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A small 12cm tall SUNG / SONG Dynasty pottery vase. An interesting early Chinese artifact. One handle broken otherwise in excellent order.

Magic The Gathering TCG - Antiquities Set 97/100 (1994).This lot contains 97 cards from the Antiquities expansion released in March 1996. The Set is missing just three cards - Hurkyl's Recall, Mishra's Factory (Autumn) and Mishra's Factory (Winter) - off a full set. Every other card is included including Power Artifact, Transmute Artifact, Gaea's Avenger, Candelabra of Tawnos, Su-Chi, Triskelion and Mishra's Workshop. The approximate dollar value based off Star City Games is over $7,875. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: This set ranges from Near Mint to Light Play. Power Artifact near mint Transmute Artifact ExcellentCandelabra of Tawnos ExcellentMishra's Workshop Excellent

Magic The Gathering TCG - Unlimited Black Collection (1993). This lot contains over 70 Black cards from the Unlimited expansion, released in 1993. Some of the highlights include: Will-O-The-Wisp, Zombie Master, Warp Artifact, Unholy Strength (x5), Terror (x7), Sacrifice (x2), Pestilence (x5), Gloom (x3) Demonic Attorney, Deathgrip and many others. The total amount of cards has a dollar value of over $430 based off the sale price of Star City Games. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: The vast majority of the cards are between near mint and excellent condition with just one or two cards in the Good or Light Play condition. One or two cards seem to have factory/print defects.

Magic The Gathering TCG - Unlimited Artifact Collection (1993).This lot contains 40 Artifact cards from Unlimited. Some of the highlights include: Dingus Egg, copper Tablet, Black Vise, Jade Statue (x4), Disrupting Scepter, Library of Leng (x3), Kormus Bell, Juggernaut, Meekstone and many others. The total amount of cards has a dollar value of over $600 based off the sale price of Star City Games. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: the vast majority of the cards range between near mint to excellent condition.

Magic The Gathering TCG Power Artifact x2 - Antiquities (1994). This lot contains two copies of Power Artifact. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: Both cards are in Near Mint condition.

Magic The Gathering TCG Power Artifact - Antiquities (1994). Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: Near Mint condition

Magic The Gathering TCG Transmute Artifact - Antiquities(1994). Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: near mint condition

Magic The Gathering TCG Transmute Artifact x2 - Antiquities(1994). This lot contains two copies of Transmute Artifact. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: In Excellent condition.

Magic The Gathering TCG Transmute Artifact x2 - Antiquities(1994). This lot contains two copies of Transmute Artifact. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: In Good condition

Magic The Gathering TCG - Copy Artifact Unlimited (1993). This lot contains one copy of Copy Artifact from Unlimited. Provenance: property of a Magic The Gathering trading card player and collector. The collection spanning some of the earliest years of MTG in the 1990s. From a deceased estate, sold by family descent. Condition Report: Near mint condition

Chinese Art A jade and semi-precious stone imperial necklace (Cao Zhu). China, Qing dynasty, early 19th century. . Cm 123,00. Important devotional artifact made of green jade, amethyst and coral beads. The Cao Zhu is a rosary based on Buddhist models that was introduced in official ceremonies by the Qing dynasty emperors, as recorded in the codex "Illustrated Regulations for the Ceremonial Paraphernalia in the Qing dynasty" by Huangchao Liqi Tushi. The manual regulated the number of spheres, extensions and materials that could make up this peculiar artifact. The importance of this accessory in official ceremonies is illustrated by a portrait of Emperor Yongzheng, now at the Palace Museum in Beijing, a painting in which the emperor wears a Chao Zhu of pearls.

