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Click here to subscribe*Steam Plant. A horizontal steam model with ancillaries by Bowman, c. 1930s, spirit-fired live-steam having brass boiler with chimney and piston-driven flywheel with geared drive take-off, mounted on metal platform base (compatible with Meccano), complete with burner and contained in part manufacturer`s original wooden box (top lacking), 9 x 8in (23 x 20cm) (1)
Private collection of playing cards and gamesA quantity of motoring interest playing cards to include Shell motor spirit, M-L magnetos, Tate of Leeds Ford Dealers, H.S.Baylie Ltd Wakefield for Armstrong Siddley, Bean and John Bull Tyres, all with advertising to backsThis lot forms part of a private collection of playing cards and games from the 17th century onwards, comprising 400 lots, all to be sold without reserve
George NAKASHIMA (1905-1990) Enfilade en noyer d`Amérique, "double sliders door cabinet", circa 1962, piétement formé de deux panneaux renforcés de deux longs tasseaux soutenant le corps parallélépipédique principal. Elle ouvre, à la partie gauche, par deux vantaux coulissants dégageant chacun une succession de quatre tiroirs façon dressing, et à la partie droite, par un vantail sur un intérieur aménagé de deux étagères à hauteur réglable. Divers systèmes de montages tenons-mortaises apparents au niveau de la structure et du plateau. Haut. 81 cm - Long. 193,2 cm - Prof. 51 cm Bibliographie : Mira Nakashima, Jeffrey Vance, "Nature form and spirit, the life and legacy of George Nakashima", Harry N. Abrams, Inc, 2003, reproduit en croquis p. 83.
A FINE SIGNED GREEK ICON OF SELECTED SAINTS, 18TH/19TH CENTURY. A colorful and finely painted icon depicting three full length images of Saints Barbara (left) Saint Seraphim, Bishop of Phanarion (center) and St. John Damascus (right) who holds a scroll which petitions the "Triune God, Father, Son and Holy Spirit to have mercy on his people…" Partially signed along the lower central margin, "Painted by the hand of Ioannes Eugenoglu". In excellent condition. 18 inches x 13.25 inches (45.7 x 33.5 cm).
"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."
A RUSSIAN ICON OF THE POKROV MOTHER OF GOD, IVAN ZACHAROV, MOSCOW, 1869. A naturalistically and fully rendered image, overlaid with a fine gilded silver repousse and chased riza with attached silver gilt and enamel haloes. Hallmarked Moscow, dated 1869, Cyrillic makers mark IZ and 84 silver standard. Contained in an ogee arch form kiot with gilt-wood liner displaying the Holy Spirit at top. The icon 9 inches x 7.25 inches (22.5 x 18.5 cm). Overall height including kiot 18.75 inches (47.7 cm).
AN INTERESTING RUSSIAN ICON OF THE VLADIMIR MOTHER OF GOD WITH SAINTS, 18TH CENTURY. At center, a sensitively painted image of the Vladimir Mother of God. On the side borders, each within an oval cartouche, are depicted various saints including the Apostle and Evangelist St. John (upper left) and another Apostle at upper right, perhaps St. Andrew. At lower left, The Holy Metropolitan Peter and lower right, The Holy Metropolitan Alexis. Along the lower margin three female martyr saints: Daria, Agatha and Juliana. The upper margin with the Holy Spirit flanked by two angels of the Lord. Executed in an overtly painterly manner with minute detailing, gilt highlights and subtle shading more in keeping with miniature Flemish paintings of the 16th century. 13.75 inches x 11.25 inches (35 x 28.5 cm).
A LARGE AND FINE RUSSIAN ICON OF THE NEW TESTAMENT TRINITY, CIRCA 1800. At center seated on an elaborate double-gilt throne are the persons of the Trinity -Christ (left) God the Father (right) and above them a dove, symbol of the Holy Spirit. Father and Son are seated upon a throne resting above red six-winged seraphim, and fiery winged wheels called "thrones". They are depicted encircled by a celestial ring superimposed with blue six-winged Cherubim and Seraphim. The tips of the red four pointed star which extend to each corner, display the symbols of the Four Evangelists each inscribed with his name. At top center is a gathering of all the archangels, and the borders painted with the Holy Apostle Prochorus, the Guardian Angel, the Holy Theodore the Commander and the Prophet Elijah. The upper margin inscribed with a highly condensed and abbreviated Slavonic inscription taken from the Nicene Creed, "He ascended into heaven, and sits on the right hand of the Father.” The overall high quality, pallet and style might suggest an icon from a higher-end Moscow workshop or retailer around the turn of the century or shortly thereafter. 21 inches x 17.5 inches (53.4 x 44.5 cm).
