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Mike Steiner (Allenstein 1941 – 2012 Berlin). „LICHT BILDEN“. 1998C-Print auf Cibachrome auf Aluminium. 119,8 × 119,8 cm (47 ⅛ × 47 ⅛ in.). Rückseitig betitlelt, signiert und datiert: LICHT BILDEN Mike Steiner 1998.Einer von drei nummerierten Abzügen. [3132]Provenienz: Nachlass des KünstlersAusstellung: Mike Steiner: Color Works. 1995-1998. Berlin, Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart, 1999, Abb. S. 213Mike Steiner (1941-2012) studierte Malerei an der Berliner Hochschule der Künste und reiste erstmals 1965 für zwei Jahre nach New York. Dort beeindruckte ihn die lokale Kunstszene mit ihren experimentellen Strömungen wie Minimal Art, Happening, Performance und Video nachhaltig. So wurde er Anfang der 1970er-Jahre einer der Pioniere der deutschen Videokunst. Mit seinen „Painted Tapes" propagierte er eine neue Ästhetik des Sehens. Er gründete das Künstlerhotel „Hotel Steiner“ und die Studiogalerie in der Nähe des Berliner Kurfürstendamms, wo er Ausstellungen von wichtigen Protagonist:innen der internationalen Video- und Performancekunst wie Joseph Beuys, Laurie Anderson, Allan Kaprow, Bill Viola, oder Valie Export zeigte. In eigenen Videoarbeiten dokumentierte er bedeutende Performances, u.a. von Marina Abramovic und Ulay. In den 1990er-Jahren widmete sich Steiner auch wieder der Malerei und machte die Farbe zu seinem wichtigsten Ausdrucksmittel. Das Gemälde „AMORPHE SUPPE“ und der C-Print „LICHT BILDEN“ waren Teil der Ausstellung „Mike Steiner. Color Works. 1995-98“, die 1999 in der Berliner Nationalgalerie im Hamburger Bahnhof das Œuvre Mike Steiners in all seiner Vielseitigkeit würdigte.Zustandsbericht: Ex. 1/IIIIn gutem Zustand. Stellenweise leichte oberflächliche Bereibungsspur (vor allem im Streiflicht) und winzige Fleckchen zu erkennen. Punktuell mit dezenten Fingerspuren. Die linke obere Ecke leicht bestoßen. Unter UV-Licht keine Aufheller und Retuschen erkennbar. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Mike Steiner (Allenstein 1941 – 2012 Berlin). „AMORPHE SUPPE“. 1998Acryl auf Sperrholz. 90 × 90 cm (35 ⅜ × 35 ⅜ in.). Rückseitig mit Bleistift signiert und datiert: Mike Steiner 98. Ebendort mit Filzstift in Schwarz betitelt und bezeichet: "AMORPHE SUPPE" 6.[3132]Provenienz: Nachlass des KünstlersAusstellung: Mike Steiner: Color Works. 1995-1998. Berlin, Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart, 1999, Abb. S. 117Mike Steiner (1941-2012) studierte Malerei an der Berliner Hochschule der Künste und reiste erstmals 1965 für zwei Jahre nach New York. Dort beeindruckte ihn die lokale Kunstszene mit ihren experimentellen Strömungen wie Minimal Art, Happening, Performance und Video nachhaltig. So wurde er Anfang der 1970er-Jahre einer der Pioniere der deutschen Videokunst. Mit seinen „Painted Tapes" propagierte er eine neue Ästhetik des Sehens. Er gründete das Künstlerhotel „Hotel Steiner“ und die Studiogalerie in der Nähe des Berliner Kurfürstendamms, wo er Ausstellungen von wichtigen Protagonist:innen der internationalen Video- und Performancekunst wie Joseph Beuys, Laurie Anderson, Allan Kaprow, Bill Viola, oder Valie Export zeigte. In eigenen Videoarbeiten dokumentierte er bedeutende Performances, u.a. von Marina Abramovic und Ulay. In den 1990er-Jahren widmete sich Steiner auch wieder der Malerei und machte die Farbe zu seinem wichtigsten Ausdrucksmittel. Das Gemälde „AMORPHE SUPPE“ und der C-Print „LICHT BILDEN“ waren Teil der Ausstellung „Mike Steiner. Color Works. 1995-98“, die 1999 in der Berliner Nationalgalerie im Hamburger Bahnhof das Œuvre Mike Steiners in all seiner Vielseitigkeit würdigte.Zustandsbericht: In gutem Zustand. Die Oberfläche materialbedingt stellenweise etwas unregelmäßig. Die Ecken sowie die seitlichen Kanten leicht bestoßen, stellenweise mit kleinen Farbverlusten. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Sirupkanne Italien 1690: Chevrette, Majolika mit grüner Lasur. Blattranken in Gelb. dat. 1690. Zopfbandhenkel u. Zopfseil um den hochstehenden Ausguß. Bez. Mel-Viola To Semp. Veilchenhonig. H: 27 cm. Min. am Stand best. - Albarello. Syrup jug. Chevrette, majolica with green glaze. Minimally bumped. D