New Kingdom period, Ca. 1292 -1077 BC, 19th - 20th Dynasty, Ramesside Period. A mummiform ushabti formed of painted pottery is wearing a bipartite or duplex wig that is painted black. The upper part has faint striations in the modelling at the front, and the long side lappets have echeloned curls falling by the sides of the face. The back of the wig shows no details. The arms are crossed holding a pair of hoes. The Ancient Egyptians believed even after getting to the afterlife that life would not be easy. In result, they took magical servant figures with then called shabtis. The dead would ask the shabti make their afterlife as easy and trouble-free as possible. Shabtis were made solely to do manual labour for the deceased in the afterlife. As a result, they were commonly depicted with arms crossed, holding hoes and baskets. Towards the end of the Pharaonic period, they had become so necessary and elaborate that some tombs contained one worker for every day of the year and thirty-six overseers, each responsible for ten laborers The idea of shabtis first appeared as wax figures in the 11th Dynasty, during the First Intermediate Period, (Staatliches Museum Ägyptischer Kunst, Munich ÄS 6085). These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels. These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead. J.-F. Aubert/ L. Aubert, Statuettes _gyptiennes, chaouabtis, ouchebtis, Paris 1974, pp. 122-123. W. M. F. Petrie, Shabtis, London 1935, pl. XXXV, no. 240. M. J. Raven, A transom-window from Tuna el-Gebel, in: OMRO 69, 1989, pp. 51-64. H. Schneider, Shabtis. An introduction to the history of ancient Egyptian funerary statuettes, Leiden 1977, I, p. 206. R. Weill, Quelques types de figurines fun_raires des XIXe et XXe dynasties, in: Mon. Piot 25, 1921/2, pp. 419-438. The World Museum, Liverpool. https://www.liverpoolmuseums.org.uk/artifact/shabti-of-khonsuSize: L:210mm / W:60mm ; 245gProvenance: Private London collection; ex. B. Kickx and J. Peeters collections, pre 1978, Belgium.

WWII German Artifact

Ca. 1050-1350 AD.A beautiful Knights sword. The pommel is round with a small round decorative recess in the centre. There is no other decoration on the pommel, cross guard, or blade. The grip, which is missing would have been very short, the fist that gripped it would have done so, tightly! The tang is correspondingly short and triangular in shape, the pointed end disappearing into the pommel whilst the opposing short side flares out along the cross guard. Oakshott would have assigned the value of a type G variant to this pommel. The cross guard is long and thin, it is slightly wider in the centre to accommodate the tang passing through, otherwise, it is the same thickness all the way along. Oakshott would have called it a Type 1 Cross Guard. The blade is long and thin and gradually tapers to a rounded point. The blade also has a fuller, which is fairly broad and travels almost the full length of the blade almost to the tip. The blade type is an Oakshott type Xa which dates the sword to between 1050 and 1350, very similar dates for the pommel and cross guard. The condition of the sword is below average, the corrosion on the blade had created holes in some places and huge pits in others. The blade has been corroded away quite deeply, particularly on one edge.Nevertheless, the artifact is recognisable as a nine-hundred-year-old sword with the attendant corrosion of a sword of that age. The pommel and cross guard are both in good condition for such an artifact. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:940mm / W:220mm ; 1.07KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.

Ca. 1550 AD.This sword could loosely be termed as a ‘Swept Hilted Rapier’ The hilt has no pommel as such, and the grip (which survives) resembles a modern kitchen knife handle flaring at one edge. The grip is textured and resembles a stag horn, three circular protrusions suggest that two halves of the grip may have been riveted together. The cross guard is roughly S-shaped. A portion of which forms a horizontal cross guard before dropping downwards, decoratively, parallel to the blade. The other end of the guard sweeps upwards and outwards, presumably to protect the fingers before coming to an abrupt halt, just before the flaring out of the end of the grip. The Pommel, Grip and Cross guard are very much an integrated unit on this rapier. The unit is completed by the addition of a further, knuckle bow, attached to the cross guard but hovering over the hilt, the whole circular plate is in line with the blade. The blade is one-sided, but sharply triangular in shape from the guard to the tip. There is some inlay into the blade, enhancing the value and prestige of an already valuable sword. Dating is difficult, but circa or later, the mid 1550’s is not, too far out. There is a little discoloration of the patina of the sword, there are some nicks into the acutely sharp blade, all in all the condition of this artifact is excellent. The item comes with an academic report written by Russel Scott; famous lecturer, reenactor, and expert of Viking and medieval artifacts.Size: L:1000mm / W:90mm ; 1.06KgProvenance: Property of a London private collector; formerly in a European collection; acquired from Peter Ing till collection in early 2000s (Vienna). Formerly in an old Austrian collection.

