A GILT-DECORATED POWDER-BLUE-GROUND ‘THREE STAR GODS’ ROULEAU VASE, KANGXI PERIOD 康熙霽藍釉描金《福祿壽三星》棒槌瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1662-1722. Masterfully painted in fine gilt depicting the Three Star Gods (sanxing) surrounded by smiling boys in a fenced garden with pine trees and rockwork as the moon shines in the sky above the pine branches where a single bat flies through the night sky. Shoulao is holding a long cane, suspending a double-gourd in one hand and a peach in the other, standing near two graceful deer and a crane, while Fu (Jupiter) stands beside him wearing a scholar-official’s garb and holding a scroll. The entourage of boys carry offerings toward the gods including a ruyi scepter and incense.Provenance: Collection of Milton Drexel Rutherford (1894-1976), and thence by descent within the family. Two old labels, ’59’ and ‘231,’ below the shoulder. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city’s subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers.Condition: Superb condition with only minor old wear and neglectable firing irregularities. Extremely rare in such a magnificent state of preservation. Especially the gold shows only little rubbing, and over the centuries it has acquired its typical patina, that is so highly desired among discerning collectors.Weight: 4,184 gDimensions: Height 47.6 cm The shoulder with a key-fret band below a band of ruyi heads, followed by two bands of geometric designs to the base of the neck, and a cash-coin band along the galleried rim. The neck of the vase painted with panels enclosing fish and birds as well as Shou characters against foliate grounds above lotus blooms.Literature comparison:Compare a related vase decorated with flowers, birds, and a poem, dated 1709 by inscription, 44.5 cm tall, in the Metropolitan Museum of Art, accension number 79.2.153, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1977, Vol. 12, fig. 141. Compare a related powder-blue vase in Hugo Munsterberg’s The Art of China, Vermont, 1972, fig. 100.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, Qing dynasty, Kangxi periodExpert remark: Note the near-identical size (46.5 cm). 康熙霽藍釉描金《福祿壽三星》棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了福祿壽三星，四周富貴花卉、假山、樹與仙鹿，童子戲耍，空中蝙蝠飛翔，侍從手端吉果。頸部描金可見“壽”字，開光處描繪花鳥圖。壺口修飾錢幣紋，肩部飾如意紋與雷紋。畫面富貴華麗，細節生動。來源：Milton Drexel Rutherford (1894-1976) 收藏，在同一家族保存至今。瓶肩下貼著兩標籤個’59’ 與 ‘231’。 Milton Drexel (Rex) Rutherford是一位美國退伍軍人和工程師。 他在芝加哥生活和工作，為該市的地鐵挖掘隧道。一位客戶送給他一件來自東亞的文物，激發了他對亞洲藝術品收藏的熱情，他的收藏中包括康熙陶瓷以及日本金屬製品和漆器。 品相：狀況極佳，只有輕微的磨損和可忽略不計的燒製不規則現象。描金幾乎沒有磨損。外部有包漿。 重量：4,184 克 尺寸：高 47.6 釐米 文獻比較： 比較一件相近的1709年霽藍釉描金花鳥詩文棒槌瓶，高44.5 釐米，收藏於大都會藝術博物館，館藏編號79.2.153，見Oriental Ceramics，《The World's Great Collections》，東京，1977年，卷十二，圖141。比較一件相近的藍地瓶，見《Hugo Munsterberg’s The Art of China》，佛蒙特，1972年，圖100。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 150,000） 描述：清康熙灑藍地描金開光山水圖棒槌瓶 專家評論：請注意幾乎相同的尺寸(46.5 厘米)。
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A WHITE JADE FIGURE OF A PIG, HAN DYNASTY 漢代白玉豬Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC to 220 AD. Of elongated form, finely carved, detailing the recumbent pig with ears tucked back, a prominent snout, incised brows, and incised eyes outlined in red pigment. The opaque jade once of superb and pure color, now covered almost entirely in calcification, with several distinct areas of erosion.Expert’s note: Studying a well-documented ancient jade figure, with a bulletproof provenance such as the present lot, can be quite fascinating, especially when it exhibits distinct regions of natural erosion while also retaining some parts of the original jade in pristine condition, all within the same artifact. In the past, esteemed Chinese collectors of archaic jades used to keep multiple such study pieces as references.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Sirén, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musée Guimet and the Metropolitan Museum of Art.Condition: Some old wear, signs of weathering and erosion with associated losses, encrustations, few minor chips, all as can be expected from a jade with 2,000 years of age.Weight: 102.8 gDimensions: Length 11.5 cm The present jade carving, with its curved bodyline and shaped snout and tail, is more realistically represented than most jade pigs from the Han dynasty. A very similar jade pig dating to the late Eastern Han dynasty was unearthed from Tomb no. 1 in Dongyuancun in Haoxian, Anhui province, illustrated in Zhongguo meishu quanji, vol. 9, Jade, Beijing, 1986, pl. 195 (fig. 1). It was believed that jade pigs were placed for protection of the dead. This practice is connected with the Daoist belief, as stated in the 4th century text Baopuzi by Ge Hong, 'when gold and jade plug the nine orifices, man dies but his body does not decay'. Pairs of jade pigs were placed in the hands of the deceased. Funerary jade pigs from this period are often carved with a few deep calculated cuts, known as the Eight Cuts of Han.Literature comparison:Compare similarly carved jade pigs, Han dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade 4, Beijing, 2011, p.130, nos.152-153.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 8 April 2023, lot 3842Price: HKD 609,600 or approx. EUR 70,500 converted at the time of writingDescription: A calcified jade recumbent pig, Western Han dynastyExpert remark: Compare the closely related manner of carving, calcification, and size (11.9 cm).