A Stentor Student II 16" viola, with ebony fingerboard and pegs, with teka pattern wood chin rest and bow with ebony frog and natural horsehair, in original padded hard case.

Kathleen Elizabeth Figgis (British, late 19th/early 20th century) 'Miss Mabel Chaplin with Viola da Gamba' and 'Miss Kate Chaplin with Viol d'Amore', a pair, labelled verso, pencil, 30cm x 21.5cm (2).Provenance: Art Inspired by Music Exhibition, Russell Coates Art Gallery, Bournemouth.

An interesting full-size large violin/small viola, probably German, with two-piece back, length 36.8cm, unlabelled but apparently inscribed 1923 on the button, cased with a nickel mounted bow.Additional InformationThere is a 2.5cm chip to the left shoulder of back as seen in the pictures, surface scratches and wear particularly top right of table. Chip to left hand corner of table but no major cracks noted.

A quantity of Luthiers' accessories including approx one hundred various bridges, two hundred and seventy assorted violin/viola pegs, twenty-four violin/viola frogs for bows, thirty screws, fifty violin/violin string adjusters.

A full-size German viola for restoration, with two-piece back, length 40.3cm, cased.Additional InformationTable is completely detached from the rest of the instrument and has wear and damage as can clearly be seen in the photographs. Back in better condition but with numerous age related marks, scuffs, repairs, etc to back and sides.

A full-size German viola of unusual form with one-piece back, length 40cm and carved scroll, bearing interior label 'Nicolaus Amatus'.Additional InformationTwo cracks to table, sound post loose and rattling about, old repairs to sides and back in reasonable condition with surface scratches.

JW OWEN; a full-size English viola with one-piece back, length 42cm, with interior label for JW Owen of Leeds, cased.Additional InformationSound post loose but overall good condition with no signs or major damage, label date June 23rd 1902

A viola with two-piece back, length 39cm, bearing label for Luigi Gregori, Bologna 1795.Additional InformationNumerous cracks to table, signs of wear all around, back of a flame timber and in better condition but restoration required.

A full-size Venetian school viola with two-piece back, length 41.5cm, unlabelled, cased.Additional InformationVery minor surface wear and rubbing to corners but overall in good condition with no major damage noted.

J BROWNE & SON; a full-size English viola with one-piece back, length 39cm, with interior label 'J Browne & Son, Musical Instrument Makers 35 Victoria St. Grimsby 7175', with two nickel mounted bows, cased.

A modern viola d'amore, unlabelled, cased with a simple bow.Additional InformationMajor crack to table otherwise appears good.

An unnamed full-size viola with two-piece back, length 40.7cm, cased with bow.Additional InformationIn good/restored condition with no obvious damage.

A full-size German viola with two-piece back, length 38.7cm, unlabelled, cased with a bow.Additional InformationGood with surface wear only and no major damage noted.

Six assorted nickel mounted viola/cello bows.

A German nickel mounted viola bow, indistinctly stamped.Additional InformationAppears in good condition and fully operational.

