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Stankowski, Anton: Pyjamas on drying line Pyjamas on drying line. Circa 1933/printed later. Large-format gelatin silver print. 30,3 x 40,2 cm. Estate stamp on the verso. Slight buckling, a few handling creases in left area, otherwise in very good condition. Provenance: From the photographer to the present owner. Stankowski, Anton: Pyjamas on drying line Pyjamas on drying line. Circa 1933/printed later. Large-format gelatin silver print. 30,3 x 40,2 cm. Estate stamp on the verso. Slight buckling, a few handling creases in left area, otherwise in very good condition. Provenance: From the photographer to the present owner.

De Graby, Richard: Portrait of Marc Chagall Portrait of Marc Chagall (1887-1985). 1960s. Vintage gelatin silver print. 40,3 x 26,8 cm. Signed by the photographer in the negative in lower right corner; annotated in ink and photographer's stamp on the verso. A few small spots on surface in lower area, more visible at an angle, small spot in upper right, a few small nicks in edges, otherwise in very good condition. De Graby, Richard: Portrait of Marc Chagall Portrait of Marc Chagall (1887-1985). 1960s. Vintage gelatin silver print. 40,3 x 26,8 cm. Signed by the photographer in the negative in lower right corner; annotated in ink and photographer's stamp on the verso. A few small spots on surface in lower area, more visible at an angle, small spot in upper right, a few small nicks in edges, otherwise in very good condition.

Steiner, Albert: Poplar trees with evening sky Poplar trees with evening sky. 1920s. Vintage contact gelatin silver print on ivory paper. 17,8 x 23,8 cm. Geätzt stamp on the verso. One of the most outstanding Swiss photographers of the 20th century, many of Albert Steiner's photographs have been compared to those of Ansel Adams and Albert Renger-Patzsch. His impressive scenic photographs have fundamentally shaped the perception of Switzerland as an alpine country of timeless beauty. In the 1920s, however, he also adopted a more clear and objective way of photographing and created the first modern Swiss photobook "Schnee Winter Sonne" (1930) which has been compared to Renger-Patzsch's "Die Welt ist schön" (1928). – A few minimal handling marks, otherwise a fine tonal print in near excellent condition. Lit.: Peter Pfrunder/Beat Stutzer. Albert Steiner. Das fotografische Werk. Zurich 2005. Steiner, Albert: Poplar trees with evening sky Poplar trees with evening sky. 1920s. Vintage contact gelatin silver print on ivory paper. 17,8 x 23,8 cm. Geätzt stamp on the verso. One of the most outstanding Swiss photographers of the 20th century, many of Albert Steiner's photographs have been compared to those of Ansel Adams and Albert Renger-Patzsch. His impressive scenic photographs have fundamentally shaped the perception of Switzerland as an alpine country of timeless beauty. In the 1920s, however, he also adopted a more clear and objective way of photographing and created the first modern Swiss photobook "Schnee Winter Sonne" (1930) which has been compared to Renger-Patzsch's "Die Welt ist schön" (1928). – A few minimal handling marks, otherwise a fine tonal print in near excellent condition. Lit.: Peter Pfrunder/Beat Stutzer. Albert Steiner. Das fotografische Werk. Zurich 2005.

Keetman, Peter: Wasserblasen "Wasserblasen" (1956). Printed 2016 from the original negative. Ferrotyped gelatin silver print. 37,2 x 29 cm (41,2 x 31,4 cm). Edition/copyright stamp, therein editioned 11/15 in pencil on the verso. A few retouched spots, otherwise in near excellent condition. Keetman, Peter: Wasserblasen "Wasserblasen" (1956). Printed 2016 from the original negative. Ferrotyped gelatin silver print. 37,2 x 29 cm (41,2 x 31,4 cm). Edition/copyright stamp, therein editioned 11/15 in pencil on the verso. A few retouched spots, otherwise in near excellent condition.

Rheims, Bettina: Untitled (Baby seal) Untitled (Baby seal). 1982/printed later. Gelatin silver print on Agfa paper. 24 x 19,7 cm (30,2 x 23,7 cm). Limitation stamp and annotated and dated by the photographer in ink on the verso. Crease mark in left upper area, light pressure mark in left margin, otherwise in good condition. Lit.: Bettina Rheims. Animal. Munich 1994, ill. plate 12. Rheims, Bettina: Untitled (Baby seal) Untitled (Baby seal). 1982/printed later. Gelatin silver print on Agfa paper. 24 x 19,7 cm (30,2 x 23,7 cm). Limitation stamp and annotated and dated by the photographer in ink on the verso. Crease mark in left upper area, light pressure mark in left margin, otherwise in good condition. Lit.: Bettina Rheims. Animal. Munich 1994, ill. plate 12.

Schmölz, Karl Hugo: Detail of Kölner Opernhaus Detail of the Neues Opernhaus, Cologne, architect Wilhelm Riephahn (1889-1963). 1957. Vintage ferrotyped gelatin silver print. 24 x 30,2 cm. Photographer's stamp and number in crayon on the verso. Slight buckling in lower edge, two light handling marks in upper left, some irregularities in ferrotype surface, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 49. Schmölz, Karl Hugo: Detail of Kölner Opernhaus Detail of the Neues Opernhaus, Cologne, architect Wilhelm Riephahn (1889-1963). 1957. Vintage ferrotyped gelatin silver print. 24 x 30,2 cm. Photographer's stamp and number in crayon on the verso. Slight buckling in lower edge, two light handling marks in upper left, some irregularities in ferrotype surface, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 49.

Schäfer, Rudolf: Berlin Kosmetik, Cantian-Ecke Schönhauser Allee Berlin Kosmetik, Cantian-Ecke Schönhauser Allee. 1984. Vintage gelatin silver print. 17 x 23,2 cm (21,2 x 27,4 cm). Photographer's/copyright stamp on the verso. In very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 60. Schäfer, Rudolf: Berlin Kosmetik, Cantian-Ecke Schönhauser Allee Berlin Kosmetik, Cantian-Ecke Schönhauser Allee. 1984. Vintage gelatin silver print. 17 x 23,2 cm (21,2 x 27,4 cm). Photographer's/copyright stamp on the verso. In very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 60.

Schmidt, Michael: Berlin 61 "Berlin 61". 1980. Vintage gelatin silver print on Agfa paper. 20,1 x 28,5 cm (23,7 x 30,4 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. A print of this image is in the collection of the Museum für Kunst und Gewerbe, Hamburg. – A few light bumps in edges, otherwise a fine tonal print in excellent condition. Schmidt, Michael: Berlin 61 "Berlin 61". 1980. Vintage gelatin silver print on Agfa paper. 20,1 x 28,5 cm (23,7 x 30,4 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. A print of this image is in the collection of the Museum für Kunst und Gewerbe, Hamburg. – A few light bumps in edges, otherwise a fine tonal print in excellent condition.