A stunt axe used by Jack Torrance (Jack Nicholson) in Stanley Kubrick's iconic horror film, The Shining, is a chilling cinematic artifact. Jack wields this axe during the film's terrifying climax, hunting his wife Wendy (Shelley Duvall), confronting Hallorann (Scatman Crothers), and hauntingly pursuing his son Danny (Danny Lloyd) through the Overlook Hotel's maze. The axe becomes a haunting symbol as Jack freezes to death while tightly clutching it. Additionally, an axe plays a pivotal role in a flashback sequence depicting the murder of the twins. This custom-made fire axe, an iconic symbol of horror cinema, was designed to be lightweight for scenes depicting Jack chasing Danny and Wendy through the halls of the Overlook Hotel. The axe is in excellent condition, bearing a few knicks and scratches from its use during filming. It also has a small dent in the axe head from when it was damaged during production. Its dimensions are 35 1/2" x 11 1/2" x 1". This lot is accompanied by a Certificate of Authenticity from Studio Auctions.
"Keep Calm and Carry On" is a motivational slogan that originated in the United Kingdom during World War II. The phrase was part of a series of propaganda posters created by the British government in 1939 to boost the morale of the public in the face of potential German invasion. Here are key points about the slogan:1. **Origin:** The "Keep Calm and Carry On" poster was designed by the Ministry of Information in 1939. It was intended to be used if Britain was invaded by Nazi forces. The design features a simple layout with the text "Keep Calm and Carry On" written in white on a red background, accompanied by a distinctive crown at the top.2. **Limited Use:** While the poster was produced, it was not widely distributed or displayed during the war. Only a few copies were printed, and the majority were stored away. The "Keep Calm and Carry On" slogan largely faded into obscurity after the war.3. **Rediscovery and Popularity:** In the early 21st century, a surviving copy of the original poster was discovered in a second-hand bookstore in England in 2000. Its vintage aesthetic and the motivational message resonated with contemporary audiences, leading to a resurgence in popularity.4. **Adaptations and Parodies:** The slogan has been adapted and parodied in numerous ways, with variations reflecting humor, satire, and a range of sentiments. Phrases such as "Keep Calm and Drink Tea," "Keep Calm and Carry On Shopping," and many others have been created.5. **Cultural Impact:** "Keep Calm and Carry On" has become a cultural phenomenon, transcending its original wartime context. It has been embraced globally as a symbol of resilience, composure, and an optimistic outlook in the face of challenges.6. **Merchandise and Reproductions:** The slogan's popularity has led to the widespread production of merchandise featuring the phrase. Items such as posters, mugs, T-shirts, and various other products with the "Keep Calm and Carry On" motif can be found in a variety of settings.7. **Motivational Message:** The enduring popularity of the slogan is often attributed to its timeless and positive message. It encourages individuals to remain composed and carry on with their daily lives, even in difficult circumstances."Keep Calm and Carry On" has become more than a historical artifact; it has evolved into a symbol of resilience and a reminder to stay composed in the face of challenges, making it a recognizable and enduring part of popular culture.Measures 26 x 38.Backed by linen.
A mother-of-pearl artifact representing the Baptism of Jesus by the hand of St. John. 18th Century. Most likely carved by the sculptor friars of the Franciscan Order in the Holy Land, the artefact represents the Baptism of Jesus by the hand of St. John the Baptist in the center and all around the episode of the 14 stations of the Via Crucis. Width 14 cm height 27 cm
Steinbeck (John) The Cup of Gold, Being the Life of a Pirate, with Occasional Historic Accuracies, original typescript, signed by the author with inscription "If for no other reason, the typographical errors on the title page would convince me that this is the original MMS of this—John Steinbeck", with another note additionally initialled by the author "I don't know whose comments these are in the margins. / J.S.", both on title, 235 pp. including title, occasional corrections in Steinbeck's hand, additional annotations in red and black pencil, likely by Steinbeck's Stanford writing teacher, Edith Mirrielees, and another unidentified hand, pages loose, typed on rectos, some fading or finger-soiling marks, some margins nicked and frayed, heavier to title, [?Lake Tahoe], [1928].*** Annotated typescript of Steinbeck's first novel, Cup of Gold, featuring the seeds of his later literary achievements. The work follows the life of Henry Morgan, a Welsh youth who becomes Captain on the Spanish Main and is plagued by the elusive Cup of Gold and desire to win the heart of the elusive La Santa Roja. The work blends allegorical fantasy and historical reimagination, narrative styles which Steinbeck would later depart from in his iconic novels of Grapes of Wrath and East of Eden. Yet the seeds of his quintessential characterisation and epic breath of narrative feature here with startling force for an early novel. Further resonances with his later oeuvre also register: themes of ambition, illusion, and the unattainable would become a Steinbeckian trademark in the following years. This typescript remarkably bears many of the hallmarks of its genesis. Completed in early 1928 after strenuous labour, it passed through the hands of two significant figures in Steinbeck's early life: Kate Beswick and Carol Henning, the latter of whom would become his wife. This draft copy is believed to be the Henning typescript, exhibiting substantial revisions and linguistic refinements that align it more closely with the final, published version. The pages also demonstrate the candid reactions of contemporary readers, with their annotations offering a window into the novel's reception. These marginalia, ranging from commendations to critical assessments (the author’s description of a “bloated sun” on p.148 is deemed “not good” by a ruthless reader) comment particularly on the portrayal of La Santa Roja and the novel's climactic moments. Of great interest are the annotations by Steinbeck himself, scattered throughout the manuscript (featured on pp.146-159, 162-163, 165, 171, 174-175, and 177) which reveal the meticulous care with which he sculpted his narrative, on both semantic and grammatical levels. Both these reviewing comments and genetic revisions elucidate the evolving nature of Steinbeck's craft.The manuscript is further distinguished by a personal inscription from Steinbeck to David Heyler, likely in the 1950s. On the title page, Steinbeck’s handwritten notes reflects his wry acknowledgement of the manuscript’s authenticity, citing typographical errors as irrefutable evidence. The original title with the definite article, along with a variant subtitle, is indicative of the work-in-progress.This unique offering represents not only a significant literary document, but a poignant artifact which embodies the start of Steinbeck’s illustrious career.Provenance: The Mary Steinbeck Dekker Family Collection.