Sterling silver Viking brooch door Norwegian designer David Andersen. This brooch is a replica of a 9th century Viking artifact. It was beautifully reproduced in the early 1960s by the famous company David Andersen from Norway. Each arm is decorated in Borre style with a head of a "beast". Brooches of this type, originally taken from Frankish sword fittings, were popular ornaments for Vikings, worn as a clothing fastener or cloak pin. Initially these pieces were turned into brooches and later the style was replicated by the Viking metalsmiths. Often a perforated ridge was added to the back to be worn as a pendant on a chain. Intricately designed brooches like this one, decorated with animal motifs, were worn by noble Vikings to display their wealth. In very good condition. LxW: 3.8 x 4.1 cm. Weight: 11.4 grams.

GENE BASKETT, USA AN INTERESTING BOOT-DAGGER WITH HILT FORMED FROM AN ESKIMO ARTIFACT, TOGETHER WITH A STAND, manufactured in 1993 with double edged spear-point broad 3in. blade, pierced central fuller and circular cut-outs to both sides, nickel bolsters, the hilt formed from fossilised mammoth tusk and partially bored on one side for a previous use, the reverse with a scrimshawed depiction of a bear signed 'Carlo '93', together with a burl wood and wire stand with plaque marked 'ALASKA BOOT DAGGER' a certificate stating the scrimshaw work was by Gary Williams and an unassociated leather sheath. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

Fünf zeremonielle Jade-Gegenstände, China, 20. Jhdt. Bogenförmiges Jade-Huang mit graviertem Dekor, Maße 17 x 4,5 cm. Ein Jade-Zhang mit kleinem Loch in der Mitte, Maße 21 x 5,5 cm. Jade-Scheibe (Yuan) mit graviertem Dekor, kleine Fehlstellen, Durchmesser 11,9 cm. Jade-Qi mit stilisierten Fabelwesen, Maße 11,4 x 4,7 cm. Jade-Yue mit stilisierten Drachen, Maße 10,5 x 4,5 cm. Five Chinese jade objects for ceremonial use, 20th century A jade huang, an arc-shaped artifact with engraved decor, dimensions 17 x 4.5 cm. A jade zhang with central hole, dimensions 21 x 5.5 cm. A jade yuan with engraved decor, losses, diameter 11.9 cm. A jade qi with zoomorphic design, dimensions 11.4 x 4.7 cm. A jade yue with stylized dragons, dimensions 10.5 x 4.5 cm.

Vinyl - Two Box Sets and 11 - 2010s and above Indie / Alternative / Mod singles, including - Creation - Artifact 45 (2015, 10 single box set + booklet, Cherry Red Records, CRCREBOX 18) box is EX, all vinyl is EX (unplayed), Felt - The Strange Idols Pattern And Other Short Stories (Limited Edition box set, signed By Lawrence from Felt, FLX 182), included in box: Limited Edition CD, one 7” Vinyl in P/S, 2 reproduction gig flyers, double sided wall poster, 4 button badges. Still sealed and mint. W. H. Lung / Working Men's Club – Symmetry / John Cooper Clarke (limited yellow vinyl, GLS #1) EX+, Working Mens Club - Bad Blood (Limited Red Vinyl + insert, Melodisc, MELO 12) EX / EX+, Channel Three, The Past Tense (2 singles, one red vinyl and one Yellow Vinyl + numbered inserts) both EX/ EX, Darron Robinson (clear vinyl), Tworaggedsoldiers, Does It Offend You Yeah ? (double vinyl, 1 picture disc and 1 Clear Vinyl), The International Swingers, Frankie & The Heartstrings, The Urban Voodoo Machine (Red Vinyl), all at least EX / EX

A large period cast cannon barrel. Measuring approximately 8ft 2in. Understood to have been dredged up from the Orwell Estuary and believed to date from the Battle of Landguard Fort on 2nd July 1667. This battle was the last seaborne invasion of England and was a very notable event during the Anglo-Dutch wars. This presents a rare opportunity to acquire a significant artifact from British military history.

A large period cast cannon barrel. Measuring approximately 6ft 7in. Understood to have been dredged up from the Orwell Estuary and believed to date from the Battle of Landguard Fort on 2nd July 1667. This battle was the last seaborne invasion of England and was a very notable event during the Anglo-Dutch wars. This presents a rare opportunity to acquire a significant artifact from British military history.

A Domesday map of 'Herfordscire' 1086, 9.5 x 12.75, (24x32.5cm) along with a photolithograph of a Finch, 16.25 x 12.75, (41.5x32.5cm) and a Chinese artifact 13" x 4.25", (33x11cm) (3).

