments ist es, die Gläubigen zu heiligen, da jeder Kommunikant ein Teilchen von Christus, Gott selbst, in sich trägt. Inhaltlich begreift die Ikone dieses große Sakrament als die Identität der Heiligen Gaben, über dem das eucharistische Gebet gesprochen wird, zum wahren Leib und Blut Christi. In der Mitte der Komposition, innerhalb eines hellroten Rhombus, ist Jesus Christus zu sehen. Am Gabentisch stehend, ist seine rechte Hand in einer Geste des Segens gefaltet, und mit seiner linken Hand deutet er auf die Prosphora (Brot) und den Kelch mit dem Wein. Ein roter Rhombus wird überlagert von einem blauen Quadrat, das eine achtzackige Figur bildet, in deren Ecken sich die Bilder von Engeln wiederfinden. Die Ecken sind in einer grünen Kugel eingeschrieben, umrahmt von barocken Elementen in Form von Zweige und Blumen. In den Kartuschen befindet sich ein Text aus dem Evangelium, der den Inhalt des Bildes beschreibt: ''Ich bin das Brot, das von der Erde herabkam // ich bin das Brot, das mein Fleisch gemacht hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat // und ich bin das Brot, das mein Blut getrunken hat. Mein Blut // wird ein ewiges Leben haben, und ich werde ihn auferwecken am letzten Tag'' (Johannes 6: 51,54). In den vier Ecken befinden sich Darstellungen der vier Heiligen Jakobus, Basilius des Großen, Johannes des Theologen und Gregor Dvoeslov, Papst von Rom. Links und rechts sind erhabene Engelsfiguren zu sehen, einer hält den Kelch mit den Heiligen Gaben (links), der zweite hält das Räuchergefäß mit den brennenden Kohlen. In den Ecken befinden sich die Figuren der vier Evangelisten, beim Schreiben der Evangelientexte. So offenbart die Ikone die Geschichte der Entstehung der Eucharistielehre von den Texten des Evangeliums bis zur Durchführung des Sakraments durch die Liturgie und die Praxis. Die Theologie der Eucharistie wurde im Neuen Testament bezeugt, begründet von Jesus Christus selbst beim letzten Abendmahl, in den Anweisungen an die Jünger und in den Hinweisen auf die Verwaltung der Eucharistie in apostolischer Zeit, finden sich Zitate in jedem der Evangelien (Joh. 6: 51-56; Mt. 26: 17-30; Mk. 14: 12-26; Lk. 22: 7-39). Die erste Liturgie wurde vom hl. Jakobus, dem Bruder Gottes, verfasst; in der modernen Kirche werden drei Texte verwendet: die Liturgie des hl. Basilius des Großen, die Liturgie des Johannes Chrysostomus und die Liturgie der Geheiligten Gaben, die dem heiligen Gregor Dvoësloff, Papst von Rom, zugeschrieben wird. Diese Ikone zeigt alle Autoren der Liturgie an. Eine interessante Eigenschaft der Ikone ist seine mögliche Entstehung in einer Werkstatt der Altgläubigen, wie das Schreiben des Namens Christi durch den IC XC sowie die Doppelfingersegnung Christi bezeugen. Die Ikone zeichnet sich durch ihren Programmcharakter, die Interpretation des Themas durch den Autor und die Einzigartigkeit der Komposition aus.
A RARE ICON SHOWING 'ALL SAINTS' Russian, mid 19th century Tempera on wood panel. Finely executed with golden haloes. Areas of retouching. 30.9 x 26.2 cm. SELTENE IKONE 'ALLERHEILIGEN' Russland, Mitte 19. Jh. Verbund zweier Laubholz-Bretter mit zwei Stirnseiten-Sponki. Eitempera auf Kreidegrund, partielle Vergoldung. 30,9 x 26,2 cm. Partiell rest.