A nickel mounted viola bow and a silver mounted bow stamped 'Withers' (af) (2).Additional InformationThe bow stamped Withers is missing the tip where it has been snapped off.

A French silver mounted viola bow stamped ‘Henry a Paris’, length 74cm.Additional InformationAppears in good condition and fully operational.The bow is faintly stamped by the frog - please see image. 

A CASED VIOLA STENTOR STUDENT 2 WITH BOW

Gouda (Holland) Baluster vase in the Viola pattern 1491, H: 24 cm. No chips, cracks or visible restoration. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots).

SIGNED CLASSICAL - LP PACK. A fantastic selection of 18 signed classical LPs. Signed by the listed composer/performer's name unless stated otherwise. Composers/ performers include. John Shirley-Quirk (XID 5207), Sir Adrian Boult (SRCS 31), Tessa Robbins [Violin] (XID 5206), Louis Fremaux (ASD 2989), Sir Adrain Boult/ Lennox Berkeley (SRCS 50), Felicity Palmer [Soprano] (SAN 354), Enrique Batiz (ASD 1654841), Vladimir Fedoseyey (33C10-06469), Paavo Berglund (ASD 4170), Eric Fenby (DKP 9029), Reginald Kilbey (TWO 361), Frederick Riddle [Viola] (CFL1020), Witold Rowicki (6500 122), Serge Baudo/ Witold Lutoslawski (ASD 3145), Eric Fenby/ Ralph Holmes (UNS 258), David Wilde (GSGC 14073), Meredith Davies/ John Shirley-Quirk/ Heather Harper (ASD 2397). Condition is generally Ex to Ex+.

IGOR & DAVID OISTRAKH - MOZART: SINFONIA CONCERTANTE LP (ED1 - SXL 6088). Up next we have the wonderful LP by Ukrainian father and son duo David & Igor Oistrakh; Mozart: Sinfonia Concertante For Violin And Viola (SXL 6088, 1964 UK first pressing on the ED1 Decca label. Wide-band, deep-groove labels are lovely, bright and clean. Side 1 is in beautiful Ex condition, would benefit from a clean. Side 2 has some light paper surface marks, nothing feelable. Strong VG+. The front laminated flip-back sleeve is in beautiful shape, the cover is lovely and glossy, the back has some light storage wear, Ex).

After Gerrit Dou - Interior with a Young Viola Player, oil on copper, 24 x 19cm A German 19th c copy of Dou's masterpiece, 1637, in the Scottish National Gallery, Edinburgh Good condition

60's / 70's SOUL / NORTHERN SOUL - WITH RARITIES - 7" COLLECTION. Fantastic collection of 27 x UK pressing 7". Titles / Artists include Viola Wills - Lost Without The Love of My Guy (Ex+ - PT 108), The Precisions - If This Is Love (I'd Rather Be Lonely) (G+), Bobby Womack - What is This (BOY 75 - Ex), Betty Lavette - Let Me Down Easy (2092-030 - VG+), Betty Everett - I've Got a Claim On You (WI-352 - VG), The Dontells - In Your Heart (PT 373 - Ex+), The Spellbinders - Help Me (VG), The Flirtations, Joe Tex (584035), Billy Bass (PM 761), The Astors (AT.4037), Betty Everette (SS 259) and Little Joe Cook. Condition is generally VG to Ex.

Detlev Nitschke (Berlin 1935). Gemüsemarkt in Berlin. Öl/Holz, 23,5 x 31 cm, r. u. sign. Nitschke. - Deutscher Veduten- und Landschaftsmaler. N. war Schüler bei E. Viola, erhielt eine Ausbildung an der Meisterschule für Druck und Graphik in Berlin und studierte am Staatlichen Institut für Graphik bei Prof. Boehland. Als Maler und Lithograph von Stadtansichten und Landschaften mit Figurenstaffage greift er auf die Malerei der Wende vom 19. zum 20. Jahrhundert zurück. Nitschke, Detlev (Berlin 1935). Vegetable Market in Berlin. Oil/wood, 23,5 x 31 cm, lo. ri. sign. Nitschke. - German veduta and landscape painter. N. was pupil of E. Viola and trained as lithographer in Berlin. He revives the pictorial tradition of the late 19th cent.