Original antique movie poster for Ruth Roland in White Eagle Episode No 10 The Cave of Peril, produced by Ruth Roland Serials Inc, supervised by Hal Roach, directed by W.S. Van Dyke, Patheserial, quote reads - Here is the proof! - Now tell me the message. - the poster features an illustration of the 1922 American silent Western film character Ruth Randolph holding an artifact surrounded by her fellows and a Native American Indian lady all standing in a cave. Printed by Morgan Litho Co. Cleveland, USA. Large size. Poor condition, creasing on bottom edge, tears, staining, moulding, backed on linen, linen water stained and separating on bottom edge. Country of issue: USA, designer: Unknown, size (cm): 104x69, year of printing: 1920s.

Mahogany Princess 'Majestic Beauty', plus other bronzed sculptures, including horse's head, dog, young girl, etc, and a stone artifact, Queen Anne China Coffee Set, Russian fairytale and other collectors plates:- One Box

AMERICAN GRAFFITI - Bob Falfa's (Harrison Ford) Cowboy HatBob Falfa's (Harrison Ford) cowboy hat from George Lucas' coming-of-age comedy American Graffiti. Local drag racer Falfa wore his signature hat while challenging John Milner (Paul Le Mat) to race during a fateful night in Northern California in 1962. After Lucas allegedly requested that he cut his hair for the film, Ford instead suggested that Falfa wear a cowboy hat. This hat has been owned since late 1973 or early 1974 by Sam Crawford, a big fan of the film upon its release, who arranged to purchase the 55 Chevy that Falfa drove in the film directly from Universal Studios. Crawford's ownership of the 55 Chevy vehicle, which had also been used in an earlier film that Graffiti producer Gary Kurtz made called Two Lane Blacktop, is well documented including a feature in the May 1976 issue of Street Rodder magazine. Included in the purchase deal for the car were the 55 Chevy's original prop license plate (see lot 26), and this lot - Harrison Ford's hat. This cream-color woven straw cowboy-style hat features aeration holes on the sides of the crown, a gray elastic-blend hatband around the circumference of the crown, and a decorative red, black, and yellow feather accent. The interior features a brown leather sweatband. It exhibits loose threads in the hatband. Included as additional provenance are a pair of original letters to Crawford from Bunny Alsup, the assistant to producer Gary Kurtz, that reference Crawford's purchase of the car. One letter is dated January 1974 and is on Universal letterhead, the other is from February 1977 and is on Star Wars letterhead. The hat is an incredible artifact to have survived and has been with the same owner for nearly 50 years. It represents a significant moment in film history, the start of young actor Harrison Ford's relationship with George Lucas, which ultimately produced some of the greatest characters in the history of film-Han Solo and Indiana Jones. Estimate: $25,000 - 35,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT 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 Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.

SUPERMAN - Superman's (Christopher Reeve) Knowledge CrystalSuperman's (Christopher Reeve) knowledge crystal from Richard Donner's classic superhero film Superman and its sequel Superman II. When he first journeyed to the Arctic, a young Superman used the crystal of knowledge, an artifact from the ship which brought him to Earth, as he created the Fortress of Solitude. In the sequel, the crystal restored Superman's powers by exhausting the last of Jor-El's (Marlon Brando) energy.This crystal originated with the family of a production crew member, and was previously sold by Propstore into a private collection. It is made of clear resin tinted green. The crystal has five faces, making it fit with the Kryptonian aesthetic of the Fortress of Solitude. It exhibits some signs of wear, including slight scratching to the surface and some cracking on the corner of one of the ends. Dimensions: 8" x 6" x 5" (20.5 cm x 15.25 cm x 12.75 cm) Estimate: $15,000 - 20,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT 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 Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.

Songye - Democratic Republic of the Congo Pendant in the shape of a foot.Ivory.Signs of use. . Cm 3,00 x 5,50 x 3,00. Particular ivory pendant in the shape of a foot that supports a head which, in turn, supports a container. From the face or more precisely from the shape of the mouth we receive clear information about an obvious Songye origin, while the hairstyle recalls the styles of the production Luba or Hemba. However, an artifact from the heart of black Africa.The attachment is made of copper, fixed with indigenous resins. Beautifully worked, with natural glossy patina and in excellent condition.weight: 34 grams.Accompanied by CITES certificate.