Gloeden, Wilhelm von: Young male nudes by fountain Young male nudes by fountain. 1900. Vintage large-format albumen print. 27,5 x 37,8 cm. Photographer's stamp and mark in pencil on the verso. Some handling marks in edges, crease mark in upper left corner, some repaired tears in lower edge, light foxing spot in upper sky area, otherwise in very good condition. Gloeden, Wilhelm von: Young male nudes by fountain Young male nudes by fountain. 1900. Vintage large-format albumen print. 27,5 x 37,8 cm. Photographer's stamp and mark in pencil on the verso. Some handling marks in edges, crease mark in upper left corner, some repaired tears in lower edge, light foxing spot in upper sky area, otherwise in very good condition.

Hebler, Peter: Street riots, Berlin Street riots, Berlin. March 14,1981. Vintage matte gelatin silver print. 24,2 x 35,5 cm (30,5 x 40,3 cm). Photographer's/copyright stamp as well as signed and dated by the photographer in pencil on the verso. In excellent condition. Hebler, Peter: Street riots, Berlin Street riots, Berlin. March 14,1981. Vintage matte gelatin silver print. 24,2 x 35,5 cm (30,5 x 40,3 cm). Photographer's/copyright stamp as well as signed and dated by the photographer in pencil on the verso. In excellent condition.

Mahler, Ute: Young girl and dog Young girl and dog. 1976. Vintage semi-glossy gelatin silver print. 23 x 34 cm (29,5 x 39,1 cm). Signed and dated by the photographer in pencil in lower margin; archive stamp on the verso, mounted along upper edge in black paper folder. Buckled, some soiling in margins, otherwise in good condition. Mahler, Ute: Young girl and dog Young girl and dog. 1976. Vintage semi-glossy gelatin silver print. 23 x 34 cm (29,5 x 39,1 cm). Signed and dated by the photographer in pencil in lower margin; archive stamp on the verso, mounted along upper edge in black paper folder. Buckled, some soiling in margins, otherwise in good condition.

Gloeden, Wilhelm von: Young male nude contemplating flower Young male nude contemplating flower. Circa 1900. Albumen print. 22,5 x 16,8 cm. Photographer's stamp and number 1918 in blue crayon on the verso. Minimal fading in edges, some light handling marks, traces of previous mounting on the verso, otherwise a rich dark print in very good condition. Provenance: Robert Lebeck Collection Gloeden, Wilhelm von: Young male nude contemplating flower Young male nude contemplating flower. Circa 1900. Albumen print. 22,5 x 16,8 cm. Photographer's stamp and number 1918 in blue crayon on the verso. Minimal fading in edges, some light handling marks, traces of previous mounting on the verso, otherwise a rich dark print in very good condition. Provenance: Robert Lebeck Collection

Schulze Eldowy, Gundula: Baby in incubator Baby in incubator. 1980s. Chromogenic print on Kodak paper. 50,5 x 71 cm. Photographer's/copyright stamp on the verso. Right corners cut, some creases, otherwise in good condition. Schulze Eldowy, Gundula: Baby in incubator Baby in incubator. 1980s. Chromogenic print on Kodak paper. 50,5 x 71 cm. Photographer's/copyright stamp on the verso. Right corners cut, some creases, otherwise in good condition.

Wolf, Reinhart: Palm Springs Palm Springs. 1951/printed later. Gelatin silver print. 40 x 39,6 cm (44,3 x 44,1 cm). Photographer's estate stamp on the verso. Minimal buckling, otherwise in excellent condition. Wolf, Reinhart: Palm Springs Palm Springs. 1951/printed later. Gelatin silver print. 40 x 39,6 cm (44,3 x 44,1 cm). Photographer's estate stamp on the verso. Minimal buckling, otherwise in excellent condition.

Adam, Hans Christian: Pont du Gard, France; Sousse, Tunesia "Pont du Gard, France"; "Sousse, Tunesia". 1977/1982. 2 vintage gelatin silver prints. 30 x 24 cm. Photographer's/copyright stamp, titled and dated by the photographer in pencil on the verso. In very good condition. Adam, Hans Christian: Pont du Gard, France; Sousse, Tunesia "Pont du Gard, France"; "Sousse, Tunesia". 1977/1982. 2 vintage gelatin silver prints. 30 x 24 cm. Photographer's/copyright stamp, titled and dated by the photographer in pencil on the verso. In very good condition.

Sewcz, Hans Martin: Back courtyard, Kastanienallee, Berlin Back courtyard, Kastanienallee, Berlin. 1979. Vintage gelatin silver print. 15,7 x 24,2 cm. Flush-mounted to board, signed, titled and dated by the photographer in pencil, as well as photographer's stamp on the verso. Corners slightly bumped, slight edge wear, retouched spot, handling crease in left side, otherwise in good condition. Sewcz, Hans Martin: Back courtyard, Kastanienallee, Berlin Back courtyard, Kastanienallee, Berlin. 1979. Vintage gelatin silver print. 15,7 x 24,2 cm. Flush-mounted to board, signed, titled and dated by the photographer in pencil, as well as photographer's stamp on the verso. Corners slightly bumped, slight edge wear, retouched spot, handling crease in left side, otherwise in good condition.

McBride, Will: Beim Morgen Duschen, Schule Schloß Salem "Beim Morgen Duschen, Schule Schloß Salem". 1963/printed later. Gelatin silver print. 36 x 54 cm (51 x 60,5 cm). Signed, annotated, dated and numbered 4/12 by the photographer in pencil and collection stamp on the verso. Minimally buckled, one handling mark near right edge, otherwise in very good condition. Provenance: Directly from the photographer to the present owner. McBride, Will: Beim Morgen Duschen, Schule Schloß Salem "Beim Morgen Duschen, Schule Schloß Salem". 1963/printed later. Gelatin silver print. 36 x 54 cm (51 x 60,5 cm). Signed, annotated, dated and numbered 4/12 by the photographer in pencil and collection stamp on the verso. Minimally buckled, one handling mark near right edge, otherwise in very good condition. Provenance: Directly from the photographer to the present owner.

Shagin, Ivan: The Storming of Berlin Reichstag The Storming of the Berlin Reichstag. May 1945/printed 1960s. Large-format ferrotyped gelatin silver print. 42 x 59 cm. Annotated in Russian in black ink and photographer's stamp on the verso. Some handling creases, some nicks in edges, otherwise in good condition. Shagin, Ivan: The Storming of Berlin Reichstag The Storming of the Berlin Reichstag. May 1945/printed 1960s. Large-format ferrotyped gelatin silver print. 42 x 59 cm. Annotated in Russian in black ink and photographer's stamp on the verso. Some handling creases, some nicks in edges, otherwise in good condition.