Detlev Nitschke (Berlin 1935). Berliner Dom und Spree. Öl/Holz, 34 x 46 cm, r. u. sign. Nitschke, ungerahmt. - Deutscher Veduten- und Landschaftsmaler. N. war Schüler bei E. Viola, erhielt eine Ausbildung an der Meisterschule für Druck und Graphik in Berlin und studierte am Staatlichen Institut für Graphik bei Prof. Boehland. Als Maler und Lithograph von Stadtansichten und Landschaften mit Figurenstaffage greift er auf die Malerei der Wende vom 19. zum 20. Jahrhundert zurück. Nitschke, Detlev (Berlin 1935). Berlin Cathedral. Oil/wood, 34 x 46 cm, lo. ri. sign. Nitschke, unframed. - German veduta and landscape painter. N. was pupil of E. Viola and trained as lithographer in Berlin. He revives the pictorial tradition of the late 19th cent.

Detlev Nitschke (Berlin 1935). Kurfürstendamm mit Kaiser-Wilhelm-Gedächtniskirche. Öl/Holz, 30,5 x 40,5 cm, r. u. sign. Nitschke, ungerahmt. - Deutscher Veduten- und Landschaftsmaler. N. war Schüler bei E. Viola, erhielt eine Ausbildung an der Meisterschule für Druck und Graphik in Berlin und studierte am Staatlichen Institut für Graphik bei Prof. Boehland. Als Maler und Lithograph von Stadtansichten und Landschaften mit Figurenstaffage greift er auf die Malerei der Wende vom 19. zum 20. Jahrhundert zurück. Nitschke, Detlev (Berlin 1935). Berlin Café on the Kurfürstendamm. Oil/wood, 30,5 x 40,5 cm, lo. ri. sign. Nitschke, unframed. - German veduta and landscape painter. N. was pupil of E. Viola and trained as lithographer in Berlin. He revives the pictorial tradition of the late 19th cent.

A 20th century Viola, made in China, with box and fitted hard case, together with a violin (without a bow), two 1/4 sized violins, all with cases. (4)

MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987).Untitled, circa 1970.Oil on panel.Attached certificate issued by Jacobo Viola, son of the artist.Signed in the lower right corner.Measurements: 60 x 40 cm.In this apparently simple work, Viola, introduces on the black, only the primary colours, which he manipulates with a great mastery, to create a whole range of tonalities, which melt between the brushstrokes of the artist, who lets rest on the support a great quantity of matter.The piece shows the habitual use of black as a background on which the tonalities are reversed, and in turn emerge as flashes of light, in an immense inconcrete void. A pictorial space, which becomes a visual poetry, where the tensions generated by the artist, through the contrast of tonalities, such as blue and yellow, directly question the spectator. José Viola Gamón adopted the name by which he is known, Manuel Viola, after the Civil War. A member of the El Paso group, his painting is characterised by an informalist and colourist treatment, in line with the avant-garde movements developed in Spain from the 1950s onwards. He began studying philosophy and literature in Barcelona, but was forced to abandon them because of the war. His first drawings date from these years. After the war he went into exile in France, where he wrote for the surrealist poetry magazine "La main à plume". There he began to exhibit his work in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began to emerge, and at the same time he joined the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.