A beautifully carved ceremonial paddle from the Austral Islands, ca. early 1800's. This lavishly decorated paddle is 44" long and is covered with intricate geometric designs that were carved with shark's teeth, shell and stone tools. Some ancient wear, but this rare artifact displays beautifully. (PNG130)

QUARTZ NORTH AMERICAN TRIBAL ARTIFACT

§ Gillian Lowndes (British, 1936-2010), wall hanging, fired mixed media38 x 75cm Quietly disquieting and with unsettling sentience, grey-tipped talons appear to pierce the fossilised ceramic flesh of the present lot, as if this intriguing object has been gestating an extra-terrestrial life form. Operating far beyond the restraints and expectations of traditional ceramics, Gillian Lowndes is today celebrated as one of the most audacious and creatively uninhibited ceramic artists and teachers of her generation. Born in West Kirby, Cheshire, in 1936, Lowndes spent much of her childhood in India before training at the Central School of Arts and Crafts from 1957. Initially studying sculpture, Lowndes soon found herself drawn to the pottery department, where she studied first under Dora Billington and later under Gilbert Harding Green. Renowned as a lively and progressive teaching environment, it was at the Central School of Arts and Crafts that Lowndes first met such influential figures as Ruth Duckworth, Dan Arbeid, Gordon Baldwin and Ian Auld - the latter of whom she would later marry. Following her studies in London and after a year studying in Paris at L'École des Beaux-Arts in 1970, Lowndes accompanied Auld on an 18-month research trip to Nigeria. Experiencing the rich material culture of the country, Lowndes quickly became fascinated with the bricolage nature of West African sculpture, which typically juxtaposed several unexpected materials and methods within the construction of a single artifact. Whilst her distinctive artistic voice is undoubtedly the result of a confluence of experiences, the influence of these objects on Lowndes’ work cannot be understated. Exploring the absolute limits of the medium and the transformative properties of the kiln, Lowndes’ entropic and unquantifiable works have won praise for their raw physicality and for their ability to challenge the boundaries between art and craft, ancient and modern, organic and alien. So experimental are these works that it is almost easier to conceive that they have been excavated from an archaeological site or dredged from the deepest depths of the ocean, the evidence of a lost civilisation or a visit from an alien race, than it is to accept that they have been made by human hands. Acquired from the Lynn Strover Gallery, Cambridge.  In seemingly good condition with no apparent condition issues, examined under UV light.

Records : 10'' Record Store Day releases sealed sets of The Fall and Creation - Artifact

ER II 2005 Isle of Man silver proof bicentenary of Trafalgar one crown together with a copper artifact taken from the hull of the HMS Victory, three other IOM 2005 silver proof Trafalgar crowns and a Falkland Islands 2005 silver proof Horatio Nelson Trafalgar crown, all encapsulated