Mann, Heinrich: Transfer of Heinrch Mann's urn to his honorary grave in East Berlin Photographer: Theo Piana. Transfer of Heinrch Mann's urn to his honorary grave in East Berlin. 1961. 4 ferrotyped gelatin silver press prints. Circa 24 x 18 cm and smaller. 3 with press text printed and with photographer's stamp on the verso. Heinrich Mann was elected Honorary President of the Humboldt University and in 1949 President of the Academy of Arts in East Berlin. He died in 1950 in Pacific Palisades and his urn was transferred to the GDR in 1961 and buried in Berlin with great ceremony. The photos show Otto Nagel and Arnold Zweig as well as Walter Ulbricht and members of the Politbüro at the cemetery. – Some handling marks/creases, otherwise in good condition. Mann, Heinrich: Transfer of Heinrch Mann's urn to his honorary grave in East Berlin Photographer: Theo Piana. Transfer of Heinrch Mann's urn to his honorary grave in East Berlin. 1961. 4 ferrotyped gelatin silver press prints. Circa 24 x 18 cm and smaller. 3 with press text printed and with photographer's stamp on the verso. Heinrich Mann was elected Honorary President of the Humboldt University and in 1949 President of the Academy of Arts in East Berlin. He died in 1950 in Pacific Palisades and his urn was transferred to the GDR in 1961 and buried in Berlin with great ceremony. The photos show Otto Nagel and Arnold Zweig as well as Walter Ulbricht and members of the Politbüro at the cemetery. – Some handling marks/creases, otherwise in good condition.

Schmidt, Michael: Blick von der Monumentenbrücke nach Schöneberg, Berlin "Blick von der Monumentenbrücke nach Schöneberg, Berlin". 1975. Vintage gelatin silver print on Agfa paper. 18,5 x 26 cm (23,8 x 30,3 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. The German photographer Michael Schmidt began taking pictures at age 20. He is a representative of the socio-documentary photography in Germany and his work is marked by a sober and reality-based style. In 1976 he founded the "Werkstatt für Photographie" in Kreuzberg, Berlin. Known best for his Berlin series, which shows the city empty and in a transitory state, Schmidt is considered one of the major German photographers of the "New Topographic Movement" and he worked up until his untimely death in 2014. A comprehensive retrospective of Michael Schmidt's work is currently on view at the Hamburger Bahnhof, Berlin. – A fine tonal print in excellent condition. Lit.: Michael Schmidt. Berlin - Stadtlandschaft und Menschen. Berlin 1978, ill. p. 25. Schmidt, Michael: Blick von der Monumentenbrücke nach Schöneberg, Berlin "Blick von der Monumentenbrücke nach Schöneberg, Berlin". 1975. Vintage gelatin silver print on Agfa paper. 18,5 x 26 cm (23,8 x 30,3 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. The German photographer Michael Schmidt began taking pictures at age 20. He is a representative of the socio-documentary photography in Germany and his work is marked by a sober and reality-based style. In 1976 he founded the "Werkstatt für Photographie" in Kreuzberg, Berlin. Known best for his Berlin series, which shows the city empty and in a transitory state, Schmidt is considered one of the major German photographers of the "New Topographic Movement" and he worked up until his untimely death in 2014. A comprehensive retrospective of Michael Schmidt's work is currently on view at the Hamburger Bahnhof, Berlin. – A fine tonal print in excellent condition. Lit.: Michael Schmidt. Berlin - Stadtlandschaft und Menschen. Berlin 1978, ill. p. 25.

Bergemann, Sibylle: Portraits of the actress Angelica Domröse Portraits of the actress Angelica Domröse. 1972. 2 vintage gelatin silver prints. Each circa 34,7 x 25 cm. Each with photographer's stamp and archive stamp on the verso. Some handling marks, one print with crease in upper right corner, otherwise in good condition. Bergemann, Sibylle: Portraits of the actress Angelica Domröse Portraits of the actress Angelica Domröse. 1972. 2 vintage gelatin silver prints. Each circa 34,7 x 25 cm. Each with photographer's stamp and archive stamp on the verso. Some handling marks, one print with crease in upper right corner, otherwise in good condition.

Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 8 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left, 7 with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition. Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 8 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left, 7 with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition.

Renger-Patzsch, Albert: Selected museum images Selected museum images. Circa 1929/30/printed 1997 and 2010 from the original glass plate negatives. 3 gelatin silver prints. Each circa 18,5 x 24 cm (23 x 29,5 cm and 27,7 x 35 cm). Each with edition stamp and editioned in pencil (edition of 30) on the verso. One print with traces of previous mounting, otherwise fine tonal prints in near excellent condition. Renger-Patzsch, Albert: Selected museum images Selected museum images. Circa 1929/30/printed 1997 and 2010 from the original glass plate negatives. 3 gelatin silver prints. Each circa 18,5 x 24 cm (23 x 29,5 cm and 27,7 x 35 cm). Each with edition stamp and editioned in pencil (edition of 30) on the verso. One print with traces of previous mounting, otherwise fine tonal prints in near excellent condition.

Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 9 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left; each with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition. Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 9 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left; each with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition.

Schulze Eldowy, Gundula: From the series Aktportraits From the series "Aktportraits". 1983-1986. 7 vintage gelatin silver prints on carte postale. Each circa 16,4 x 14,6 cm. 3 with photographer's stamp on the verso. Some corners bumped, one print (Angelika) with blue ink stain in white margin, otherwise in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. p. 221. Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 102, 104, 106, 108. Schulze Eldowy, Gundula: From the series Aktportraits From the series "Aktportraits". 1983-1986. 7 vintage gelatin silver prints on carte postale. Each circa 16,4 x 14,6 cm. 3 with photographer's stamp on the verso. Some corners bumped, one print (Angelika) with blue ink stain in white margin, otherwise in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. p. 221. Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 102, 104, 106, 108.

Baur, Max: Views of Potsdam Views of Potsdam. 1930s. 4 vintage large-format gelatin silver prints on ivory paper. Each circa 29,5 x 39,2 cm. Each with photographer's/copyright stamp and annotated by the photographer in ink on the verso. Includes: View through to the Lange Brücke and Nikolaikirche; Fortunaportal of the Stadtschloß and Barberini Palace; the Lustgarten and the Stadtschloß. – Corners minimally bumped, otherwise fine tonal prints in very good condition. Baur, Max: Views of Potsdam Views of Potsdam. 1930s. 4 vintage large-format gelatin silver prints on ivory paper. Each circa 29,5 x 39,2 cm. Each with photographer's/copyright stamp and annotated by the photographer in ink on the verso. Includes: View through to the Lange Brücke and Nikolaikirche; Fortunaportal of the Stadtschloß and Barberini Palace; the Lustgarten and the Stadtschloß. – Corners minimally bumped, otherwise fine tonal prints in very good condition.

Wendlandt, Kurt: Winterlich (Lichtgrafik) "Winterlich" (Lichtgrafik). 1970s. Unique hand-colored vintage gelatin silver print on photo linen. 27,5 x 22,8 cm. Signed, titled and editioned 3/8 by the photographer in ink in lower edge; photographer's stamp and annotated by the photographer in ink on the verso. In excellent condition. Provenance: The estate of Kurt Wendlandt. Wendlandt, Kurt: Winterlich (Lichtgrafik) "Winterlich" (Lichtgrafik). 1970s. Unique hand-colored vintage gelatin silver print on photo linen. 27,5 x 22,8 cm. Signed, titled and editioned 3/8 by the photographer in ink in lower edge; photographer's stamp and annotated by the photographer in ink on the verso. In excellent condition. Provenance: The estate of Kurt Wendlandt.

