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Lot 47
A George II Leather-Upholstered Carved Mahogany Library ChairMid 18th Century and AdaptedHeight 41 1/4 x width 32 1/2 inches.This lot is located in Chicago.Seat height 17 inches.The legs re-backed and re-inforced, with some visible glue residue. There are visible seams in the underside of the frame where seams should not normally be, as well as different timbers on the seat rails. These factors suggest it could have been cut down from a larger settee to make an oversized armchair. The scale of the legs and arms also seem better suited to a settee. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 208
A Pair of Baltic Patinated Metal Mounted Painted and Parcel-Gilt Marble-Top PedestalsFirst Quarter 19th Centurywith faux marble bases; each inscribed Magasinet to the underside of the top.Height 37 3/4 x width 16 1/2 x depth 16 1/4 inches.This lot is located in Chicago.Largely intact, well-conserved condition. Age separations through each base. Craquelure and crazing in the faux marble painting of the bases. Marble tops are replacements and not the correct size or scale for the pedestals. Metal mounts appear original when viewed from the back. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 76
A Pair of George III Gilt Ormolu-Mounted Chinese Lacquer Corner Cabinets Attributed to Pierre Langlois, Circa 1765one with an ink label inscribed Whitburn Hall, 1957.Height 34 3/4 x width 34 x depth 25 1/2 inches; length of each side 24 inches.This lot is located in Chicago.Provenance: (First example)Difford's Antiques, Edinburgh (labeled)Hotspur Ltd., London, 2002 (with invoice) (Second example)Private Collection;Sotheby", New York, 21 October 2005, Important English Furniture & Decorations from a Private Collection, Lot 4 (with copy of invoice)Note:This striking pair of corner cabinets incorporating Chinese lacquer panels are perhaps the only currently known examples that can be attributed to the renowned cabinet-maker Pierre Langlois (1718-1767). They are part of an elite group of furniture in the French or 'modern' style which were commissioned by some of the era" foremost patrons and connoisseurs, including Sir Horace Walpole and the Duke of Bedford.Unlike his contemporaries, Langlois, the child of French emigres, learned his trade in Paris where it is thought he worked under Jean Francois Oeben. Langlois' French training resulted in an oeuvre which was very distinctive from English cabinet-makers. His forms show both the familiarity and the technical skill required to closely emulate contemporary French prototypes. A related pair of encoignures by the Parisian ebeniste Jacques Dubois (P. Kjellberg, Les Mobiliers Francais du XVIII Siecle, Paris, 1989, p. 270) also demonstrates the expertise required to shave panels from a Chinese screen and transform them into curved doors. Yet, Langlois' workshop was not a faithful recreation of a Parisian atelier. His cabinet work had French styled paneled backboards made out of softwood but the exterior carcasses were almost always stained black which was unique to his workshop. The corner cabinets' black lacquer tops are another departure from French examples which featured marble. Although Langlois' mounts were clearly derived from French prototypes, they were almost certainly the work of his son-in-law, the French emigre metalworker Dominique Jean (d. 1807); the large-scale beaded border seen below the tops is also found on other Langlois furniture, including three richly mounted commodes, one in the King's Bedchamber at Windsor Castle (RCIN 21235) and a pair also in the Royal Collection (RCIN 2549).These corner cabinets are part of a select group of furniture produced by Langlois that incorporate Chinese lacquer panels and are among his richest, most technically advanced work. Two pairs of commodes from around 1765 incorporate Chinese lacquer which is remarkably similar and could suggest they were all cut from the same Chinese screen. One pair was supplied to Sir Matthew Fetherstonhaugh (1714-1774) for Uppark, Sussex (NT 13647.1 and NT 13647.2) also have lacquer tops; the other pair are at Powis Castle, Wales and feature marble tops (NT 181049). A further single commode commissioned by Sir Horace Walpole for Strawberry Hill is now at the Fine Arts Museum of San Francisco (1985.58).Whitburn Hall, County Durham, was acquired by Sir Hedworth Williamson, 6th Bt. before his death in 1810 and the house was subsequently enlarged and refurbished by his successors throughout the 19th century. The pair of corner cabinets were likely acquired by the 9th Bt., also Sir Hedworth Williamson (d. 1942), who inherited a massive fortune and was an active collector. He purchased the magnificent rococo paneling from Chesterfield House, London, which he installed at Whitburn in 1937.With two keys. Sturdy, well-preserved, un-altered condition. Mounts all present and appear to retain their original gilt surface. Typical lifting and flaking to the lacquer which would benefit from conservation. The right-side door of one cabinet has a larger crack that should be handled with caution. The decoration vivid and well-preserved throughout, retaining fine details. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 56