Luftwaffe - Allgemein : GEMEINSAMES FLUGZEUGFÜHRER- UND BEOBACHTERABZEICHEN IN GOLD MIT BRILLANTEN.Gemeinsames Flugzeugführer- und Beobachterabzeichen in Gold mit Brillanten. Der Luftwaffenadler Weißgold und vollständig mit Brillanten besetzt. Rückseitig auf dem Kranz verschraubt. Der Lorbeer/Eichenkranz Gold (nachträglich ergänzt). Die Nadel mit Sicherheitsverschluss. Auf der Rückseite Goldpunze "585". Die Rückseite des Adlers mit aufgelötetem schmalen Weißgoldrahmen, der die Konturen des Adlers nachzeichnet. Der rückseitige Adler bzw.Brillantenfassungen "à jour" (durchbrochen) gearbeitet. Bei dem Brillant - Adler handelt es sich um ein absolut zweifelsfreies Original aus der Fertigung der Deutschen Goldschmiede Werkstätten Berlin (ehemals Hofjuweliere Friedländer). Der aus Gold gefertigte Kranz wurde nach 1945 ergänzt. Obgleich von guter Qualität entspricht er jedoch bei weitem nicht der Qualität eines zeitgenössischen Originals vor 1945. Laut Angaben des Einlieferers ließ der Träger dieses Abzeichens, ein General der Luftwaffe, den Originalkranz in der unmittelbaren Nachkriegszeit bei einem Juwelier entfernen und einschmelzen, da er das Geld für das Lebensnotwendige brauchte. In späteren Jahren wieder zu Geld gekommen ließ er bei demselben Juwelier anhand seines normalen Flugzeugführer- und Beobachterabzeichens den Kranz wieder ergänzen. Interessantes Stück dessen Werdegang die nach heutigen Maßstäben nur noch schwer nachvollziebaren Zustände nach Kriegsende symbolisiert. Gemessen am Preis eines komplett originalen Abzeichens äußerst moderate Taxe. Luftwaffe - Miscellaneous : GEMEINSAMES FLUGZEUGFÜHRER- UND BEOBACHTERABZEICHEN IN GOLD MIT BRILLANTEN. Combined Pilot Observer badge with diamonds. This piece is marked with gold hallmark "585" on the reverse and various control numbers. The piece features the laurel/oak leaf wreath in gold and the Luftwaffe eagle in white gold set diamonds. The eagle is secured to the wreath with screw-type fasteners. Pin construction shows intricate mechanics with a locking device as the catch. Badge comes without case. This is a spectacular piece. It is a finely crafted period specimen of the third type. The back of the eagle has a soldered white gold narrow frame that carefully traces the contours of the eagle. The diamonds are set on the pierced body of the eagle representing the construction and gem set style typical for the period. This badge type is considered the final variant in the development of the "Luftwaffe Double Badge" and an example of this type was awarded in the last months of the war to Generaloberst Robert Ritter von Greim on 17 April 1945 (sold in our 25th auction).  As a dating source for this piece, the Fighter Pilot Erich Hartmann was presented an exact version shortly after his 25 August 1944 ceremony awarding him the Oak leaves with Swords and Diamonds to the Knights Cross of the Iron Cross. Erich Hartmann's badge example is consistent with this piece offered in this auction and I am familiar with yet another similar example having been awarded a few months earlier. These badges were hand-made ??in small numbers by goldsmiths from the company DGW (German Goldsmiths' Studio), Berlin. This company is known for the highly skilled craftsman of the Third Reich period. The development of this badge variant and technical changes were due to the desire for perfecting the design of the Luftwaffe eagle and optimizing the brilliance of the stones when worn on the uniform. The chronological sequence of the different variants can be proven by known badges that all have an exact and traceable provenance. The Oberst Werner Molder's presented badge from 1940 corresponds to the fist type awarded starting in 1935 and running to the early years of the war. SS Oberstgruppenfuhrer Sepp Dietrich's example was sold in our 41st Auction and corresponds to the second type representing the first jeweler's development using the first type as a baseline design platform.  Ritter von Greim's example was sold in our 25th Auction and its construction characteristics correspond to the last type, variant three most likely produced at the end of 1944 to the beginning of 1945. Reichsmarschall Hermann Goering also wore a type three award and the last in the series. Our offered specimen corresponds to other examples presented as early as 1943 but for certain no later than the 1944 issued third variation types. They are consistent with two matching examples awarded to "Diamonds" recipients in the Luftwaffe in 1944. Although the "Luftwaffe Combined Pilot and Observer's Badge with Diamonds" is one of the rarest and most beautiful awards of the Third Reich, thus far, no attempt has been made to publish a meaningful and comprehensive examination of this decoration. The badges were personally presented by Reichsmarschall Hermann Goering for extra-ordinary contributions to the German Luftwaffe and to leading personalities of the Third Reich and the Allies of Germany. Almost all Luftwaffe personnel who received the Oak leaves with Swords and Diamonds to the Knights Cross of the Iron Cross and all Field Marshals of the Luftwaffe received the double badge with diamonds. From the Luftwaffe recipients of the Oak leaves with Swords, only a relatively small number received this badge. Hermann Goering's criteria for the award was not exactly clear but his own personal sympathies may have played an important role in the decision of who was presented with this badge. Some important recipients were Generals Student, Löhr, Greim and part of his inner circle which included Bruno Loerzer and the women test pilots Hanna Reitsch and Melitta Gräfin Stauffenberg. Some of the few recipients who did not belong to the Luftwaffe were such Third Reichpersonalities as Reichsführer SS Heinrich Himmler, Grand Admiral Karl Doenitz,Field Marshal Erwin Rommel, SS Oberstgruppenführer Sepp Dietrich, Generaloberst Dietl and the rescuer of Mussolini, SS-Sturmbannführer Otto Skorzenny.  Some of these awards went to the leaders of the Axis Powers and sympathetic foreign Statesmen like Il Duce, Benito Mussolini, the Finnish Marshal Mannerheim, the Romanian state leader Antonescu, the Spanish leader Generalissimo Franco and the Italian Air Marshal Italo Balbo. A tremendous artifact and one of the very few original pieces of one of the finest andrarest awards of the Third Reich.