[ Victorian Children's / Illustrated ] Juliana Horatia Ewing, "A Week Spent in a Glass Pond by the Great Water Beetle, depicted by R Andre", London, Wells, Gardner, Darton & Co, circa 1885; together with "Birthday Flowers: Their Language and Legends", illustrated by Viola Boughton, London, Chatto and Windus

After John Pettie (British, 1839-1893),"Treason",Oil on canvas,A 20th century copy by Edna Viola Wynn, Signed and dated "1927" lower right,34.5cm x 54.5cm,Framed

A cased viola by Robert Hull, label dated 1976, Hutton, Merseyside.Length 68 cms,

BRATSCHE / VIOLA “Virgo”, Weichholzdecke, Zarge, geteilter Boden, Hals und Schnecke aus geflammtem Ahorn, Im Korpus bezeichnet: „Hubert Wendl 1999/ Virgo“, neuwertige Bespannung. Korpuslänge: 38 cm, Gesamtlänge: 63 cm. Leichte Alters- und Gebrauchsspuren, partiell rest.| VIOLA “Virgo”, Softwood top, frame, split base, neck and scroll made of flamed maple, marked on the body: "Hubert Wendl 1999/ Virgo", new stringing. Body length: 38 cm, total length: 63 cm. Slight signs of age and wear, partially rest.

ROYAL COPENHAGEN 11 Serviceteile 'Flora Danica', Bodenstempel ab 1979. 2 Mokkatassen (3618, 'Camparula hederacea' und 'Stellaria humifusa Rottb.'), 2 Untertassen (3618), 2 Dessertteller (3551, 'Helleborus hyemalis L.' und 'Andromeda coerulea L.'), 1 Kanne mit seitlichem Holzgriff (3620, 'Viola canina Horn.'), 1 Sahnegießer (3626, 'Dryas integrifolia Vahl.'), 1 ovale Deckeldose (3582, 'Silene anglica. L.' und 'Thymus Chamaedrys Fr.'), 1 Deckeltasse (3514, 'Sedum acre L.', Deckelröschen leicht bestoßen), 1 geschweiftes Tablett (3565, 'Rubus exilis Lge.') sowie 2 Mokkalöffel von GEORG JENSEN mit Laffen aus 925 Silber vergoldet, die Griffe aus Porzellan Dekor 'Flora Danica'. Gut erhalten.| ROYAL COPENHAGEN 11 service parts 'Flora Danica', backstamps since 1979. 9-pcs.: 2 mocha cups (3618, 'Camparula hederacea' and 'Stellaria humifusa Rottb.'), 2 saucers (3618), 2 dessert plates (3551, 'Helleborus hyemalis L.' and 'Andromeda coerulea L.. '), 1 jug with wooden handle on the side (3620, 'Viola canina Horn.'), 1 cream jug (3626, 'Dryas integrifolia Vahl.'), 1 oval lidded box (3582, 'Silene anglica. L.' and 'Thymus Chamaedrys Fr.'), 1 lidded cup (3514, 'Sedum acre L.', floret on lid slightly bumped), 1 curved tray (3565, 'Rubus exilis Lge.') as well as 2 mocca spoons by GEORG JENSEN with gilded 925 silver bowls, the handles made of porcelain decor 'Flora Danica'. Well preserved.

SOUL/ FUNK/ BOOGIE - 12" COLLECTION. A quality collection of around 120 12" singles. Artists/ titles include El Coco - I'm Mad As Hell, Roy B - P'Zzazz, Wardell Piper - Captain Boogie, Francoise Pascal - Woman Is Free, Edwin Starr - Contact, Scherrie Payne - One Night Only, Parliament inc Deep, Bop Gun. Princess - Say I'm Your No.1, Gwen Guthrie inc Can't Love You Tonight, Ain't Nothin' Goin' On But The Rent. Family Affair, Light Of The World, LeVert, Shirley Lites, David Grant, Jerk Out, Bernadette Washington, Total Contrast, Level 42, Miles Jaye, Barbara Pennington, Poussez, Freda Payne, Ollie Baba, Mike Post, Sharon Paige, Princess, Chris Paul, Elton John, Paul Johnson, Funkapolitan, Viola Wills, Evelyn Thomas, The Time. Condition is generally VG to Ex+.

Middle Eastern / Egyptian silver hand chiseled miniatures / objets de vertu, comprising of a viola H11cm with bow and a piano. (3)Ασημένιες μινιατούρες.