THE BLUE ANGELHandpainted German Illustration (25" x 13.25")Very Fine; Artist Possibly Herbert Schwandt UFA, 1930Rarely does anything appear from this film, especially of German descent, but this is an amazing artifact by artist Herbert Schwandt. The poster resembles, in many ways, one of the original German posters that has survived, the image of Emil Jannings sitting in the box to the left and Marlene Dietrich seen dancing below. Jannings was very famous in 1930 and won the prize as Best Actor at the 1st Academy Awards ceremony in 1929, which makes him the first actor in history to win this title. The small type used with Dietrich's name in comparison to Emil Jannings indicates the time in which it was produced, as this was the film that catapulted Dietrich to international fame.This is a beautiful painting in gouache produced for a study for advertising for the famous Josef von Sternberg film, The Blue Angel. Obviously of the period, it shows wear to the borders and small chips to the lower image.One of the inarguable classics of German cinema, this film, based on the novel Professor Unrat by Heinrich Mann and directed by Josef von Sternberg for UFA, stars the incandescent Marlene Deitrich as Lola-Lola, a vampish cabaret singer who becomes the obsession of Professor Immanuel Rath (Emil Jannings), an obsession that eventually leads to madness, humiliation, and eventually death. One of the first talking pictures to come out of Germany, The Blue Angel was simultaneously filmed in German and English in recognition of the new technology. A massive hit upon release, the movie instantly shot Dietrich to the heights of international stardom, launching a career that would last for decades. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
Very rare Catholic missionarie crucifix with dagger. Spain 19th century. Wooden cross on a base, painted black, metal body of Christ in the center, inscription "INRI" on a bronze plate. sharpened blade inside. Such crucifixes were often used by missionaries on their perilous journeys. Very interesting artifact in excellent condition.
Russian Cossack Dagger KAMA "FOR BRAVERY", with the badge of the Order of St. Anne, 3rd degree, 1874. The blade is massive with one fuller on each side, on one side there is the signature of the master maker. The bone hilt is made of bone and decorated with silver inserts. At the top of the handle there is a silver ribbon with the inscription "FOR BRAVERY" and the sign of the Order of St. Anne, 3rd degree. The scabbard is made of wood and covered with black leather. On the upper and lower parts of the scabbard there are metal parts made of silver, richly decorated with engraving and niello with silver hallmarks. At the silver end of the scabbard, there is a Cyrillic inscription on the back; monogram MFI, date 1874, and the name of the settlement Kabardinskaya village. A rare artifact of the Russian Empire of the 19th century.Height: 51 cm;
A rare Russian Zlatoust dagger, the hilt is a three-piece construction with a carved wooden hilt, a straight double-edged blade with a single fuller on both sides, a wooden scabbard covered with original black leather and black burnished steel plates. A wonderful artifact of the Russian Empire of the 19th century.
A magnificent set consisting of a ceremonial 19th-century Indo-Persian etched and engraved steel shield, helmet with chain mail and ax. 19th century. All items in this set are decorated with scenes from human life, images of animals, plant ornaments and inscriptions in Arabic. No spike on the front. Such items are rarely found in the same set. Beautiful Indo-Persian artifact, 19th century. The diameter of the shield is 52 cm. The height of the helmet is 44 cm. The length of the axe is 69 cm.
A SHIHANBATA (MILITARY BANNER) WITH THE FUJIWARA CLAN MONJapan, mid-Edo period (1615-1868)The silk banner of shihanbata form, hemmed to one side, with a horizontal pale blue-green stripe against white ground with the character 内 containing the sagarifuji (“falling wisteria”) mon, associated with the Fujiwara clan, the top corner with the character 大.SIZE 69 x 40 cm, SIZE incl. frame 82 x 54 cmCondition: Good condition with some light soiling and few small tears, particularly along the edges.Accompanied by a certificate of authenticity from the Association for the Research and Preservation of Japanese Helmets and Armor (The Nihon Katchu Bugu Kenkyu Hozon Kai—NKBKHK) dated 10 October 2021, which certifies the present lot as a precious artifact.Battle flags were used by samurai to identify their troops when engaged in battle or during processions.The Fujiwara clan, associated with this banner, was a powerful family of imperial regents in Japan, descending from the Nakatomi clan and, as legend held, through them their ancestral god Ame-no-Koyane. The Fujiwara prospered since ancient times and dominated the imperial court until the Meiji Restoration in 1868. They held the title of Ason.Museum comparison:Compare a related military banner (jinmaku) with falling wisteria mon in the Art Gallery of South Australia, accession number 20167A29.