Arbus, Diane: Woman carrying a child in Central Park, N.Y.C. "Woman carrying a child in Central Park, N.Y.C.". 1956/printed 1986 by Neil Selkirk. Gelatin silver print on Agfa-paper. 16,7 x 24,9 cm (27,7 x 35,5 cm). Edition stamp, therein signed, titled and editioned 4/75 by Doon Arbus in ink, copyright stamp and reproduction limitation stamp on the verso. Matted. A rich tonal print in excellent condition. Lit.: Doon Arbus/Elisabeth Sussman. Diane Arbus. Revelations. New York 2003, ill. p. 230. Provenance: From Fraenkel Gallery, San Francisco to the current owner. Arbus, Diane: Woman carrying a child in Central Park, N.Y.C. "Woman carrying a child in Central Park, N.Y.C.". 1956/printed 1986 by Neil Selkirk. Gelatin silver print on Agfa-paper. 16,7 x 24,9 cm (27,7 x 35,5 cm). Edition stamp, therein signed, titled and editioned 4/75 by Doon Arbus in ink, copyright stamp and reproduction limitation stamp on the verso. Matted. A rich tonal print in excellent condition. Lit.: Doon Arbus/Elisabeth Sussman. Diane Arbus. Revelations. New York 2003, ill. p. 230. Provenance: From Fraenkel Gallery, San Francisco to the current owner.

Laera, Vincenzo: The Lion Hunt "The Lion Hunt", Berlin. 2020. Giclée print on fine art baryta paper. 70 x 52,5 cm (80 x 62,5 cm). Signed, titled, dated and editioned 1/5 by the photographer in pencil and photographer's stamp on the verso. Matted. Vincenzo Laera began his creative career in the 1980s in the fashion industry of his hometown of Milan. Trained as a hair stylist, he began working as a freelancer for magazines such as Lei and Per Lui early on, and collaborated regularly with South African photographer Koto Bolofo. In the late 1980s, Laera, just 20 years old, became a member of Helmut Newton's team. In 1989, he moved to New York City. Up until 2005, Laera collaborated on projects with Newton and photographers such as Albert Watson, Irving Penn, Brigitte Lacombe, Deborah Tuberville, Bert Stern, Greg Gorman, and Annie Leibovitz. During this time, Laera began to work on his own photography. In 2006, when he moved to Berlin, he became self-employed as a professional photographer. Laera has worked for magazines like Icon, GQ, Spiegel, InStyle and Kaltblut. The present work shows the projection of the Peter Paul Rubens painting "The Lion Hunt" (1621) on a nude model. – In excellent condition. Laera, Vincenzo: The Lion Hunt "The Lion Hunt", Berlin. 2020. Giclée print on fine art baryta paper. 70 x 52,5 cm (80 x 62,5 cm). Signed, titled, dated and editioned 1/5 by the photographer in pencil and photographer's stamp on the verso. Matted. Vincenzo Laera began his creative career in the 1980s in the fashion industry of his hometown of Milan. Trained as a hair stylist, he began working as a freelancer for magazines such as Lei and Per Lui early on, and collaborated regularly with South African photographer Koto Bolofo. In the late 1980s, Laera, just 20 years old, became a member of Helmut Newton's team. In 1989, he moved to New York City. Up until 2005, Laera collaborated on projects with Newton and photographers such as Albert Watson, Irving Penn, Brigitte Lacombe, Deborah Tuberville, Bert Stern, Greg Gorman, and Annie Leibovitz. During this time, Laera began to work on his own photography. In 2006, when he moved to Berlin, he became self-employed as a professional photographer. Laera has worked for magazines like Icon, GQ, Spiegel, InStyle and Kaltblut. The present work shows the projection of the Peter Paul Rubens painting "The Lion Hunt" (1621) on a nude model. – In excellent condition.

Schmidt, Michael: Berlin-Wedding; Bilder 1979-1986 Berlin-Wedding. 120 p. with numerous illustrations by Michael Schmidt and text by Heinz Ohff. 24 x 25,8 cm. Original illustrated white wrappers (edge wear). Berlin, A. Nagel, 1978; First edition. Title page and back inside cover with unknown owner stamp, title page also with dedication in ink. – Some corners bumped, otherwise in good condition. – With: Michael Schmidt. Bilder 1979-1986. 16 l., with illustrations by Michael Schmidt. 27 x 21 cm. Original illustrated brochure (slight wear). Hanover, Spectrum/Sprengel Museum 1987. Front free endpaper signed and dedicated by the photographer in ink to Wilmar Koenig. Schmidt, Michael: Berlin-Wedding; Bilder 1979-1986 Berlin-Wedding. 120 p. with numerous illustrations by Michael Schmidt and text by Heinz Ohff. 24 x 25,8 cm. Original illustrated white wrappers (edge wear). Berlin, A. Nagel, 1978; First edition. Title page and back inside cover with unknown owner stamp, title page also with dedication in ink. – Some corners bumped, otherwise in good condition. – With: Michael Schmidt. Bilder 1979-1986. 16 l., with illustrations by Michael Schmidt. 27 x 21 cm. Original illustrated brochure (slight wear). Hanover, Spectrum/Sprengel Museum 1987. Front free endpaper signed and dedicated by the photographer in ink to Wilmar Koenig.

Arndt, Gertrud: Otti Berger in the canteen on the last day before the Bauhaus shutdown, Dessau Otti Berger in the canteen on the last day before the Bauhaus shutdown, Dessau. 1932/printed 1996 from the original glass plate negative. Gelatin silver print. 24 x 18,4 cm (30,2 x 23,5 cm). Signed by the photographer in pencil as well as editioned and edition stamp on the verso. From an edition of 30 + 8 e.a. In excellent condition. Lit.: Verborgenes Museum (ed.). Photographien der Bauhaus-Künstlerin Gertrud Arndt, Berlin 1994, ill. p. 19. Arndt, Gertrud: Otti Berger in the canteen on the last day before the Bauhaus shutdown, Dessau Otti Berger in the canteen on the last day before the Bauhaus shutdown, Dessau. 1932/printed 1996 from the original glass plate negative. Gelatin silver print. 24 x 18,4 cm (30,2 x 23,5 cm). Signed by the photographer in pencil as well as editioned and edition stamp on the verso. From an edition of 30 + 8 e.a. In excellent condition. Lit.: Verborgenes Museum (ed.). Photographien der Bauhaus-Künstlerin Gertrud Arndt, Berlin 1994, ill. p. 19.

Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 8 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left; each with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition. Lehnert & Landrock: Female nudes, Tunis Female nudes, Tunis. Circa 1910. 8 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left; each with photographer's reproduction limitation stamp on the verso. Corners slightly bumped, some with fading in edges, otherwise strong prints in very good condition.