A RARE TRAVELLING FOLDING ICONOSTASIS Russian, 19th century Tempera on wood panels with kovcheg. Consisting of fifteen panels. The central panel one twice the size of the others. The upper part of the panels in the shape of onion domes. The central panel showing a royal door depicting the four Evangelists, the Annunciation and the Last Supper. Above this scene the two major feasts (the Cruxification and the Descent of Christ into Hell). In the middle Christ enthroned and flanked by the Kings David and Salomon. The scenes of the fourteen panels grouped over five rows. The top two ranks portraying Old Testament prophets. The third row showing four images of the Mother of God and selected saints in full-length. The fourth register is representing the major feasts of the Ecclesiastical calendar. The lower row depicting an extended Deisis with the Mother of God and St. John the Baptist in three-quarter view flanked by the Archangels Gabriel and Michael, the Three Hierarchs, Metropolitans and Bishops waering liturgical garments and the monastic saints Zosima and Savatii. Finely executed. Minimally restored. 52.5 x 146.3 cm. SELTENE FALT-IKONOSTASE (REISE-IKONOSTASE) Russland, 19. Jh. Fünfzehn durch Scharniere verbundene Laubholz-Einzeltafeln mit spitzbogenförmigem oberen Abschluss. Eitempera auf Kreidegrund auf Holz, Nimben vergoldet. 52,5 x 146,3 cm (geöffnet). Die Mitteltafel mit doppelbogigem Abschluss zeigt im unteren Bereich die Königstür mit den vier paarweise angeordneten Evangelisten Matthäus, Markus sowie Johannes und Lukas. Im Rundbogenfeld darüber komplettieren die Verkündigung sowie das letzte Abendmahl die Königstür. Die zwei darüberliegenden Rechteckbildfelder zeigen die beiden Hochfeste der Kreuzigung und der Hadesfahrt Christi. Am oberen Bildrand thront Christus flankiert von den alttestamentarischen Königen David und Salomon. Die Bemalung der jeweils sieben Bildtafeln links und rechts der Mitteltafel folgt einem streng symmetrischem Aufbau mit jeweils fünf übereinanderliegenden Registern. Die beiden oberen Reihen zeigen als Dreiviertelfiguren Propheten des Alten Testaments. Darunter folgt ein Register mit vier Gottesmutter-Ikonen flankiert von der ganzfigurigen, in Dreiergruppen angeordneten Darstellung männlicher und weiblicher Heiliger. Das folgende Register zeigt die Hochfeste des orthodoxen Kirchenjahres. Das untere Register gibt im Sinne einer erweiterten deesischen Darstellung als nach rechts bzw. nach links gewandte Ganzfiguren mittig die Gottesmutter (links) und Johannes den Vorläufer (rechts) wieder flankiert von den Erzengeln Michael und Gabriel sowie den Protomärtyrern Stepahnus und Laurentius im Diakonsgewand umgeben von Kirchenvätern und Hierarchen. Am äußeren Rand schließen der heilige Zosima (links) und Sawatij (rechts) im Mönchsgewand die Komposition zu den Rändern hin ab. Sehr seltene, vollständig erhaltene Reiseikonostase. Min. rest.
A RARE ICON SHOWING ST. JOHN THEOLOGIAN IN SILENCE WITH RIZA Russian, 2nd half 18th century Tempera on wood panel. The border decorated with gesso in relief. Overlaid with a chased and engraved brass riza. Wearings, losses. 38.5 x 30 cm. SELTENE IKONE MIT JOHANNES, THEOLOGE IM SCHWEIGEN MIT RIZA Russland, 2. Hälfte 18. Jh. Schwere Laubholz-Tafel mit zwei profilierten Rückseiten-Sponki. Eitempera auf Kreidegrund, reliefierte Ausarbeitung des Randes, partielle Vergoldung. Messingriza. 38,5 x 30 cm. Bereibungen, Fehlstellen.