Mayer, Hansjörg (Hg.). hardy annual. Stuttgart, Hansjörg Mayer, 1969. Unpaginiert. 28,5 x 20,5 cm. Illustrierter Original-Halbleinenband mit illustrierten Original-Blechdeckeln (etwas fleckig und kratzspurig, leicht bestoßen).Eins von 100 nummerierten Exemplaren. - Enthält zahlreiche Arbeiten von Richard Buckley, Ian Burton Elliott, Frank Challenger, Veronica Loveless, Hansjörg Mayer, Graham Pow, Kathryn Wallbridge, Cilla Weeks, und John Wells. - "this book was produced between may 1968 and may 1969 at watford school of art england. printed through a rotaprint r 70... design and binding by graham pow and john wells." (Druckvermerk). - "It is a great artifact of experimental printmaking that emphasizes a freestyle approach to illustration and color on the printed page." (www.metmuseum.org/blogs). - Innen tadellos. - Provenienz: Nachlass Rudolf Rieser.
A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE FAMILLE ROSE 'WU SHUANG PU' OCTAGONAL VASE, CHINA, 19TH CENTURYOf square section with cropped corners, the baluster body supported on a short waisted foot and rising to a slender neck with a flared mouth. The exterior finely painted in bright enamels with heroes and heroines from the Wu Shuang Pu with accompanying inscriptions. Sun Quan, Di Renjie, Fu Sheng, and Wu Zetian are named on their flanking cropped corners, alternating high and low, and an epithet for each written above their emblems, along with excerpts from their stories in the Wu Shuang Pu above and below each figure.Provenance: English trade. Condition: Very good condition with only minor wear and firing irregularities. The rim with a shallow chip.Weight: 3,161 g Dimensions: Height 38.9 cm Wu Shuang Pu ('Table of Peerless Heroes') by Jin Guliang is a book of woodcut prints, first printed in 1694, early on in the Qing dynasty. This book contains the biographies and imagined portraits of 40 notable heroes and heroines from the Han Dynasty to the Song Dynasty, all accompanied by a brief introduction and guided by a related poem in Yuefu style. The illustrations from the book were widely distributed and re-used, often as motifs on Chinese porcelain.Di Renjie (630-700), formally Duke Wenhui of Liang, was a Chinese politician of the Tang and Wu Zhou dynasties, twice serving as chancellor during the reign of Wu Zetian. He was one of the most celebrated officials of Wu Zetian's reign and was thus included in Wu Shuang Pu. He is depicted on this lot wearing polychrome robes with floral medallions.Fu Sheng (268-178 BC) was a Chinese philosopher and writer. He was a Confucian scholar of the Qin and Western Han dynasties of ancient China, famous for saving the Confucian classic Shangshu ('Book of Documents') from the book burning of the first Qin emperor. Fu Sheng is recognized as one of the most important Confucians of the Han Dynasty. He is often venerated in Confucian temples along with other sages, and has been a subject of many poems, essays, and paintings. He is depicted on this lot seated on a rock ledge and above him are his emblematic books.Wu Zetian (624-705) was the first and only female emperor in Chinese history. She subsequently founded and ruled the Wu Zhou dynasty of China from 690 to 705. She was the only female sovereign in the history of China widely regarded as legitimate. Under her 40-year reign, China grew larger, becoming one of the great powers of the world, its culture and economy revitalized, and corruption in the court reduced. She was removed from power in a coup and died a few months later. She is depicted on this lot wearing her imperial robes, and above her is Mount Song where her rule was legitimized during the Feng Shan.Sun Ce (175-200) was a Chinese military general, politician, and warlord who lived during the late Eastern Han dynasty of China. He was the eldest child of Sun Jian, who had found the Heirloom Seal of the Realm when his forces occupied the evacuated Han imperial capital of Luoyang, in the course of the campaign against Dong Zhuo, and later suffered a violent death during the Battle of Xiangyang when Sun Ce was only 16. Upon his father's death, Sun Ce inherited the seal and gave it to Yuan Shu so that he might lend him troops to take revenge for his uncle, who had been fighting Warlord Lu Kang. The young Sun Quan is depicted on this lot wearing heavy armor with a sheathed sword, holding a large axe, with the Heirloom Seal of the Realm painted above.Expert's note: The Heirloom Seal of the Realm, also known in English as the Imperial Seal of China, was a Chinese jade seal allegedly carved out of the Heshibi, a sacred piece of jade. The Seal can safely be described as the most important and valuable lost artifact in the world. The Seal was created in 221 BC, shortly after Qin Shi Huang unified China and established the Qin dynasty, China's first imperial dynasty. It then served as the imperial Chinese seal throughout the next millennium of Chinese history, and its possession was seen as a physical symbol of the Mandate of Heaven. The Heirloom Seal was subsequently lost around the end of the Tang dynasty or during the earlier Five Dynasties and Ten Kingdoms period. Several seals have since been claimed as the lost Heirloom Seal, but none have held up under scrutiny.Auction result comparison: Type: Closely related Auction: Bonhams Edinburgh, 24 November 2011, lot 432 Price: GBP 3,125 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing Description: A famille rose figural vase, 19th century Expert remark: Compare the closely related form, decoration, and subject. Note the smaller size (35.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 14 September 2019, lot 1511 Price: USD 6,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A famille-rose 'Wu Shuang Pu' quadrangular vase, late Qing dynasty Expert remark: Compare the closely related subject. Note the similar size (38 cm). 十九世紀粉彩無雙譜六角瓶口外撇，溜肩，瓶身六角，底足内凹。粉彩描繪《無雙譜》中的英雄、政治家、官員和皇帝，並附有注解，如孫權、狄仁傑、伏生、武則天等，還摘錄了《無雙譜》中對人物的介紹。 來源：英國古玩交易。 品相：狀況非常好，僅有輕微磨損和燒製不規則，邊緣有淺缺口。 重量：3,161 克 尺寸：高 38.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：愛丁堡邦翰斯，2011年11月24日，lot 432 價格：GBP 3,125（相當於今日EUR 6,000） 描述：十九世紀粉彩人物瓶 專家評論：比較非常相近的外形，裝飾和主題。