1984 EUROPEAN CUP FINAL / AS ROMA v LIVERPOOL Match played 30/5/1984 at Stadio Olimpico, Rome. Very rare lithographic Memoriam / Funeral poster which was published prior to the Final in anticipation of a Roma victory. Measuring 70 cm x 51 and roughly translates ''The Dear Existence Of The Liverpool Is Serenally Ended - The Viola President, the Coach, the Players, and Fans all give the sad announcement - The funeral will move from the Olympic Stadium in Rome - on May 30, 1984'' It is believed that most of these went unsold with many destroyed after the Final and are hard to find. Stain at top, folded. Fair to generally good

Two landscapes and two botanicals in watercolour: river scene with hills to the background; a coastal scene by KENNETH ROBERTSON; daffodils by JEAN BAGSHAW dated 1992; and 'Viola Tricolor' by MARGARET TARRAN (together with paperwork) (largest frame size 41.5cm x 46cm) (4)

A Tertis model viola with single piece back made by Robert Corbin of Christchurch 1975, 41cm; together with bow, cased

MANUEL VIOLA (Zaragoza, 1916 – San Lorenzo de El Escorial, 1987).“composition in red”, c.1975.Oil on board.Attached certificate issued by Don Jacobo Viola, son of the artist.Signed in the lower right corner.Measures: 35 x 27 cm; 56 x 47 cm (frame).

An Epiphone fretless viola bass, serial number 198090153

A Sound Post Prima Loreato viola, in a fitted case with two bows

Thomas Francis Dicksee (British, 1819-1895)Viola in Twelfth Night signed with monogram and dated '1866' (centre right), signed and inscribed (on the remnants of a label attached to the stretcher)oil on canvas54 x 36.4cm (21 1/4 x 14 1/4in).Footnotes:The partially legible inscription reads:'I'll do my best.To woo your lady: yetaside, a barful strife.Whoe'er I woo, myself would be his wife.'Twelfth Night, Act I, Scene IT.F. DickseeThe present work depicts Viola, the main protagonist of Shakespeare's play Twelfth Night. In this work, the female sitter is dressed in fine, decorative men's clothing as she has assumed her role as Cesario, a page working in the service of the Duke of Orsino.Dicksee exhibited seven portraits of Shakespearean heroines at the Royal Academy throughout his career. Often using the same models, a painting of Beatrice from Shakespeare's play Much Ado About Nothing, almost certainly shows the same sitter (see Christie's, London, 14 November 2013, lot 107).For further information on this lot please visit Bonhams.com

MASSIMO QUAGLINO, MANIFATTURA LENCI Torino, anni 30, "Coppia di innamorati". Terracotta maiolicata realizzata a colaggio e decorata in policromia sui toni del verde e viola pastello. Sotto la base reca iscrizione Lenci - Made in Italy - Torino - n.620. Cm 30x26x25. Pubblicata in A.Panzetta, Le ceramiche Lenci. Catalogo dell'archivio storico 1928-1964, Torino 1992, p. 228, n. 759 (cat. 620)

Viola by Gordon Harris, cased with bowCondition report: Total length 69cm. Width across lower bouts 26cm.

Royal Copenhagen Flora Danica Henkelkorb 3532, cutwork basket 1st choice,Porzellan, Dänemark, am Boden mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen mit Reliefdekor & Goldrand, Motiv Viola hirta - Raues Veilchen, Formnr. 3532, 1x H 8,5 cm x B 21,5 cm x D 18,5 cm

Royal Copenhagen Flora Danica 2 Lunch Teller 3550, dinner lunch plates 1st choice, Porzellan, Dänemark, am Boden mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen mit Reliefdekor & Goldrand, Motiv Viola odorata - Duftveilchen & Galanthus nivalis - Kleines Schneeglöckchen, Formnr. 3550, 2x D 22 cm

Royal Copenhagen Flora Danica 2 Suppentassen 3612, soup cups 1st choice,Porzellan, Dänemark, am Boden mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen mit Reliefdekor & Goldrand, Motiv Bartsia alpina - Alpenhelm & Viola tricolor - Wildes Stiefmütterchen, Formnr. 3612, 2x Suppentassen H 5,5 cm x B 15,5 cm x D 13 cm, 2x UT D 17 cm

Viola Paterson (1899 - 1981), wood engraving, shipyard, signed in pencil with monogram, image 20cm x 18cm, mountedGood condition

A Czechoslovakian viola with one-piece back, (a/f), in case, two metronomes, various brass instrument mouth pieces, etc.