A VERY RARE AND LARGE VITA-ICON SHOWING ST. DIMITRIJ BASARBOVSKI Balkan, 19th century Oil on wood panel. Finely executed on a gold ground. The lower part of the image restored. 60.8 x 46 cm. SEHR SELTENE UND GROSSE VITA-IKONE MIT DEM HEILIGEN DIMITRIJ BASARBOWSKIJ Balkan, 19. Jh. Verbund dreier Bretter mit zwei Rückseiten-Sponki. Ölmalerei, Goldgrund. 60,8 x 46 cm. Unterer Bereich rest.
A RARE ICON SHOWING CHRIST FLANKED BY THE MOTHER OF GOD AND ST. NICHOLAS THE MIRACLE WORKER WITH A SILVER AND CLOISONNÉ ENAMEL OKLAD Russian, early 20th century (icon), Russian, Alexander Semonovitch Usikov, 1908-1917 (oklad) Oil on wood panel with velvet backing. Overlaid with a finely chased and embossed silver oklad. The haloes enamelled in blue, green, white and red. Marked with assayer's mark, 84 standard and master's mark 'AU' in Cyrillic. 31.5 x 27 cm. SELTENE IKONE MIT CHRISTUS FLANKIERT VON DER GOTTESMUTTER UND DEM HEILIGEN NIKOLAUS VON MYRA MIT CLOISONNÉ-EMAIL-OKLAD Russland, Anfang 20. Jh. (Ikone), Russland, St. Petersburg, Alexander Semonowitsch Usikow, 1908-1917 (Oklad) Holztafel mit zwei Stirnseiten-Sponki, verso Samtabdeckung. Silber, getrieben, Emailnimben. 31,5 x 27 cm. Punziert mit Marke der Bezirksbeschauadministration mit Feingehalt '84' und Meisterzeichen 'AU' in Kyrillisch.
BAGLIONI MICHEL-ANGELO, & others. Esequie (Funeral) Fatte In Venetia Dalla Natione Fiorentina Al Serenissimo Cosimo II Quarto Gran Duca Di Toscana. 2 parts in one, 25pp. 2 eng. architectural titles, eng. port. frontis., eng. plan of the church, 15 eng. plates of church appointments (incl. the magnificent catafalque), the ceremony, allegorical paintings by Ingoli within the church etc. & woodcut printer`s colophon. Final part, with its own title is Giulio Strozzi`s oration. Small folio. Damp staining throughout, worn cond. in crude brds. with some plates cropped to outer margin but rare. Battista Ciotti, Venice, 1621. An account and details of a funeral ceremony for Cosimo II (de Medici of Florence) which was celebrated in Venice in effigy (i.e. in the absence of the deceased) in the Dominican church of the Saints John and Paul, at the initiative of those "Florentine gentlemen, who for their affairs are entertained in the city of Venetia" Cover chipped and heavily worn on both sides. Spine creased. Fore edges chipped and worn, especially on plates, with close cropping to margins and into some plates, however with no text loss. All pages have damp staining with additional sporadic foxing. Browning, foxing, chipping and taped repairs to title page. Second page has top right corner missing. Page bindings strengthened with binder's tape throughout.
Rare pair of vintage Bowers & Wilkins DM1 Direct Monitor bookshelf speakers, No.11945 and 11946, plaques verso of The Radio People Ltd, Kowloon & Hong Kong with their sequential serial numbers 44656 and 44657 Condition: Removed from a South Wales house clearance and in good cosmetic condition but untested and sold strictly as seen with no returns, no other cables or accessories are included - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
A PAIR OF LATE GEORGE III TABLE LUSTRES each with two faceted scrolling branches hung with festoons of oval-cut drops and pear-shaped drops, with brass central section supporting spear-shaped columns with crescent-shaped finials and the faceted baluster stems with square "lemon-squeezer" bases, 62cm high x 30cm wide (2). Provenance: Sold with the original Bill of Sale from Stannus (Mrs Graydon Stannus) 23 Earl's Court Square, London SW5, dated December 9th 1929 where they are described as "A set of three rare Waterford tablelights of 1780 draped with chaining pear-drops and faceted pendants. £200â€. On the basis of this description is it clear that there was originally an additional table lustre which is now missing.