Borchert, Christian: Regenschauer am S-Bahnhof Nöldnerplatz, etc. "Regenschauer am S-Bahnhof Nöldnerplatz". 1971. Vintage gelatin silver print. 18,5 x 27,7 cm (22,5 x 29,3 cm. Signed, titled and dated by the photographer in pencil and photographer's/copyright and edition stamp (17/30) on the verso. "Regenschauer am S-Bahnhof Nöldnerplatz" is one of Christian Borchert's most famous images and was taken outside his studio window. – In very good condition. Lit.: Karl Gernot Kuehn. Caught. The Art of Photography in the German Democratic Republic. Berkeley 1997, ill. p. 114. Borchert, Christian: Regenschauer am S-Bahnhof Nöldnerplatz, etc. "Regenschauer am S-Bahnhof Nöldnerplatz". 1971. Vintage gelatin silver print. 18,5 x 27,7 cm (22,5 x 29,3 cm. Signed, titled and dated by the photographer in pencil and photographer's/copyright and edition stamp (17/30) on the verso. "Regenschauer am S-Bahnhof Nöldnerplatz" is one of Christian Borchert's most famous images and was taken outside his studio window. – In very good condition. Lit.: Karl Gernot Kuehn. Caught. The Art of Photography in the German Democratic Republic. Berkeley 1997, ill. p. 114.

Berlin: Dramatic scenes during the building of the Berlin Wall Photographer: East German secret police. Dramatic events during Oct. 25-28, 1961, Checkpoint Charlie, Berlin. Printed 1960s. 22 gelatin silver prints (SED archive prints). Each circa 13 x 18 cm. Some with Parteiarchiv stamp on the verso. These dramatic images show the few days after the GDR had asserted rights which only the Allies were entitled to. In response General Lucius D. Clay positioned American tanks at the border near Checkpoint Charlie. The images were taken by the East German secret police. – Some with creases in corners, slight edge wear, otherwise in good condition. Provenance: SED Partei Archiv, East Berlin Berlin: Dramatic scenes during the building of the Berlin Wall Photographer: East German secret police. Dramatic events during Oct. 25-28, 1961, Checkpoint Charlie, Berlin. Printed 1960s. 22 gelatin silver prints (SED archive prints). Each circa 13 x 18 cm. Some with Parteiarchiv stamp on the verso. These dramatic images show the few days after the GDR had asserted rights which only the Allies were entitled to. In response General Lucius D. Clay positioned American tanks at the border near Checkpoint Charlie. The images were taken by the East German secret police. – Some with creases in corners, slight edge wear, otherwise in good condition. Provenance: SED Partei Archiv, East Berlin

Sander, August: Wandernder Maurergeselle Wandernder Maurergeselle. Circa 1927/printed 1975. Gelatin silver print. 28,4 x 21,2 cm. August Sander, Köln-Lindenthal blindstamp in lower left corner and mounted to mat ( corners slightly bumped); Jahresgabe 1975 für die Mitglieder des Kölnischen Kunstvereins e.V. Köln stamp, therein signed by Gunther Sander and editioned 39/130 in pencil on mat verso. In excellent condition. Lit.: Gunther Sander (ed). August Sander. Menschen des 20. Jahrhunderts. Portraitphotographien 1892-1952. Munich 1997, ill. p. 124. Sander, August: Wandernder Maurergeselle Wandernder Maurergeselle. Circa 1927/printed 1975. Gelatin silver print. 28,4 x 21,2 cm. August Sander, Köln-Lindenthal blindstamp in lower left corner and mounted to mat ( corners slightly bumped); Jahresgabe 1975 für die Mitglieder des Kölnischen Kunstvereins e.V. Köln stamp, therein signed by Gunther Sander and editioned 39/130 in pencil on mat verso. In excellent condition. Lit.: Gunther Sander (ed). August Sander. Menschen des 20. Jahrhunderts. Portraitphotographien 1892-1952. Munich 1997, ill. p. 124.

Auerbach, Ellen: Eliot Porter, New York, 85th Street West "Eliot Porter, New York, 85th Street West". Circa 1957/58. Vintage gelatin silver print. 19,8 x 20 cm. Signed, titled and dated by the photographer in pencil and photographer's stamp on the verso. A few small dents near edges, minimal oxidation mirroring in edges in spots, only visible at an angle, traces of previous mounting on the verso, otherwise a fine tonal print in very good condition. Lit.: Inka Graeve Ingelmann. Ellen Auerbach. Das dritte Auge. Leben und Werk, Munich 2006, ill. plate 72. Ellen Auerbach. Berlin, Tel Aviv, London, New York. Berlin 1998, ill. front cover and p. 63. Auerbach, Ellen: Eliot Porter, New York, 85th Street West "Eliot Porter, New York, 85th Street West". Circa 1957/58. Vintage gelatin silver print. 19,8 x 20 cm. Signed, titled and dated by the photographer in pencil and photographer's stamp on the verso. A few small dents near edges, minimal oxidation mirroring in edges in spots, only visible at an angle, traces of previous mounting on the verso, otherwise a fine tonal print in very good condition. Lit.: Inka Graeve Ingelmann. Ellen Auerbach. Das dritte Auge. Leben und Werk, Munich 2006, ill. plate 72. Ellen Auerbach. Berlin, Tel Aviv, London, New York. Berlin 1998, ill. front cover and p. 63.

A FINE GERMAN DRESS HUNTING-SWORD AND COMPANION BALDRICK (GALABANDELIER), SILVER MAKER'S MARK OF STROBLBERGER, MÜNCHEN, LATE 19TH/EARLY 20TH CENTURY with burnished blade etched and gilt with hunting trophies and scrolls on a blued panel on both sides, German silver hilt cast in relief, including fluted shell-guard, the quillon terminals formed respectively as differing dogs' heads, the pommel en suite, staghorn grip studded with German silver acorns, and in its original leather-covered wooden scabbard also mounted in German silver, the locket with maker's stamp (by-knife missing); together with a dress baldrick, of black patent leather bordered with patterned silver wire lace, with elaborate full German silver mounts in the manner of the German rococo revival, including pricker pendant from a large stag's head boss cast in the round, and with the arms of the Princes Hohenlohe-Langenburg cast within a circlet bearing the motto |Ex Flammis Orior| and surmounted by a fürstenhut 51 cm; 20 in blade (2) Provenance The Armoury of the Princely House of Hohenlohe-Langenburg, removed from Schloss Langenburg, sold in this room 3rd December 2014, lot 198. The galabandelier would have been worn with the full dress uniform of a senior official of the Princely Hunt

A CASED 120 BORE FIVE-SHOT TRANTERS PATENT FOURTH MODEL PERCUSSION REVOLVER NO. 18,092T, LONDON PROOF MARKS, RETAILED BY ROBERTS, BRISTOL with blued sighted barrel engraved with a band of foliage around the muzzle and top-strap, scroll-engraved blued frame fitted with safety-catch and numbered on the right and with patent loading lever and patent stamp on the left, chequered walnut grip, engraved iron mounts comprising butt-cap and trigger-guard en suite with the frame and some early finish throughout: in original fitted mahogany case, the lid with vacant circular brass escutcheon on the outside, the interior lined in green baize, with trade label inscribed 'J. Edmund Roberts, 20 St. Augustine's Parade Bristol', complete with accessories including patent bullet mould, copper powder-flask, turnscrew, nipple-wrench and oil bottle 19.8 cm; 3 7/8 in barrel