A Matched Pair of George III White-Painted and Parcel-Gilt ArmchairsOne Attributed to Thomas Chippendale, Circa 1775; The Other Possibly Supplied in the Early 19th Centurywith minor differences in scale, carving and construction; redecorated.Height of larger 38 1/4 x 28 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 15 August 1990 (with invoice)Note:The design of this pair of armchairs presents another variation of Chippendale" repertoire of Neoclassical ornament for chairs produced in the 1770s which are considered to be among the most expressive of his oeuvre. Their 'French' form is clearly evident with their guilloche-carved backs, laurel leaf-carved frames and the vertical cross strut on the back of one chair. Although they are almost identical to the other pair of chairs in the Krehbiel collection (Lot 57), differences in the treatment at the tops of the legs as well as the scale and handling of both the carved medallions and the borders on the backs and seatrails indicate they were a separate commission.Moreover, the differences in the carving, construction and scale between the two present chairs may indicate the larger chair was supplied afterwards; the side chairs in the set attributed to Chippendale supplied to the Duke of Gloucester are one documented example (RCIN 100201, 100202) of Chippendale enlarging an earlier commission. The set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall is the most closely related documented example to the present lot (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186) but the guilloche border and medallion back is also seen on the set for the Saloon at Nostell Priory around 1778 (Ibid., p. 108, fig. 184).Seat height 17 inches. Overall sturdy and usable, well-conserved condition. Re-painted and re-gilded. Though there are differences in scale, carving and construction between the two, this would not be immediately apparent when placed in an interior. However, Chair B is of a larger scale and its carving and construction show a different hand; it also has a cross strut to the back. Chair B's seatrail has several replaced strips to the top, particularly to the center back and left rail. The proper left side rail does not have a cramp cut and the rails do not have the same tool marks. The proper right front leg has a canted corner and stain, possibly to accommodate the block. The feet of chair B have more elongated ends with wood different from chair A (Chair B has possibly later legs). Its front legs have later blocks and one foot probably tipped. In the underside photos available upon request, chair "A" has more refined carving with more 'life.' Its rails are all consistent with cramp cuts in the same places. Scattered wood worm, chipping and wear on the feet. The foliate carving is more sculptural and the carved husks are better delineated. Chair A does not have a cross strut on its seat back. There is a pattern of holes from upholstery on chair B that do not appear on chair A. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 17
JAMES DRUMMOND RSA (SCOTTISH 1816 - 1877) THE ABBOT OF INCHAFFRAY BLESSING THE SCOTTISH ARMY BEFORE THE BATTLE OF BANNOCKBURN THE ABBOT OF INCHAFFRAY BLESSING THE SCOTTISH ARMY BEFORE THE BATTLE OF BANNOCKBURNoil on canvas, titled partial label versoframedimage size 85cm x 125cm, overall size 108cm x 148cmPartial handwritten exhibition label verso. Label verso: Britnell's Art Galleries, London & Toronto.Exhibited: Royal Scottish Academy Annual Exhibition 1844 cat no 173.Exhibited: Royal Scottish Academy Annual Exhibition 1880 cat no 298 (Lent by Mrs Ballantine)Note: The Scots soldiery was aroused at around daybreak on Sunday 23rd June 1314. Maurice, the aged blind Abbot of Inchaffray celebrated mass for the army. On seeing this, Edward II is reputed to have said: "Yon folk are kneeling to ask mercy." Sir Ingram de Umfraville, a Balliol supporter fighting for Edward, is said to have replied: "They ask for mercy, but not from you. They ask God for mercy for their sins. I'll tell you something for a fact, that yon men will win all or die. None will flee for fear of death." "So be it", retorted Edward. Robert the Bruce addressed his soldiers, informing them that anyone who did not have the stomach for a fight should leave. A great cry re-assured him that most were ready for the battle. If there is a fact every Scot knows, it is who won the Battle of Bannockburn in 1314; although it did not bring outright victory in the war, which lay 14 years in the future and would only be won at the negotiating table. The victory was a combination of Bruce's demand of 1313: that all of the remaining Balliol supporters acknowledge his kingship or forfeit their estates, and the imminent surrender of the English garrison encircled in Stirling castle – which spurred Edward II to invade Scotland. He mobilised a massive military machine: summoning 2,000 horse and 25,000 infantry from England, Ireland and Wales. Although probably only half the infantry turned up, it was by far the largest English army ever