A RARE VICTORIAN NEW ZEALAND OCCASIONAL TABLE the facetted top inlaid with a distinctive circular fan-shaped panel within banded borders, on a turned baluster shaft applied with turned roundels and on three leaf and cabochon-carved cabriole legs, 46cm diameter x 72.5cm high. The distinctive form of this table with the brass-mounted slot-in legs is indicative of a New Zealand origin, circa 1860.
Studio of Daniel Mytens (?Delft 1590-1644 The Hague)Portrait of King Charles I, three-quarter-length, standing, wearing a brown and gold doublet and hose, the sash of the Order of the Garter and the Great George, holding a pair of gloves, beside the Scottish crown laid on a table oil on canvas 109.2 x 83.4cm (43 x 32 13/16in).Footnotes:Although the composition of the present portrait does not appear to be directly derived from any hitherto known portrait of the King, it can be related to a number of portraits of King Charles I by Daniel Mytens. The head in the present work can be compared to the Mytens in the Royal Collection which is signed and dated 1628. The composition which shows the Great George suspended from the Garter sash is known through engravings, published by Franciscus van Hoeye after Mytens. Perhaps most interesting of all is the presence of what must be a representation of the Scottish royal crown, which is unique to the present portrait, all the other portraits of Charles I that depict him with a crown having shown him beside the Tudor Crown, otherwise known as the Crown of Henry VIII. Although Charles succeeded his father in 1625, his long-delayed and long-awaited Scottish coronation did not take place until he finally returned to his native Scotland in the early summer of 1633, making a magnificent civic entry, the first such royal pageant in Edinburgh since 1590. It is possible that the present portrait was commissioned to record this event and is a rare contemporary depiction of the Scottish crown. The regalia known as the Honours of Scotland, which include the Crown along with the Sceptre and Sword of State, unlike their English equivalent of the time, still exist. Following the Act of Union of 1707, which unified the Kingdom of Scotland and the Kingdom of England to form the Kingdom of Great Britain, and having no ceremonial role to play in the proceedings of the new Parliament of Great Britain in London, the Honours were locked away in Edinburgh Castle. There they remained all but forgotten in a chest until 1818, when a group of people including Sir Walter Scott set out to find them to great public acclaim. Charles's complicated relationship with Scotland was summarized by the historian C. V. Wedgwood: 'It was not the least of this king's misfortunes that he was always too much of a Scotsman for England and too much of an Englishman for Scotland. In many ways he was the type of the absentee Scot, rootless in England and uprooted in Scotland.'For further information on this lot please visit Bonhams.com
Attributed to Sir James Thornhill (Dorset 1675-1734 Stalbridge)Modello for a mythological mural, possibly depicting Jupiter and Io discovered by Juno oil on canvas63.9 x 90.5cm (25 3/16 x 35 5/8in).Footnotes:The present work is an interesting and rare preparatory sketch for one of the many staircases in English houses that were executed in the early 1700s but few of which have survived. Typically they were adorned with subjects from classical mythology, as was the case with a comparable modello by Thornhill for a mural showing Psyche Obtaining the Jar of Forgetfulness from Pluto in Hades in the National Trust Collection, Hinton Ampner. Thornhill's most celebrated works are the ceiling of the Painted Hall at Greenwich Hospital (1707-14, now Royal Naval College), and the grisaille paintings on the Life of Saint Paul in the dome of Saint Paul's Cathedral, London (1716-19). An alternative possible attribution that has been suggested is Louis Laguerre (1663-1721), who was Thornhill's main rival in this genre of painting. Working mostly in country houses, notably Burghley House, Chatsworth, and Blenheim Palace, the most obvious comparison to the present work is his modello for the Rape of Proserpine which adorned the Staircase at Devonshire House, London (circa 1704, Yale Center for British Art). Another comparable example of a finished mural by Laguerre is The Triumph of Elizabeth, Duchess of Somerset in the National Trust's Collection, Petworth House, West Sussex.For further information on this lot please visit Bonhams.com
Star Wars Rare Luke Skywalker Mark Hamill Autographed Signed Starlog First Edition UK Magazine 1980 This is something rare & special, it is a must for any Star Wars fan. It is a first edition 1980 UK Starlog Magazine featuring a cover story on Mark Hamill who plays Luke Skywalker. It was signed by Hamill at a private Lucasfilm charity event in 1995.