A CASED 54 BORE FIVE-SHOT TRANTERS PATENT FOURTH MODEL PERCUSSION REVOLVER NO. 7682T, BY DEANE & SON, 30 KING WILLIAM STREET, LONDON, CIRCA 1860 with blued sighted barrel engraved with a band of foliage around the muzzle, signed on the top strap and with engraved border, border-engraved blued frame fitted with safety-catch and numbered on the right and with patent loading lever and patent stamp on the left, chequered walnut grip, iron mounts comprising trigger-guard and butt-cap, and some early finish throughout: in original fitted mahogany case, the lid with vacant circular brass escutcheon on the outside (key escutcheon missing), the interior lined in green baize, with facsimile trade label, complete with accessories including patent bullet mould, G. & J. W.Hawksley copper powder-flask with brass nozzle, turnscrew, nipple-wrench and oil bottle 15.5 cm; 6 in barrel

CHEKHOV ANTON: (1860-1904) Russian Playwright and short-story writer. Autograph envelope, unsigned, being a significant fragment of the front panel only, addressed by Chekhov in bold dark fountain pen ink to Captain Alexander Ivanovitch of the 22nd East Siberian Front Regiment, 10th Company, and with an affixed postage stamp and several cancellations, one dated 13th April 1904. With light overall creasing, some tears and irregularly torn edges, none of which significantly affect the text. Neatly laid down. Together with Olga Knipper (1868-1959) Russian Stage Actress, wife of Chekhov. A.L.S., Olga Tchekhova Knipper, three pages, 8vo, n.p., n.d., to a gentleman, in French. Knipper sends her correspondent the front panel from her husband's envelope and explains that it was sent by Chekhov from the Crimea, in the south of Russia, whilst he was serving in the Manchurian Army in the war against Japan in 1904. To the verso of the second page Knipper provides an English translation of her husband's text from the envelope. Some light overall staining and age wear, G, 2 Chekhov's envelope is post marked a little over three months before the writer's death which has since become known as one of 'the great set pieces of literary history'.

FRY C. B.: (1872-1956) English Sportsman, best remembered as a cricketer. Fry represented England at both cricket and football and made an FA Cup final appearance for Southampton FC as well as equalling the long jump world record of the time. A.L.S., C. B. Fry, one page, 8vo, Strand, London, 8th December 1905, to Mr. J. E. Garratt, on the printed stationery of C. B. Fry's Magazine. Fry informs his correspondent that he is 'aware of the value of the principle of Vibration in the treatment of athletic accidents' and further comments 'Your Vee Dee Vibrator is a wonderful mechanical device for putting in to use…..I am pleased to recommend the Vibrator as of very real value'. With blank integral leaf (slight traces of former mounting to the verso). Some light foxing, largely to the edges, and with a received date stamp in the upper margin. GJ. E. Garratt's vibrator, of which an example is held in the collection of the Science Museum in London, claimed to cure colds, digestive complaints and flatulence through 'curative vibration'.

HEMINGWAY ERNEST: (1899-1961) American Novelist, Nobel Prize winner for Literature, 1954. D.S., Ernest M. Hemingway, being a signed cheque, New York, 15th September 1953. The partially printed cheque is drawn on the account of Ernest M. Hemingway at the Bank Guaranty Trust Company of New York, Fifth Avenue office, for the sum of $250, and is made payable to Roberto Herrera, in Hemingway´s hand. One bank cancellation and stamp to the front, not affecting the signature. Signed to the verso by Roberto Herrera, also bearing several bank cancellations. VGRoberto Herrera, photographer and friend of Hemingway. Co-author of Ernest Hemingway Rediscovered, a photographic record of the writer's period in Cuba between 1939 and 1960.

GUICCIOLI TERESA: (1800-1873) Also known as Contessa Guiccioli. Best known as the married lover of Lord Byron. She inspired him while living in Italy and writing his Don Juan. Byron wrote `You sometimes tell me I have been your first real love, and I assure that you shall be my last Passion.´ It was not until 2005 that was published one of the books Teresa Guiccioli wrote about her relationship with Byron. A.L.S., `La C[ontes]se Guicioli´, two pages, n.p., n.d., to Jullien, in French. The Countess states `Monsieur the Vicount would wish a pass for the Athénée tomorrow Monday and he is asking me to request this from you. I know you well enough to be sure that you will grant such favour..´ The letter bears to the upper left corner the blind embossed crowned monogram with the initials “T.G” of the Countess. With blank integral leaf. Bearing a small Debauve collection stamp to the verso. VG Teresa Guiccioli married at the early age of 17 a powerful ruthless and unpleasant nobleman in Italy, Count Guiccioli, who was fifty years older than her. Only three days later she met Lord Byron. A very dangerous relationship started as Count Guiccioli was widely believed to have ordered the murder of another nobleman. For plotting against the Austrian Empire, Teresa´s father Count Gamba was exiled. In 1823, the Austrian authorities allowed Count Gamba to leave his exile with the condition that the Countess Guiccioli had to end her relationship with Byron and return to her husband.Alexandre Dumas pere included Countess Guiccioli as a minor character in his novel The Count of Monte Cristo using the disguised name "Countess G".

LAUREL & HARDY: LAUREL STAN (1890-1965) & HARDY OLIVER (1892-1957) English and American Film Comedians. Vintage signed and inscribed sepia 10 x 8 photograph by both Stan Laurel and Oliver Hardy individually, the image depicting the duo in a characteristic head and shoulders pose together, each wearing their bowler hats. Photograph by Stax and bearing his credit stamp to the verso. Signed by both Laurel and Hardy in fountain pen inks to the lower border, Laurel adding an inscription in his hand. Hardy's signature is a little faded although legible. A few corner and surface creases to the edges, G

GAMAIN FRANÇOIS: (1751-1795) French Locksmith who played a crucial role in the trial against King Louis XVI which ended with his execution. Gamain informed the Convention that he had built a hidden iron cabinet at the Tuileries Palace according to the King´s orders, a cabinet found containing the documents which were the main accusatory evidences used by the prosecutor during the King´s trial. Gamain would be later appointed municipal officer. Rare L.S., `Gamain´, one page, small 8vo, Paris, 3rd July 1794, in French. The letter bears to the heading an ink stamp bearing the motto `Liberty - Equality´ and showing the revolutionary beret, also bearing the written heading of the Public Relief department. Gamain, in his capacity as Municipal Officer at Versailles, certifies that Pierre Etienne Marie Duval was born on 22nd August 1792. Countersigned by two more officers. Irregularly trimmed bottom edge, otherwise G to VG