請注意尺寸較小 (35.5 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Ca. 1-200 AD.A Roman garnet intaglio set into a later gold ring (Byzantine, 9th-12th century AD). The intaglio is meticulously adorned with a plethora of symbolic elements, embodies the profound artistic expression found in Roman glyptic art. The centerpiece of this exquisite artifact showcases a delicately engraved hand clasping a bundle of ears of grain, a caduceus, a poppy seed head, and a wreath. Collectively, these motifs evoke notions of abundance and prosperity, encapsulating the aspirations and beliefs of Roman society. The depiction of the hand holding ears of grain serves as a potent symbol of fertility, agricultural abundance, and nourishment. In Roman culture, grain was not only a vital staple but also represented the bountiful harvests necessary for the sustenance and prosperity of the empire. The hand, a universal symbol of human agency and dexterity, further reinforces the human connection to the cultivation of crops and the subsequent rewards of abundance. The inclusion of the caduceus adds another layer of significance to the composition. As a symbol associated with the Greek god Hermes and later adopted by the Romans, the caduceus embodies messages of commerce, diplomacy, and transcendent power. Its presence within this glyptic scene suggests the influence of trade and prosperity, emphasizing the interconnectedness between economic success and the broader societal fabric. Size: D: 17.32mm / US: 7 / UK: N 1/2; 9.45g Provenance: Private UK collection; Ex. old Swiss family collection formed in the 1990s.
Ca. 2nd millennium BC.A bronze axe head, characterized by its round-section shaft and blade flaring to a cutting edge. Bronze axes were versatile tools utilized for various purposes during Bronze Age. This meticulously crafted artifact played a crucial role in agricultural activities, allowing for efficient clearing of land, felling trees, and shaping timber for construction. Additionally, the sturdy and sharp blade facilitated hunting and butchering of animals, providing sustenance and raw materials for a growing society. The bronze axe head's significance extended beyond practical applications, as it also held symbolic value, signifying power and authority within the social hierarchy of Bronze Age communities. Size: L:100mm / W:135mm ; 255g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.
Ca. 1100-1200 AD.This exceptional artifact, crafted from lustrous bronze, stands as a testament to the remarkable artistry of the Khorassan region. The lampstand exhibits a captivating combination of intricate details and refined design elements, which elevate its aesthetic appeal and cultural significance. A bronze lampstand features a domed base, embellished with a profusion of meticulously incised patterns, creating an engaging visual tapestry. The base is further enhanced by lateral flat protrusions, adding a dynamic element to the overall composition. Remarkably, the lampstand stands on three exquisitely formed legs, resembling the graceful hooves of a creature in motion. This design choice not only ensures stability but also infuses the lampstand with a sense of organic elegance. Ascending from the base, the columnar section of the lampstand boasts a round openwork profile, skillfully executed to create an interplay of light and shadow. Adorning the column are prominent bosses, positioned both above and below, accentuating its verticality and lending a sense of visual harmony to the overall structure. As the column ascends, it gracefully flares at the top, providing a perfect housing for a flower-shaped tray. This intricately crafted tray, adorned with ten delicate petals, served as a platform for the placement of an illuminating lamp, completing the lampstand's purposeful design. For a similar, please see Christie's, Live Auction 7871, Art of the Islamic and Indian Worlds, 5 Oct 2010, Lot 11. Size: L:630mm / W:285mm ; 3.19kg Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
"Indiana Jones" is a film franchise centered around the adventurous archaeologist and explorer Dr. Henry "Indiana" Jones Jr. The franchise was created by filmmaker George Lucas and directed by Steven Spielberg, with Harrison Ford in the iconic lead role. The series is known for its action-packed stories, globe-trotting adventures, and memorable characters.Key points about the "Indiana Jones" franchise include:1. **Characters:** The franchise's central character is Dr. Indiana Jones, a professor of archaeology who leads a double life as a daring adventurer and treasure hunter. The character is known for his signature fedora hat, leather jacket, bullwhip, and adventurous spirit.2. **Films:** The franchise consists of four films: - "Raiders of the Lost Ark" (1981): The first film introduces Indiana Jones as he embarks on a quest to find the biblical Ark of the Covenant before the Nazis can obtain it. - "Indiana Jones and the Temple of Doom" (1984): The second film is a prequel set one year before "Raiders," where Indiana Jones faces off against a sinister cult in India. - "Indiana Jones and the Last Crusade" (1989): The third film follows Indiana's quest to find the Holy Grail and reconnect with his estranged father (played by Sean Connery). - "Indiana Jones and the Kingdom of the Crystal Skull" (2008): The fourth film is set in the 1950s and sees Indiana Jones searching for a mysterious artifact while dealing with Soviet agents.3. **Adventure and Action:** The franchise is known for its thrilling action sequences, elaborate stunts, and iconic set pieces. The films pay homage to classic adventure serials of the past.4. **Humor and Wit:** Indiana Jones's wit, charm, and sense of humor contribute to the franchise's appeal. His interactions with other characters often include humorous banter.5. **Cultural Impact:** The "Indiana Jones" franchise has left a significant impact on pop culture. Indiana Jones's iconic image, quotes like "It belongs in a museum!" and the theme music composed by John Williams have become widely recognized.6. **Merchandise and Spin-offs:** The franchise has inspired various merchandise, video games, novels, comics, and theme park attractions.7. **Harrison Ford's Role:** Harrison Ford's portrayal of Indiana Jones has become one of his most iconic roles, cementing his status as a Hollywood legend.8. **Legacy:** The franchise's blend of adventure, history, and mythology has made it a beloved and enduring part of cinematic history. It has inspired generations of filmmakers, adventurers, and fans.The "Indiana Jones" franchise is celebrated for its thrilling adventures, charismatic protagonist, and memorable storytelling. It continues to captivate audiences with its timeless appeal and remains a staple in the realm of action-adventure cinema.Measures 26.5 x 38.5.