to invade Scotland. The Scots common army numbered around 6000, with a small contingent on horseback. It was divided into three "divisions" or schiltroms (massive spear formations), led by King Robert Bruce, his brother, Edward, and his nephew, Sir Thomas Randolph, Earl of Moray. After eight years of successful guerrilla warfare and plundering the north of England for booty, the Scots had created an experienced battle-hardened army. The battle opened with one of the most celebrated individual contests in Scottish history. Sighting a group of Scots withdrawing into the wood, the English vanguard, made up of heavy cavalry, charged. As they clashed with the Scots, an English knight, Sir Henry de Bohun, spotted Robert Bruce. If de Bohun had killed or captured Bruce, he would have become a chivalric hero. So, spurring his warhorse to the charge, he lowered his lance and bared down on the king. Bruce, an experienced warrior, didn't panic, but mounted "ane palfray, litil and joly" and met the charge. Dodging the lance, he brought his battle axe down on de Bohun's helmet, striking him dead. Elated, the Scots forced the English cavalry to withdraw. The Scots had won the first day. Their morale was high and Bruce's new tactic of using the schiltroms offensively rather than statically, as Wallace had used them at Falkirk, appeared to be working. Yet Bruce must have been contemplating a strategic withdrawal before the set piece battle that would inevitably follow in the morning. For the English the setbacks of the first day were disappointing. Fearing Bruce might mount a night attack, they encamped in the Carse of Balquhiderock. The following day they still hoped to draw Bruce into a full-scale, set-piece battle where their decisive Welsh longbowmen could be brought to bear rather than let Bruce return to guerrilla warfare. At this critical moment, Sir Alexander Seton, a Scots noble in the English army, defected to Bruce bringing him vital intelligence of Edward's army: its confined position and the low morale within the English camp. Bruce decided to risk all in the morning and face Edward in open battle. At dawn the Scots ate their breakfast and advanced out of the wood to face the enemy. Medieval battles were seen as the judgement of God; it was important to have the saints on your side, and so, in the midst of the Scots schiltroms, Abbot Bernard of Arbroath carried their ancient lucky talisman, the Breccbennach (or Monymusk Relquary), which held the relics of St Columba. Bruce himself made a speech invoking the power of St Andrew, John the Baptist and Thomas Beckett. Then, according to the chronicler Walter Bower: "At these words, the hammered horns resounded, and the standards of war were spread out in the golden dawn."
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)STUDY FOR ALCOCK AND BROWN MEMORIAL (HORIZONTAL BIRDMAN) [FCR114]BronzeSigned and](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/39419214-8012-4fdc-bf6f-afa900a69207/468x382.jpg)
Lot 17
λ DAME ELISABETH FRINK (BRITISH 1930-1993)STUDY FOR ALCOCK AND BROWN MEMORIAL (HORIZONTAL BIRDMAN) [FCR114]BronzeSigned and numbered 4/9 (on the underside of right leg)36 x 40cm (14 x 15½ in.)Conceived circa 1962. Provenance:Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above in May 2005)Sold by the executors of the estate of Jean MarsdenLiterature:Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.86, no. FCR114, illustration of another castThe present work is a maquette for Frink's 1962 commission for Manchester Airport. The full scale bronze is dedicated to aviators John Alcock and Arthur Brown, who made the first non-stop transatlantic flight in June 1919. Similar to the tall 'Birdman' sculpture of 1960, the work also forms part of a series of bronzes inspired by photographs of French adventurer Leo Valentin. Valentin attempted to achieve flight by strapping bird-like wings to his arms but ultimately fell to a dramatic death at an airshow in Liverpool in 1956 in front of 100,000 people. News of the accident, along with photographs, was widely published in the press. The images resonated with Frink whose experience during the war meant that she already had a preoccupation with flight along with a fear of heights. The sculptures she produced as a result depict figures falling sometimes at the point of impact with the ground. Others, like the present work, depict the incongruous marriage of man and bird, the unlikely form struggling to attain flight, hindered by its short wings with legs flailing behind, and yet rising in spite of itself.Condition Report: Dust and surface dirt commensurate with age. Some light scratches to the base. Supporting pole is a little loose and may need stabilising. Otherwise in good original condition. Condition Report Disclaimer
Lot 384
A Collectors Showcase Operation Market Garden: Arnhem Tiger Tank and Stuart M8 HMC (Winter), both boxed; together with various other military scale model diorama elements by manufacturers including Thomas Gunn miniatures, Honour Round and JG Miniatures Condition Report:Available upon request
Lot 435