A Tribal Art wooden artifact, 31 1/2" long.

Japanese Art A Sashi ivory netzuke Japan, Meiji period (1868-1912), 19th century . . Cm 15,50. Honey-colored patina, carved in the form of two aubergine berries with leaves and branches. The sinuous elongated shape places this artifact among the so-called sashi netsuke identified precisely by this specific form. The theme of the aubergine, which in Japanese is pronounced "nasu", is traditionally associated, by homophony, with the expression "may this come true" thus investing this fruit with important auspicious values, so much so that it is one of the three themes, together with the mountain Fuji and the hawk, of Hatsuyme (first dream of the year) in which, according to tradition, the wish of luck and happiness for the coming year is realized.

South-Est Asian Art A white stone Pi disc bangle Thailand, Ban Chiang Culture, I milennium b. C. . . Cm 13,50. White stone bracelet tapered towards the outer border and provided with a raised edge at the central hole. The precise function of these sort of object is still quite uncertain as they are common in many oriental cultures, testifying the high level of symbolic abstraction reached by the Asian populations of the Neolithic period (IV-I millennium BC). The disk Pi, possibly meant to be a metaphysical representation of the firmament, firstly appears in China around the 4th millennium BC, in the Yangtse delta region. It is usually associated with its "earthly" counterpart, the Cong, a quadrangular artifact crossed by its entire length by a circular hole, symbolizing the earth. The essential and rarefied lines of the Pi and the solid ones of the Cong are unified by the central hole, a mystical passage of the primordial energies that form the invisible axis on which the sensible world eternally rotates. As for their function during the Neolithic period, historical evidence confirms that although they were ritual items, they were also used as jewelry or exchange currency.

Chinese Art A celadon glazed dish with foliated rim China, Yuan (1279-1378) . . Cm 26,00 x 6,00. Excellent example of the Longquan celadon pottery, characterized by the baroque and elegant decoration typical of this production. The plate has a short brim with a wavy edge and a deep and rounded bowl decorated with floral cartouches that frames the bottom embellished with a large embossed lotus flower, visible in transparency under the pale green glaze. The celadon family, or green-ware according to the Anglo-Saxon term preferred today, includes several artifacts made in the most disparate locations in Central Asia (China, Japan and Korea) and South East Asia (Thailand and Vietnam). The production of celadon began in China with the Northern Songs as early as 1000 AD, but it was only two centuries later, when the grandiose Longquan kilns were inaugurated, that large-scale production started for the trade routes of all the East. For their extraordinary solidity, pleasantness to the touch and beauty, Longquan celadon were highly appreciated both in China and in the Middle East where they were successfully exported. This dish, closely following the traditional Yuan stylistic features, was probably intended as an artifact to be exported to the Middle East along the silk road.

Chinese Art A celadon glazed cup China, Song dynasty (960-1279) . . Cm 20,00 x 8,50. Hemispherical cup with olive green coating. The external wall marked by the traces of the turning process, while the interior is elegantly decorated with a sgraffiato large stylized flower. This artifact is probably attributable to the so-called Yaozhou production, the best known within the great family of Northern Song celadon, made in various locations in Northern China, especially in the Shaanxi province. As in this case, the Yaozhou celadons are easily recognizable by the olive color of the glaze and the scratch decoration visible in transparency under the light layer of the glaze.

Chinese Art A pottery jar Cambodia, Khmer dynasty (802-1431), 13th century . . Cm 21,00 x 25,00. Ovoid-shaped container covered by a worn brown-greenish monochrome glaze. The elongated body has four suspension loops close to the neck. This type of artifact is attributable to the Cambodian pottery production of the XII-XIII century characterized by the smooth leather-colored cover that leaves part of the ceramic body uncovered.