Ca. 1368-1644 AD or later .A pottery mingqi presents a male figure in an upright stance atop a tiered, square-shaped base. The figure is adorned in a navy-glazed cross-over robe securely fastened at the waist. Intriguingly, contrasting accents embellish the sides of the robe, painted in a vibrant red hue, while the boots are in black pigment. A striking element of the figure's attire is the high, conical-shaped hat in a shade of red, serving as a distinguishing feature. The portrayal of the male figure exhibits a serene countenance, characterized by small eyes outlined in black, thin eyebrows, and petite lips. His right fist is clenched, exuding a sense of determination, while the left hand delicately holds an item, adding an additional layer of intrigue to the composition. As an exemplary mingqi, this artifact holds a significant role within the context of Chinese burial practices. Mingqi, a term encompassing various funerary objects, played a vital role in Chinese culture by accompanying the deceased in the afterlife. Such artifacts symbolized material wealth, status, and provided assistance to the departed in their spiritual journey. Size: L:195mm / W:60mm ; 265g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 500 BC.A lebes gamikos, an exceptional ceramic artifact, features an inverted bell-shaped body that tapers towards the base. Its distinctive design is complemented by a pair of horizontal strap handles symmetrically positioned on each shoulder, providing a firm grip for handling. The vessel showcases a mouth with a raised rim, adding an element of elegance and refinement. Resting on a flared small foot, the vessel exhibits a well-balanced and stable structure. Its exterior is embellished with decorative bands in bichrome, displaying a captivating combination of red and brown hues. The lebes gamikos was primarily used as a ritual container, employed in various religious and ceremonial practices. The vessel played a central role in weddings and marriage ceremonies, where it functioned as a symbolic representation of the marital union. It would typically contain sacred substances or offerings associated with the nuptial rituals, such as water, oil, or other ritualistic liquids. Size: L:110mm / W:95mm ; 130g Provenance: Property of a London Ancient Art gallery, formerly English private collection, according to the heirs possibly purchased in some auction or Art Gallery during 1970s-1980s.
Late Period, Ca. 664-332 BC.Crafted from light faience, the ushabti with a mummiform style, stands atop a diminutive and level base. With a gesture denoting reverence, the hands of this remarkable artifact are gracefully interlocked upon the chest, firmly grasping the symbolic implements associated with the afterlife. Noteworthy is the intricately fashioned head, featuring a meticulously detailed wig, an ornate false beard, and a compelling procession of hieroglyphs adorning the frontal plane. In contrast, the posterior surface remains unembellished, presenting a flat and unadorned aspect. Ushabtis, derived from the ancient Egyptian term "swabty," meaning "answerer," represent diminutive funerary figurines that occupy a pivotal role within the burial customs and spiritual beliefs of ancient Egypt. Typically found in considerable numbers within tombs, these ushabtis were intended to serve the deceased in the realms beyond, fulfilling a myriad of duties and responsibilities on their behalf. Ascribed with the ability to spring to life and engage in manual labor and tasks, they were entrusted with assisting the departed in the afterlife. Size: L:123mm / W:35mm ; 70g Provenance: Private London collection, ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.
Ca. 100-200 AD.A high quality garnet intaglio presents a captivating portrayal of a right-facing wild boar captured in mid-stride. This masterfully executed depiction showcases the boar in profile, with meticulous attention given to the naturalistic rendering of its features. The incised fur, intricately etched mane, delicately depicted tail, and facial details breathe life into the representation, imbuing the boar with a tangible sense of vitality and presence. Nestled within a possibly later period gold ring, characterized by a round hoop adorned with double ropework decoration, this remarkable artifact exudes a sense of sophistication and craftsmanship. The applied bezel further enhances its allure, featuring a ribbed base and a beaded circuit that accentuates the intricate beauty of the intaglio. Within the realm of Roman glyptic art, depictions of animals held significant importance and played multifaceted roles. Animal imagery often conveyed symbolic meaning, representing various virtues, attributes, or associations tied to the depicted creature. In the case of the wild boar, its portrayal evoked notions of strength, courage, and ferocity, resonating with Roman ideals of bravery and valor. Size: D: 19.35mm / US: 9 1/2 / UK: S 1/2; 8.05g Provenance: Private London collection, UK art market before 2000.
Middle Kingdom, ca. 2030-1650 BC.A model of a woman grinding grain is a captivating artifact crafted from wood, coated with gesso, and adorned with paint. The model depicts a woman positioned on her knees, situated before a handmill. With both hands outstretched before her, she is poised to grasp a rolling pin and commence the task of grinding grain. The process of grinding grain into flour held significant importance in the production of essential staples such as bread and beer within ancient Egyptian society. Wooden models like this one served a specific purpose in ancient Egyptian funerary practices. They were commonly placed in tombs and burial chambers as part of a larger collection of model scenes representing various aspects of daily life. These models were believed to provide the deceased with essential provisions and tools necessary for their afterlife journey. The inclusion of a model depicting a woman grinding grain underscored the significance of food preparation and sustenance in the afterlife. For a similar, see William Randolph Hearst Collection, 51.15.10. This item comes with a custom-made stand.Size: L:170mm / W:205mm ; 660g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1960s UK collection.