A substantial collection of scale model advertising vans, cars and buses, housed in a purpose-built wall-mounted display case, assorted associated packaging and a small quantity of additional boxed model vehicles with manufacturers including Corgi, Matchbox: Models of Yesteryear etc. Condition Report:Available upon request
Lot 100
Legend of the Seeker 'Darken Rahl' Hero Sword.It was purchased directly from Craig Parker's personal collection. Craig kept the sword from the show and the vendor bought it direct from him.This is a real metal sword (it is not resin or rubber) and the ONLY Hero sword, there were no stunt swords made.The sheath is included and autographed by Craig Parker.It is accompanied by a detailed and lengthy note hand-written by Craig. Also included is a printed photograph of Craig holding the sword.This is a once in a lifetime opportunity to have such a unique item from not only a great under rated show but also one of the best actors who has appeared on a grand scale of both television and major motion picture films such as Underworld, Lord of the Rings and Spartacus.The sword displays wear from use on the Legend of the Seeker show but is still in good condition and the sheath is in great condition and shows intricite detailing in gold on the red leather. This has also been autographed as can be seen in the photos. Everything on the show was 100% custom-made for the production and therefore the quality of the props and costumes was extremely high.This is being offered as a one of a kind item from the personal collection of Craig Parker aka Darken Rahl star of Legend of the Seeker. This is surely a rare opportunity for fans of the show to aquire such a rare piece of memorabilia.Also along witht the sword is signed photograph of when the vendor met and has been signed 'Dear Kit' and signed by Craig Parker.
Lot 16
Three Resin Specialist 1:76 scale model buses, comprising RS-76650 AEC Renown double deck LT641 London Transport, RS-76653 AEC Regent Dodson bodied double deck bus GJ2098 Thomas Tilling and RS-76644 AEC Regal/Weymann T-Class single deck bus T727 (1946) London Transport, all cased and boxed.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.
Lot 35
A collection of diecast vehicles, including Classix Transport Treasures, DeetailCars Collection, Gilbow Exclusive First Editions buses, Majorette 1:18 scale Cadillac Eldorado 1955 and model farm vehicles, the majority boxed or cased.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.
Lot 9
Two Sun Star limited edition 1:24 scale Routemaster double deck buses, comprising RM 21-VLT21 The GLC Years with Vernons Pools/Top Rank advertising and RM254-VLT254 The Standard Routemaster with Jacobs/Dulux advertising, both boxed with certificates (second box badly damaged and bus lacking mirrors).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.
Lot 31
Four Armour Collection 1:100 scale model aircraft, comprising F-86 Sabre US Airforce and three Spitfires, together with a 1:48 scale P.51 Mustang, all cased and boxed.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.
Lot 8
A Sun Star limited edition 1:24 scale model RMC 1469-469 CLT The Green Line Routemaster double deck bus, boxed with certificate and sealed parts (box lightly creased and scuffed).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.
Lot 890
TUNICK SPENCER: (1967- ) American photographer. Signed colour 10 x 8 photograph, the image depicting one of Tunick's large-scale nude shots of gold painted women in the Bavarian State Opera House in Munich on 23rd June 2012 as part of the photographer's interpretation of scenes from Richard Wagner's opera Der Ring des Nibelungen. Signed by Tunick in black ink with his name alone to the base of the image. EX
Lot 856
TWOMBLY CY: (1928-2011) American painter of large-scale and graffiti works. Signed postcard by the American Painter, the front image showing a work of Twombly, a housepaint and crayon on canvas entitled Synopsis of a Battle (1968). Signed in dark black ink with his name alone to the left white border of the image. VG
Lot 889
TUNICK SPENCER: (1967- ) American photographer. Signed colour 10 x 8 photograph, the image depicting one of Tunick's large-scale nude installations at the Havis Amanda statue and fountain in the Market Square in the Kaartinkaupunki district of Helsinki, Finland. Signed by Tunick in black ink with his name alone to the base of the image. EX
Lot 1024
NOBEL ALFRED: (1833-1896) Swedish chemist, engineer, inventor, businessman and philanthropist who bequeathed his fortune to establish the Nobel Prize. The scientist's most famous invention was that of dynamite, which was patented in 1867. An outstanding archive relating to the establishment of a dynamite factory in Italy, comprising - (i) A.L.S., A Nobel, three pages, 4to, Paris, 6th September 1872, to [Paul] Barbe, in French. Nobel provides his detailed requirements for establishing a factory to produce dynamite at Avigliana, near Turin, under the guidance of his agent Casimir Robaudi ('Voici le petit devis pour la Fabrique Italienne et le projet de contrat avec Robaudi') setting out his requirements in a detailed table, with their immediate and defrayable costs, including specifications