"JOHN STEUART CURRY(American 1897-1946)The First Snow- 1930Oil on canvasSigned and dated lower right “John Steuart Curry 1930”25.25 inches x 31 inchesProvenance:Acquired directly from the artist by Dr. Wellwood Nesbit of Madison, Wisconsin.Thence by descent through the family to the present owner Mrs. Kathy Doll (granddaughter of Dr. and Mrs. Genevieve Nesbit).Literature:The Lakeside Press Galleries, Chicago, Illinois, "Catalog of a Loan Exhibition of Drawings and Paintings by John Steuart Curry", March 1st to April 28th 1939, page 11 (unillustrated).Laurence E. Schmeckebier, John Steuart Curry’s Pageant of America, American Artists Group, New York, 1943, page 129, 133 and 134 and illustrated as Figure 80. (This lot is accompanied by a copy of both of these publications).Exhibited:The Lakeside Press Galleries, Chicago, Illinois "A Loan Exhibition of Drawings and Paintings by John Steuart Curry, March 1-April 29, 1939 as Item 10.The offered lot features an oil painting created by John Steuart Curry (American 1897-1946) in 1930 during a transitional period in the artist’s career. The painting, First Snow depicts a quiet and still winter residential view from his home and studio in Westport, Connecticut. Like the following lot, the offered painting was acquired directly from the artist by Dr. Wellwood and Mrs. Genevieve Nesbit whom Curry had become acquainted through his friendship with fellow Regionalist artist Grant Wood, a childhood friend of Genevieve Nesbit.Born and raised in Kansas, Curry became interested in art at an early age. Before finishing high school, Curry briefly enrolled in art programs at the Kansas City Art Institute and the Art Institute of Chicago. Years later, he finished his education at Geneva College, a Presbyterian school in Beaver Falls, Pennsylvania. Curry’s art and educational pursuits continued to move him farther away from his family’s farm in Dunavent, Kansas. In 1919, Curry moved from Pennsylvania to Leonia, New Jersey to begin his illustration career. From 1921-1926, Curry worked as a freelance illustrator for publications such as Boy`s Life, Country Gentleman and the Saturday Evening Post under the artistic mentorship of Harvey Dunn (American 1884-1952) who was revered for his renderings of scenes from the American West. Both Harvey and Curry shared an interest and respect for uniquely American subjects and sought to create art accessible to the common man.In 1923, Curry married Clara Derrick. A year later, after living in Greenwich Village, New York for less than a year, the couple moved to Westport, Connecticut where Curry purchased a home and studio at Otter Ponds by the Saugatuck River. The move to Westport marks a decided shift in Curry’s career. In the mid-1920s, after losing commercial illustration jobs, Curry decided to stop working as a professional illustrator and refocus his efforts solely on painting. As Curry underwent this change, the couple’s finances suffered. With the hopes of improving his draftsmanship and elevating his paintings, Curry traveled to Europe in 1926 for 8 months to study under the Russian artist Basil Schoukhaieff in Paris. The trip was funded by an affluent banker and art collector Seward Prosser who loaned Curry $1,500 and additionally provided a job for Clara at the Bankers’ Trust Company in Paris for additional income.Curry returned to Westport in June of 1927 determined to prove himself as an artist. Fortunately, Prosser’s investment and Curry’s hard work paid off. By 1928, Curry finished his painting Baptism in Kansas for the Corcoran Gallery, Washington D.C. and in turn, gained national recognition in the art world. Two years later in 1930 (the same year the offered lot was executed), Curry received his first one-man show through the Whitney Studio Club. Despite the strides Curry made professionally, the late 1920s and early 1930s were especially difficult times for the artist emotionally. Curry’s distance from his family and the Midwestern subjects wore on his spirit and resulted in a general unhappiness toward life. Some art critics on the East Coast claimed that Curry “painted life…with a homesick brush”. Continuing this line of thought, the artist’s biographer Lawrence Schmeckebier wrote “Curry’s father had often comforted him in his despondency by offering to give him land out in Kansas and some stock to start life over again.” Perhaps in the hopes of changing his emotional state, Curry returned home to the Midwest. In the summer of 1929, Curry spent six weeks on his family’s farm in Kansas to revive his inspiration. Some writers support the significance of this trip by referring to it as a pilgrimage. The respite proved to be motivating and helped spur his development of key subjects in the coming year. Taken within the context of Curry’s intense focus on his career and his despondence with the Northeast the offered lot, First Snow, provides a unique and personal glimpse into Curry’s perspective in 1930. The offered painting breaks from more traditional examples where Curry depicts the homeland and instead focuses on the artist’s distance from his Midwestern subjects and family and his life in Connecticut. In the painting, two leaf barren icy trees frame the reflection