WW2 GERMAN ARMY OFFICER'S DAGGER WITH SCABBARD BY PUMA OF SOLINGEN, 1935 PATTERN. THIRD REICH. Features good condition nickel fittings overall, with dark orange grip and eagle cross guard. The guard is engraved with two Latin letters JJ. Puma of Solingen marked 25cm long blade in fine condition. Scabbard retains both suspension rings and do not have undented. An excellent artifact from the Third Reich.
WW2 GERMAN ARMY OFFICER'S DAGGER WITH SCABBARD BY E. & F. HORSTER OF SOLINGEN, 1935 PATTERN. THIRD REICH. Features good condition nickel fittings overall, with dark orange grip and eagle guard. The swastika has been removed on the guard (see photos). E. & F. H?rster of Solingen marked 25cm long blade in fine condition. Scabbard retains both suspension rings and do not have undented. An excellent artifact from the Third Reich.
Rare russian hunting dagger of a large size Length 64 cm, Zlatoust, 1875. Russian Empire with owner's monogram. Steel, massive blade with one fuller on each side. At the base of the blade there are inscriptions made using etching. On one side there is an inscription in Cyrillic "Zlatoust 1875", on the other side there is the monogram of the owner "W" Emmanuil Ivanovich Vuich. The metal details of the hilt and scabbard are covered with magnificent floral decorations. The handle of the dagger is made of bone. The wooden scabbard is covered with red velvet. Emmanuil Ivanovich Vuich (November 23, 1849 - October 18, 1930) - Russian statesman, director of the Police Department, senator. Emigrated to France. He died in 1930 in Monte Carlo. He was buried in the Cocad cemetery in Nice. Very rare artifact of the Russian Empire in excellent condition.
A NEOLITHIC MEHRGARH POTTERY GODDESSIndus Valley, Pakistan, Mehrgarh, Neolithic period (c. 5500 BC - 4500 BC). Crafted from pale-yellow clay, depicting a female goddess with narrow hips and subtle breasts, the face is defined with characteristic almond eyes and carved curves indicating slim eyebrows. The artifact is displayed on a modern Plexiglas stand.Condition: Fine condition commensurate with age, with wear, losses, and repairs. Provenance: Gabriele Romiti collection, Italy. With a copy of a signed authenticity certificate from Gabriele Romiti. Weight: 163.5 g (incl. stand) Dimensions: Height 10 cm
Ca. 8000-6000 BC. A rare artifact of the European Mesolithic era - a horn axe. This stunning piece showcases a flared butt and tapering profile. It is adorned with a single, drilled hole that allowed for attachment to a handle, making it a versatile tool for the early inhabitants of Europe. During the Mesolithic era, these horn axes were vital tools for hunting, woodworking, and other daily tasks. They were used for chopping, splitting, and shaping wood, as well as for skinning and butchering game. The flared butt of the horn axe provided a secure grip for the user, while the tapering profile allowed for precise cuts and maneuvers. The hole in the axe head allowed for the attachment of a handle, which provided additional leverage and control.Size: L:185mm / W:100mm ; 240gProvenance: Property of a European collector, ex. Marcus Prill, 2007; formerly in private German collection.
Ca. 600-500 BC. A terracotta vessel, featuring a round deep body, a small triangular-shaped spout, and a rear loop handle with an animal head finial topping it off. The animal head bears distinctive features that suggest a bovine type, such as the finely detailed horns and face, adding an exceptional touch of elegance and uniqueness to this remarkable artifact. Etruscan ceramic production was renowned for its superior quality and artistic mastery. The Etruscans were among the most skilled ceramic artisans of the ancient world, and their creations continue to inspire awe and admiration to this day. This terracotta vessel is an exceptional example of the Etruscan's mastery of the art form.Size: L:110mm / W:130mm ; 290gProvenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Ca. 400 BC - 100 AD. A round-shaped bell that features intricate decoration of a stylized bovine head with prominent horns and coiled and hatched patterns along the body. The bell is equipped with two small suspension bars on opposite sides and a large one to the back, suggesting its use as an ornamental object in animal harnesses, possibly on buffalos. This artifact is an excellent representation of the Dong Son culture that flourished in Vietnam during the first millennium BC. The Dong Son civilization was known for its advanced metallurgical technology, which enabled them to create intricate bronze objects like this bell. The culture was also notable for its agricultural practices, which relied heavily on the domestication of buffalos for plowing rice fields.Size: L:150mm / W:125mm ; 690gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 100-300 AD. A terracotta brick fragment featuring a stamp imprint in relief with a legible inscription that reads as follows: "(...)CACI". This unique artifact is a remarkable find that showcases the technical expertise and artistic ingenuity of ancient Roman brick makers. Terracotta bricks, like this fragment, were extensively used throughout the Roman Empire for construction purposes. They were a critical component of architecture and engineering, utilized in the creation of private residences, public buildings, and infrastructure. The durability of terracotta bricks made them an ideal material for the construction of long-lasting structures. This item comes with a custom-made display stand.Size: L:75mm / W:85mm ; 345gProvenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Ca. 2nd - 3rd Century BC.A terracotta plate, possibly recovered from a shipwreck, as indicated by the sea encrustation and growth. This plate of shallow form rests on a concave foot and features a broad body decorated with incised grooves around the tondo. The central roundel of the plate features a relief inscription, reading ‘vexillatio’. Which adds a distinctive touch of elegance to this remarkable artifact.Size: L:70mm / W:220mm ; 670gProvenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Curta Model II Calculator, Liechtenstein, July 1970, serial number 529305, in black and grey, in original black plastic case, with original instructions and 'Computing Examples for the Curta Calculating Machine', height of case 13cm - tested and working The Curta is a hand-held mechanical calculator designed by Curt Herzstark in the mid-20th century. The device is a marvel of engineering and was widely used in the years following its release in 1948. Herzstark, an Austrian engineer, developed the Curta while imprisoned in a concentration camp during World War II. The device is a compact, cylindrical calculator that can perform addition, subtraction, multiplication, and division. The Curta was widely used by engineers, scientists, and mathematicians in the years following its release. Its compact design made it ideal for use in the field, and its reliability and accuracy made it a valuable tool for complex calculations. Despite its popularity, the Curta was eventually superseded by electronic calculators in the 1970s. However, it remains an important artifact of mid-20th century engineering and a testament to the ingenuity of its creator. Today, the Curta is highly prized by collectors and enthusiasts, who appreciate its elegant design and historical significance. It stands as a reminder of the power of human ingenuity, even in the darkest of circumstances.