TENNYSON ALFRED: (1809-1892) English Poet Laureate 1850-92. D.S., A Tennyson, being a signed cheque, one page, oblong 8vo, Freshwater, Isle of Wight, 14th May 1860. The manuscript cheque is drawn on Olding Sharpe & Co. of London and made payable to Alfred Howe for the sum of £50. With a one penny revenue stamp affixed in the upper right corner and the bank's usual ink cancellations, only very slightly affecting the signature. To the verso appears a partial autograph letter, unsigned, in the hand of Emily Tennyson (1813-1896, wife of the poet) referring to some blinds. Some light creasing and one small spindle hole, about VG

FEGELEIN HERMANN: (1906-1945) Commander in the Waffen-SS of Nazi Germany. Fegelein was a member of Hitler´s entourage as brother-in-law to Eva Braun through his marriage to her sister Gretl. Fegelein was shot for desertion on 28th April 1945, only two days before Hitler committed suicide. D.S., `Fegelein´, one page, 8vo, 10th May 1942, to Willi Menke, in German. The partially printed document being a certificate of approval issued by the SS-Hauptscharfuhrer office, in favour of Willi Menke, SS-Kavalier-Brigade. Signed by Fegelein in bold blue ink, in his capacity as SS-Standartenfuhrer and Commander of the SS-Kavalier-Brigade. Bearing an ink stamp alongside Fegelein´s signature, showing a Nazi eagle with swastika. VG Fegelein commanded the SS Totenkopf Reiterstandarte, known as the “Death´s-Head Horse Regiment, in September 1939, after the invasion of Poland. He would later participate in the Battle of Belgium and the Battle of France, and was awarded the Iron Cross for his services. Troops under his command on the Eastern Front were responsible for the deaths of over 17,000 civilians in 1941. After being wounded in 1943, Fegelein was reassigned by Heinrich Himmler to Hitler's headquarters staff, and was present at the failed attempt on Hitler's life in 1944. Fegelein is widely regarded as an opportunist, a cynical and disreputable officer, a protégé of Himmler who granted him assignments and rapid promotions. Albert Speer called him “one of the most disgusting people in Hitler's circle.”

LOWE HUDSON: (1769-1844) Anglo-Irish Soldier and Colonial Administrator, Governor of St Helena where he was the ‘gaoler’ of Napoleon Bonaparte. Extensive conclusion of an A.L.S., H Lowe, sixteen pages, 8vo, n.p. (St Helena), n.d. (c. October 1820), to Count Alexander de Balmain. The letter, which is missing the opening twelve pages, and is partially written in French, provides details of Lowe’s activities on St Helena and makes interesting references to Napoleon Bonaparte and the Marquis de Montholon, commenting on some books which have been sent by the latter in the hope that they will relieve the boredom of not only Jamestown, the capital of St. Helena, but the whole island, Lowe remarking ‘…you see I am now more civilly treated by the persons at Longwood than by the Marquis, but this is not all, the following is an extract of one of his notes sent open in the usual manner through me speaking of one of the books sent him, a “Roman” entitled “Boris”’, the extract, in French, describing St. Helena as an inferno and advising the recipient that they should console themselves that, even if their eyes do not fall on too many people, at least they are living amongst individuals with the style and manners of the French and not experiencing the rage of impotent people. Lowe further expresses his surprise at learning of Bartholomaus von Sturmer’s nomination to Rio de Janeiro, having believed that Baroness von Sturmer ‘was in a very bad state of health, that she had been at the waters at Carlsbad…[and]….had represented her situation to Prince Metternich & obtained his promise not to send her husband to America, it being impossible for her to accompany him’, continuing ‘We have lately had a visit here from a person who must be well known to Count Capo d’Istria [Ioannis Kapodistrias, the Greek statesman and Foreign Minister of the Russian Empire 1816-22] if I may judge from a very handsome present which he showed to Lady Lowe as having been received by him from Count Capo d’Istria – Captain Spencer of the Royal Navy, son of Earl Spencer. He had a good deal of conversation with Montholon…..but could not see Bonaparte who was stated to be taken ill soon after his arrival here. He has been out however since, and has appeared to those who had any opportunity of seeing his face, a little paler than usual, but not altered in any other respect. Montholon has said he is recovering – but slowly. Captain Spencer had to endure a long declamatory tirade from Bertrand but it produced I believe very little effect. The Countess according to a very common practice with her on such occasions had previously sought to extract what were Captain Spencer’s political connexions and finding they were not generally on the side of the present administration both the Count & her thought they might open with….confidence towards him. The persons at Longwood however, as I apprehend have been rendered sensible by their conversations with Capt. Spencer, of the wide difference that prevails between the sentiments of those persons who are connected with any of the distinguished families which form a part of what is called the opposition and that race of individuals who from motives of private interest or from revenge at the disappointment of some….plot….for inflaming the public mind in the Morning Chronicle and in the pages of the Edinburg Review, for it is from persons of such stamp the inhabitants of Longwood have most generally drawn all the lights they possess in respect to English affairs, lights which have proved only an “Ignis fatui” to them – to lead them into the quagmires of still deeper disappointment & mortification’. Lowe concludes his letter by stating that he has contacted Lord Bathurst and Mr. Hamilton, the under secretary of state at the Foreign Office on behalf of Balmain and sends his affectionate regards to Countess Balmain, remarking ‘She should not have made Lady Lowe a grand mama quite so soon. The little uncle & aunt your child will have here are all doing well’. Although incomplete, the letter features fine content. VG Count Alexander de Balmain, a Russian commissioner was present on St. Helena from 1816 to 1820 during which time he married Charlotte Johnson, the elder stepdaughter of Hudson Lowe.

FABERGE PETER CARL: (1846-1920) Russian Jeweller, known for his Faberge eggs. Appointed Goldsmith and Jeweller to the Russian Imperial Court in 1885. A rare D.S., C. Faberge, in Cyrillic, one page, 8vo, n.p., 31st October 1916. The partially printed document, in Cyrillic, is a receipt issued to Otto Ottovich Bauer for his purchase of six shares of stock in Faberge's company at a cost of 5,000 rubles each, totalling 30,000 rubles, and states that the receipt will be 'exchanged for genuine shares once they have been printed by the State Printing Office'. With a partial revenue stamp affixed to the left edge. Some very light, extremely minor age wear, VGIn 1916 the House of Faberge became a joint-stock company with a capital of three million rubles. Following the outbreak of the October Revolution the following year the business was taken over by a Committee of the Employees of the Company K. Faberge and in 1918 the House of Faberge was seized by the Bolsheviks. In early October the stock was confiscated and the House of Faberge was no more.

[MARAT JEAN-PAUL]: (1743-1793) French Political Theorist, Scientist and radical Journalist during the French Revolution, advocating for basic human rights for the poorest, and publishing on his periodical L´Ami du Peuple (“The People´s Friend”). Marat was assassinated in 1793 and became a revolutionary martyr to the Jacobins. Printed document, eight pages, 8vo, Thursday 27th January 1791, being an original copy of L´Ami du Peuple, nº 353, entitled “Political and Impartial Journal - By Marat”. The few pages journal contains different parts, some entitled `Denounce´, or `Advice´, and responses to citizens letters. The document bears a small collection ink stamp to the upper left corner of the front page. The pages are attached with lace. G to VG On September 1789, Marat began his own newspaper, entitled first Le Publiciste Parisien (“The Parisian Publicist”), before changing its name few days after to L´Ami du Peuple ("The People's friend"). From this newspaper, he often attacked the most influential and powerful groups in Paris, including the Commune and ministers.