for brick buildings, power of the traction engines, nitrite grinders, and other machinery, a building to house nitric acid, an ice room, various other wooden buildings for the production and washing of glycerine and dynamite, and for packing the dynamite, cartridge making, water heaters, and enclosures, and remarking that he envisages the quick production and sale of the dynamite, financed by three months' credit. Nobel then proceeds to define the terms of the contract under which the business should operate, giving the outlines for a five-year contract with Robaudi in nine numbered paragraphs, explaining that Robaudi will be named as agent for the Italian business and will be responsible for the costs of selling the dynamite sent to him, for which he can set a price above market rates, provided that the company can cancel the contract if Robaudi's consumption and marketing contravenes their policies, or if the company does not receive payment for the dynamite. Nobel advises Barbe to revise the contract as he sees fit before sending it to Carstens, the merchant in Hamburg. (ii) A fine, large original pen and ink plan of the proposed site of the dynamite factory in the Commune di Avigliana, prepared and signed by the surveyor Giuseppe Ferando, one page, large oblong folio, Turin, 27th July 1872, entitled Planimetria di parte della regione Valoja presso il trucco di San Martino, coloured in two shades of blue (one defining the waterways) and also featuring light pencil drawings of buildings to the left margin. (iii) A pencil sketch of several buildings at Avigliana entitled Croquis de fabrique de nitroglycerine a Avigliana, one page, oblong 4to, n.p., n.d., including the facilities labelled for 'Preparation, separation et lavage a l'eau'. (iv) A finely executed and detailed pen and ink plan of various constructions and buildings, one page, oblong folio, n.p., n.d., captioned in French, including cartoucheries, magasin, filtrage & dynamiterie, lavages, pompe pour l'appareil, glacier & magasin a glycerine, hanger a bomb acide nitrique. Maison de garde, chien de garde etc. (v) A scale drawing from a patent application on transparency paper (some tears and a few large areas of paper loss to the edges) bearing the official oval stamp of Jannot ('Constructeur - Mecanicien') and two other pen and ink and pencil sketches and drawings of machinery and apparatus. (vi) An autograph manuscript entitled Regolamento dei transporti delle Materie infiammabili ed esplodenti ('Regulations for the transportation of flammable and explosive materials') approved by the administrators Bolmira and Guglianetti, twelve pages, 4to, n.p. (Italy), 9th April 1872, commencing 'Flammable materials, such as phosphorus, phosphor matches, gun powder, turpentine, alcohol, and derivatives, objects for fireworks and any other material…..that easily starts or transmits fire, are excluded from transport if the sender has not subjected himself to the cautionary measures established by the administration' and continuing to outline the regulations concerning packaging, supervision, means of transport and other precautions which it is necessary to adhere to. (vii) Small collection of ten manuscript technical and legal documents, in Italian and French, over twenty pages in total, largely 4to, various places, 1870s, some regarding Nobel's patent and one on the printed stationery of the Dinamite Nobel factory at Avigliana. (viii) Autograph manuscript of the Atto di Costituzione della Societa per la Fabbricazione della Dinamite and Statuto della Scoieta Anonima per la Fabbricazione della Dinamite, in all over sixty pages, folio, Turin, 5th June 1873, in Italian, identifying the main shareholders, and accompanied by an eleven-page summary including a manuscript list of the shares allocated to each shareholder. A comprehensive archive relating to the Swedish chemist's important invention of dynamite and featuring an extremely rare autograph letter signed by Nobel himself, particularly desirable owing to its content. Some light overall age wear and minor faults and Nobel's letter with some light, minor staining and a few small tears to the edges. Generally G to about VG, Sml Qty. At the end of December 1871, Alfred Nobel obtained a six-year patent for the exploitation of dynamite from the Italian government, to be financed by both French and German investors. In April 1872, Nobel reached an agreement with five Parisian financiers (and engineers) to found a public limited company. Among the shareholders mentioned in the present archive were Paul Barbe, Amedeo Hoffer (director of the factory), Casimir Robaudi (agent for the Nobel company in Hamburg), Antonio Campagna (formerly mayor of Avigliana), the Hamburg merchants Carl Ferdinand Carstens and Edouard Bandmann, and the Parisian banker Gunzbourg. They acquired land near Avigliana, some thirty kilometres west of Turin, and set up a factory through a commissionaire, Robaudi, obtaining a patent for the manufacture of dynamite. The company established by Nobel continued production until being destroyed during the World War II.
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