Life's Darn Funny, three sheet linen backed poster for the 1921 American silent comedy film directed by Dallas M. Fitzgerald, starring Viola Dana, Gareth Hughes, and Eva Gordon, W & F Film Service Ltd, 62 Firth Street London, 216 x 105cm, (rolled.)Condition report: Significant losses and area of restoration (see images)

A French Viola Bow, stamped "Emile Francais á Paris", the stick round, the ebony frog with pearl inlay, ebony adjuster with two silver bands, 74cm long. Lot 1215 - frog has some scratches, weight of the bow 67 grams

Viola Paterson (1899-1982) - On the beach, painting on wood panel, with Michael Parkin Fine Art Ltd, 11 Motcomb Street, London, printed label verso, 22 x 28.5cm

Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain reticulated dinner plates, shape number 20 3526. Each marked along the underside with the blue wave and green printed marks. Each hand painted with the Latin name of the botanical specimen depicted, which include the following: Ajuga reptans L., Stachys annuus L., Pyrethrum inodorum [beta] maritimum, Taraxacum ceratophorum D.C., Rubus vestitus Whe. N.E., Anemone vernalis Mill., Rhinanthus Crista galli L., Anemone Hepatica L., Rosa canina var. opaca Fr., Viola mirabili x silvatica P. Nielsen, Helianthemum oelandicum L., and Draba hirta L.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeís publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of Denmarkís natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in Denmarkís palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 1/4 x diameter: 10 3/4 in.

Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain flat rim soup plates, shape number 20 3545. Each marked along the underside with the blue wave and green printed marks. Each with the Latin name of the botanical specimen depicted along the underside, which include the following: Saxifraga nivalis L., Orchis sambucina L. f. incarnata., Pyrola grandiflora Rad., Chimaphila umbellata, Viola odorata L., Viola canina L., Orchis sambucina L. f. incarnata., Epilobium latifolium L., Trifolium alpestre L., and Potentilla emarginata Pursh.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeís publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of Denmarkís natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in Denmarkís palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 3/4 in x diameter: 9 3/4 in.

Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain reticulated luncheon plates, shape number 20 3554. Each marked along the underside with the blue wave and green printed marks. Each inscribed with the Latin name of the plant depicted, including: Potentilla emarginata Pursh., Viola odorata L., Viola hirta L., Hippophae rhamnoides L., Rosa tomentosa Sm., Antennaria carpathica (Wahlenb.) Bl. et Fgh., Viola epipsila Ledeb., Viola biflora L., Crambe maritima L., Polemonium humile Willd., Senecio Jacobaea L., and Erigeron eriocephalus J. Vahl.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeís publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of Denmarkís natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in Denmarkís palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 in x diameter: 9 in.

Royal Copenhagen, Denmark. Set of eight Flora Danica botanical porcelain demitasse cups and saucers, shape number 20 3618. Each marked along the underside with the blue wave and green printed marks. The cups are inscribed along the underside with the Latin name of the species of plant depicted, including the following: Viola Muhlenergiana minor Hook, Lepidium groenlandicum Horn, Oxycoccus palustris Rupr., Teesdalia nudicaulis R.R., Potentilla retusa Rels, Diapensia lapponica L., Arabis Petraea (Alpha) Faeronsis Doland, and Epilobium alpinum L.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeís publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of Denmarkís natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in Denmarkís palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Cups (each); Height: 2 1/4 in x diameter: 2 1/2 in. Saucers (each); Height: 1 in x diameter: 4 3/4 in.

A ROYAL DOULTON FIGURINE, VIOLA D'AMORE HN2797, MODELLED BY PEGGY DAVIES AS PART OF THE LADY MUSICIANS SERIES, IN BOX