of two homes in the Saugatuck River which remain clear and motionless despite a small group of waterfowl enjoying a brisk swim. Curry’s thoughtful composition of this work is vital as it solicits an emotional response of solitude and even loneliness. No other figures are present as the crisp morning begins. This scene and the self-reflective state that stems from it can be read as a slice of Curry’s daily life at that time. By depicting this view in such a still and austere manner, Curry establishes intimacy and allows the audience to see this particular setting from his perspective as an outsider. In so doing, Curry generates the necessary environment for the audience to empathize with his internal state of discontent. First Snow illustrates Curry’s ability to, as Schmeckebier wrote of the artist, “express moods that vary from the utter physical abandon…to a quiet spiritual, almost romantic dreaming or even yearning.” Curry’s longing to return to the Midwest, his family and his rural subjects is evident in this interesting view across the water from his home and studio in Westport, Connecticut. Life would get harder for Curry as America sank into the Great Depression after the market crash of 1929. Soon thereafter, his wife Clara passed away from heart complications in 1932. After her sudden death, he worked in a small studio in New York City. However, Curry’s troubles did not last for long. In 1934, he married Kathleen Shepherd and returned to Westport with a renewed enthusiasm for his work. As the financial struggles of Depression Era artists were alleviated through Franklin Delano Roosevelt’s public art initiatives promulgated through the New Deal, Curry gained a commission to paint the murals for the Kansas State Capital Building in Topeka. Following this project, Curry became the first Artist in Residence at the University of Wisconsin, Madison in 1936. The Artist in Residence program at the University was the first in the country and was made possible, in large part, by this painting’s original owner Dr. Wellwood Nesbit. Dr. Nesbit and his wife, Genevieve were great supporters of the arts and close friends with Regionalist art icon Grant Wood who grew-up and attended school with Dr. Nesbit’s wife Genevieve in her native Iowa. Through their relationship with Wood, the Nesbits also became friends with Curry and Thomas Hart Benton. Using his position at the Medical School at the University of Wisconsin, Madison and being a staunch supporter of the arts, Dr. Nesbit helped bring the Artist in Residence position, which Curry first held, to fruition. Indeed the same year that Curry was inducted as the first Artist in Residence on campus, his good friend Grant Wood was granted an honorary degree from the University, once again, through the influence and commitment of Dr. Nesbit. In fact, when Wood came to Madison to accept the honor, he declined an invitation to stay in the University President’s home and chose instead to stay with his good friends, the Nesbits."
A LARGE AND IMPRESSIVE CARVED IVORY PENTECOST BEAKER, 19TH CENTURY, GERMAN. The sides carved in high relief, at center the enthroned Virgin pointing upwards to a dove, symbol of the Holy Spirit and flanked on either side by figures of the twelve Apostles, each holding their attribute. The background sky covered with incised stars. Height 7.8 inches (20 cm).
A VERY FINE POLYCHROME, GILT AND CARVED RELIEF WOOD PLAQUE OF THE ANNUNCIATION, GERMAN 19TH CENTURY. Finely carved in high relief in the Neo Gothic taste. On the left, the Archangel Gabriel announces to the Virgin that she will bear the Messiah by the power of the Holy Spirit, which is represented as a dove descending upon her. Height 29 inches (73.75 cm), width 20.25 inches (51.5 cm).
A RUSSIAN ICON OF THE BAPTISM OF CHRIST, 17TH CENTURY WITH LATER RESTORATIONS. Here John the Baptist is seen on the banks of the Jordan River (left) placing his hand on Christ who stands in the river as he is baptized and above them both a dove, a sign of the Holy Spirit, descends within three radiating beams of light. On the right bank of the river are three angels, their hands covered in cloth as a sign a veneration and at top center God the Father within a circular mandorla. The kovcheg with gilt decoration and the upper margin inscribed with the title, The Theophany of Our Lord Jesus Christ. 12.25 inches x 10.5 inches (31 x 26.6 cm).
Grey, Zane – "Tales Of Southern Rivers" 1st ed 1924, H/b, ex libris, Crawford, L – "The Fishing Companion" 1st ed 2005, H/b, D/j, fine, O`Reilly, T – "The Spirit Of The Pond" 1st ed 1996, H/b, small tear to D/j otherwise fine, 3 x Fishing Famous River Series, "Upper Thames", "The Kennet" and "The Hampshire Avon" plus 4 x How To Catch Em Series, "Carp", "Tench", Perch" and "Dace". (10)
EARLY TWENTIETH CENTURY GERMAN PAINTED TINPLATE AND BRASS SPIRIT FIRED STATIONARY STEAM ENGINE, makers mark DC, having vertical boiler (lacks chimney) with pressure gauge/glass, whistle, safety valve/lever steam valve and opening door to fire box, driving twin vertical pistons mounted on gantry with access ladder powering single axle to fly wheel on base, 10 3/4" wide EST 50-80
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