A Rare & Early Differential Thermometer or Rumford Thermoscope, English, first quarter of the 19th century, signed to the rear of each boxwood thermometer scale 'WATKINS & HILL 5 CHARING CROSS LONDON' the thermometer on turned mahogany base with turned wooden column supporting the delicate glass 'U' shaped tube, the scales both running 50 - 0 - 50 , height 37cm The differential air thermometer, also known as the Rumford thermoscope, is an instrument used to measure temperature by utilizing the expansion and contraction of air with changes in temperature. This instrument has a long history, dating back to the 18th century. The thermometer was first developed by Benjamin Thompson, who later became known as Count Rumford, in the late 1700s. Rumford was an American-born physicist and inventor who worked in Europe during the late 18th and early 19th centuries. He was interested in the nature of heat and the ways in which it could be measured. The Rumford thermoscope consists of two identical glass bulbs connected by a narrow glass tube. One of the bulbs is filled with air and the other is evacuated. The two bulbs are attached to a wooden frame, which provides stability for the instrument. When the thermometer is exposed to a change in temperature, the air in the bulb expands or contracts, causing the liquid in the tube to move. The level of the liquid in the tube indicates the temperature difference between the two bulbs. By carefully calibrating the instrument, it is possible to obtain accurate temperature measurements. The differential air thermometer was an important development in the field of temperature measurement, as it allowed for more precise measurements than previous methods. It was also relatively inexpensive and easy to use, making it accessible to a wider range of scientists and researchers. In the early 19th century, other types of thermometers, such as the mercury thermometer, began to be developed. These instruments were more accurate and easier to use than the Rumford thermoscope, and eventually became the standard for temperature measurement. However, the differential air thermometer remains an important historical artifact and a testament to the ingenuity of early scientists and inventors. Today, it is still possible to find examples of this instrument in museums and collections around the world. Note: due to the delicate nature of this instrument Flints are unable to ship it. please contact Newbury Pack & Send for a quote for postage
A 19th Century Phrenology Bust by L. N. Fowler, English, c.1870, printed to the front 'PHRENOLOGY by L. N. FOWLER' cast ceramic head with labeling to the cranium, descriptive text to the rear and blue edging, height 29cm Phrenology was a pseudoscientific theory that gained popularity in the 19th century. The theory held that the shape and size of a person's skull could indicate their personality traits and mental abilities. Phrenology was developed by German physician Franz Gall in the late 18th century and was popularized by his student Johann Spurzheim. Phrenology gained widespread popularity in the 19th century and was used to justify racial and gender stereotypes. Proponents of phrenology believed that certain races and genders were inherently superior based on the shape of their skulls. However, phrenology was eventually discredited as a scientific theory, and by the end of the 19th century, it was largely abandoned. Despite its flaws, phrenology played an important role in the development of psychology and the study of the brain. Today, it is regarded as a curious artifact of a bygone era in the history of science.
A Third Reich Kriegsmarine flag with indistinct stamped marks to the seam, reinforcement to the corners and significantly frayed leading edges, presumably having been flown in high winds on numerous occasions. The flag approximately 78 x 94cm. This flag was liberated during The Second World War by Private Terrance R. G. Rees who served with the 1st Airbourne Division and later with the S.A.S (from at least before December 1944). Whilst serving in Norway in 1945 he playing an important part in liberating Norway from the German forces and he retained this flag as a reminder of his service throughout his life. Although reticent about his service, as so many were, he often recalled that the Norwegians gave the British a rapturous welcome and made them all Freemen of Norway, they also enjoyed sharing the German wine cellars together. Sold by a direct descendant of Private Rees who has provided the above detail for this historic Second World War artifact. In home-made frame 82 x 100cm *Condition: With holes, damage and significantly frayed edge. Not examined out of the frame. A superb and convincing flag captured by a soldier of the 1st Airbourne Division and S.A.S.
Magic the gathering - Unlimited Starter Deck - Opened, all cards present. This item is has been opened by the owner many years ago but all 60 cards are present, some of the highlights include Plateau, Lightning Bolt, Serra Angel, Sinkhole, Sol Ring, Earthbind, False Orders, Animate Artifact, Nether Shadow and Red Elemental Blast. The cards have never been played with and many cards are in Near Mint to Excellent condition however while in storage some amount of gold paint was splashed onto the box - and this is reflected in the price. This lot features just over 22 basic lands and numerous commons and uncommons. This item also includes the official rule book.
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