HORTHY MIKLOS: (1868-1957) Regent of Hungary 1920-1944. A good vintage signed and inscribed sepia postcard photograph, the image depicting Horthy seated in a three quarter length pose wearing his uniform and medals. With the blind embossed credit stamp of a Budapest photography studio to the lower right corner of the image. Signed by Horthy in bold, dark fountain pen ink and inscribed to General Sherill. VGThe present photograph may have been presented to General Charles H. Sherrill (1867-1936) American Politician and Diplomat who served as United States Ambassador to Turkey 1933-36. In 1935 Sherrill, as a member of the International Olympic Committee, met twice with Adolf Hitler during preparations for the 1936 Olympic Games and upon the two men disagreeing over the participation of Jews Sherrill threatened Hitler with an American boycott.

MORGAN MICHELE: (1920-2016) French film Actress. Unusual signed 10 x 14 drawing by Morgan on drawing paper. Morgan draws a series of abstract stars, with different colours. Signed `M. Morgan´ in bold black ink at the base. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. VG

[ALIM KHAN MOHAMMED]: (1880-1944) Emir of Bukhara 1911-20, the last Emir of the Uzbek Manghit dynasty. A vintage unsigned postcard photograph of the Emir seated in a full length pose wearing traditional ceremonial attire, including a sash and medals, and holding a sword within a scabbard in one hand. With a small official oval purple ink stamp to the verso. The verso also features an A.L.S., Marusya, by an unidentified member of the Imperial Russian Court of Tsar Nicholas II in the Crimea, n.p., n.d., in Cyrillic, to their Aunt Sonya, sending New Years greetings and continuing 'Is not the Emir very nice here? Remember him in the People's House? We would all be very glad to see you in the spring in the Crimea. The Tsar's family has returned….' About EX

LISZT FRANZ: (1811-1886) Austrian-Hungarian Composer. Autograph envelope (front panel only), unsigned, addressed in Liszt's hand to the music publisher Adolf Furstner in Berlin. Post marked at Widdungen and with the postage stamp torn away. About G

[MAORI RANGATIRA]: NA HARE TE OWNUKU ( - ) Maori Rangatira of the 19th century. A rare A.L.S., Na Hare te Ownuku, one page, 8vo, Urenui, Taranaki, 5th August 1870, to Pattison, in Maori. The Maori Rangatira sends greetings to his correspondent and continues to write in warm terms, 'I shall never forget you both. Every day and every year (I think of you). My love for you is as great as it would be for my father. Greatly do I cry over your letter that has reached me'. With a contemporary English translation to the integral leaf in which the signature is translated as 'Hare the Rainbow'. Accompanied by the original hand addressed envelope (stamp torn away) which features several post marks including one at Wellington. Some very light, extremely minor age wear, VG

RACHMANINOFF SERGEI: (1873-1943) Russian Composer and Pianist. Vintage signed and inscribed sepia 7 x 9.5 photograph of Rachmaninoff in a head and shoulders pose. Photograph by the Kubey-Rembrandt Studios of Philadelphia and bearing their blindstamp to the lower right corner and credit stamp to the verso. Signed by Rachmaninoff in white fountain pen ink to the image and dated 1931 in his hand. The signature and inscription are a little light and scratchy in places where the ink has not adhered to the image. Neatly trimmed to the edges and with one small tear and small area of paper loss to the upper edge. About G

[GONE WITH THE WIND]: FLEMING VICTOR: (1889-1949) American Film Director of Gone With The Wind and The Wizard of Oz (both 1939). Academy Award winner. An excellent, extremely rare vintage signed and inscribed 10.5 x 13 photograph, the image depicting Fleming in a head and shoulders pose intensely looking towards the camera. Photograph by Henry Waxman of Hollywood and bearing his blind embossed credit stamp to the lower right corner. Signed by Fleming in dark fountain pen ink to the image, 'Dear Baby, I love you, Victor'. Apparently inscribed to the actress Clara Bow, one of Fleming's lovers. A couple of very light, extremely small corner creases and a few very minor traces of former mounting to the verso, otherwise VG Clara Bow (1905-1965) American Actress, known as 'The It Girl'. Bow starred in the American silent comedy film Mantrap (1926) which was directed by Victor Fleming and was briefly engaged to the director in the same year. Fleming once likened Bow to a Stradivarius violin, stating 'touch her, and she responded with genius'.

RAVEL MAURICE: (1875-1937) French Composer. A fine, rare vintage signed and inscribed 6.75 x 9 photograph by Ravel, the image (4 x 5.5) depicting him in a head and shoulders pose. Photograph by J. Heby (?) and bearing their studio stamp to the lower right corner of the photographer's mount. Signed in bold black fountain pen ink by Ravel to the upper photographer's mount, 'A mon cher editeur et ami E. Demets, bien cordialement, Maurice Ravel'. An excellent signed portrait with good association. Neatly mounted and with some very light, minor silvering to the edges of the image and some light age toning to the edges of the photographer's mount. About VG Eugene Demets (1858-1923) French Music Publisher, regarded as one of the most prestigious publishers of his day, who worked with Maurice Ravel, Erik Satie, Joaquin Turina as well as Les Six and others.

MOHAMMED VI: (1963- ) King of Morocco and Amir al-Mu'minin 1999- . Signed colour 7 x 11 photograph of the young King seated in a half length pose. Photograph by Ali Linh and bearing their credit stamp to the verso. Signed in bold black ink, in Arabic, with his name alone to the lower white border. VG

KOLLONTAI ALEXANDRA: (1872-1952) Russian Communist Revolutionary. A member of the Mensheviks first, and further Bolshevik Party, she was one of the first and few women appointed as Soviet Ambassador. Rare T.L.S., `A.Kollontay´, two pages, 4to, Oslo, 17th February 1925, in Cyrillic. Signed by Alexandra Kollontai in her capacity as Plenipotentiary Minister of the U.S.S.R to Norway. The letter bearing the printed heading, in French and Cyrillic, of the U.S.S.R legation in Norway, is a license approval stating in part `..is hereby authorized for sea-hunting in the territorial waters of Russia on the North cost of European Russia from the Finnish frontier up to Novaya Zemlya along the seaside of the continent and islands, except water zone of the White Sea, south of the Orlovsky Light-house and Cape Kanushin line, where the hunting is forbidden.´, further saying `This certificate is issued on the basis of the contract agreement signed by the Government of the Union of Soviet Socialist Republics with the "Aaalesund Navigation Union, group of seal hunters", and ratified by the Council of Peoples' Commissars on 16th December 1924.´ Also bearing two countersignatures beneath Kollontai´s one, and alongside a C.C.C.P. ink stamp. Four binder holes to the left border with very small area of paper loss around them, none affecting the text or signatures. G