Indiana Jones, Jaws, ET Rare Steven Spielberg Autographed Signed UK Times Magazing First Edition 1994. This is something rare & special, it is a must for any film fan. It is a first edition January 1994 London Times Magazine featuring acclaimed director Steven Spielberg. It was signed by Spielberg around the time it was published at a private charity event to help set up The Shoah Foundation.
Robocop Rare Sci fi Autographed Signed Director & Composer First Edition 1988 Promo Magazine Advert This is something amazing and so rare, it is a must for any film or music fan. It is a first edition Hollywood Reporter Academy Award FYC advert 1988 for the classic movie Robocop. It was signed between 1988 and 2006 at a Hollywood Reporter charity event and BAFTA LA event by the films star Peter Weller, the films director Paul Verhoeven and the late great composer Basil Poledouris. This would look stunning framed..
Gems by Thomas Worlidge 1768: ''Gems: A Select Collection Of Drawings From Curious Antique Gems; Most Of Them In The Possession Of The Nobility And Gentry Of This Kingdom; Etched After The Manner Of Rembrandt by T Worlidge, Painter.'' A fine copy of this famous book, ''London: Printed By Dryden Leach, For M. Worlidge, Great Queen Street, Lincoln's-Inn-Fields, And M. Wicksteed, Seal Engraver At Bath. MDCCLXVlll.'' (1768), with two volumes in one book, comprising a total of 180 engraved plates of cameos after the antique ( the cameos acquired on the ''Grand Tours'' of the aforementioned ''Nobility and Gentry'' ), finely bound in tooled red Morocco leather with gilt impressions including a crown and batons plus gilt tooling to the spine edge; Ex Libris plates for LORD FARNHAM, (Sir William Maxwell), Baron and Peer of Ireland, a military leader and member of the family of landed gentry, who had a noted collection of rare books in his Irish home; Ex Libris: Thomas Inman, DD (Doctor of Divinity), a famous writer of religious books and pamphlets, his works being in most famous libraries and museum collections; he purchased this copy of the Worlidge book in 1885 for 14 guineas (£14 14s); his family originated in Preston, Lancashire and it is from his direct descendants that this book is being passed on
Larimar Long Drop Earrings, two solitaire, oval cabochon cuts of larimar, the beautiful, rare, sea and sky blue stone found only in the Dominican Republic, measuring 8cts, bezel set in curvaceous silver pendant drops, with elaborate hand made silver decoration; suspended from shepherd's hook fittings, with flowers to the front, the earrings measure 2 inches (5cms) long
Charoite Solitaire Ring, a 12.75ct cabochon cut charoite set in a decorative, hand crafted, silver mount with flowers and loops holding the stone in place, and with a scrolling openwork shank, all in silver; charoite is a rare purple gemstone mined in an area near the Chara River, after which it is named, in Siberia; size S
Victorian Irish Inkwell in Form of Owl. Mid to early 19th century Owl inkwell, made from bog wood and silver, rare piece made in the early 1800s, highly decorated throughout. Owl sitting proud on a decorated clover leaf base, glass eyes, silver beak and claws, tilt head to reveal inkwell. Good honest antique Irish piece, 8'' height.
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