Chinese Art Two porcelain parrotsChina, Qing dynasty, Kangxi period (1661-1722). . Cm 11,00 x 30,50. pair of polychrome porcelain perfumers in the shape of parrots perched on a rock. This type of artifact often shows a bright polychrome glazing known in the West with the generic term of "famille verte", an innovative combination of colors introduced massively in China during the reign of Emperor Kangxi (1661-1722) and referred in China as Kangxi-wucai.The Chinese term wucai, literally "five colors", was introduced already in the Ming era to define all those artifacts in which the outlines of the figures, traced in underglaze cobalt blue, were combined with red, green and yellow and, occasionally, with other colors such as black or aubergine. The Wucai decoration had a great diffusion under the reign of Wanli (1572-1620), but it was only around the seventeenth century that the imperial ateliers of Jingdezhen developed a new type of chromatic combination based on these five colors, giving rise to artifacts quite different from the previous wucai production. The porcelain made according to these new standards, since then called Kangxi-wucai, immediately met with enormous success and constituted a significant part of the production for both the domestic and foreign markets.

Chinese Art A blue stoneware Jun JarChina, Qing dynasty, 19th century. . Cm 29,50 x 25,00. Stoneware globular vessel covered by thick blue glaze dotted with purple flecks. This jar, probably produced in Jingdezhen in the 19th century, replicates a typical artifact of the Song era (960-1279) attributable to the Jun-ware group, one of the five most popular types of ceramics of the antiquity, with Ru, Guan, Ding and Ge.

South-Est Asian Art A brown glazed monochrome pottery jar Cambodia, Khmer period (802-1431), 13th century . . Cm 12,50 x 17,50. Container for liquids in the form of a bottle, covered by a dark brown monochrome glaze baring the foot. The elongated body has four suspension loops near the junction of the neck. This type of artifact is attributable to the Cambodian fictile production of the 12th-13th century, known for the polished leather-colored glaze that leaves the lower part uncovered.

Token ID 371I fell in love with the wild, beautiful, uncanny and profound results that came with the first round of Eponym. With Stories, I began to explore what result would come telling Ai that this was ""for a museum"". One of the first results was 'for the museum of modern art' which looked like an abstract landscape hanging on a white wall but it also had a 3d element that was breaking the fourth wall of perspective. It felt like the perfect piece to represent modern Ai driven art with the intent of being FOR a museum. It even came with what looks like an information placard about the art hanging on the wall in lower right corner of the frame.For subsequent stories, I picked museums I've been to that inspire me and tried many permutations for the art. The ones that stood out were ones that looked like they might belong in the museum referenced but also said something to the museum about its history, its present and its future. To me, each piece honors the museum's style but also says something about the art within its walls that can be interpreted in myriad ways. 'for the louvre' has a similar feeling of breaking the fourth wall. The frame and walls evoke an Egyptian artifact that was taken by Napoleon himself and brought to Paris. It was too rich in artificial mystique to pass up.'for the guggenheim' looks like a pen and ink masterpiece Peggy herself would hang on the walls of her spiral halls. The touches of blue in the black and white figures is striking.In 'for the smithsonian' I was looking for something American that also evoked the 'shining city on the hill'. The result that came looks like a sketch that George Washington or one of his officers may have sketched in their journal during the American Revolution.With 'for the van gogh museum' I had originally set out to show how the Ai could recreate or construct a new Van Gogh painting. There were many impressive options but then the result you see here popped up. While not in the style of Van Gogh, it seems to reference the artist himself, it looks like a portion of one of his self-portraits but it also seems to be saying something. Perhaps that Van Gogh is still with us, his haunting blue eye, watching the progress of art and humanity and culture. The cryptic signature on the bottom right. The DaVinci like canvas it's painted on. I don't know. I just couldn't pass up minting it.I mean, come on, 'for the picasso museum in barcelona' looks like late-era Picasso painting, celebrating the spirit of Spanish life as well as the freedom of how children are free with their art. To me, what's minted looks like what Picasso might have painted today and perhaps minted to the chain. 'for the dali museum in paris' to me, looks like two elongated figures embracing, intertwined; surreal and Jungian, the integration of the psyche, of the self, the id and ego, the light and shadow, together as one.'for the national gallery' made me laugh. I kept trying to create a new JMW Turner painting, something quintessentially British, and there were some good options, but then this popped up and it just looked like someone hung the painting up backwards and we were looking at the back of the frame. It also had great shading for the back of the painting. As for the title, this belongs in a museum, it's a reference to Indiana Jones and the Last Crusade, when he rescues the Cross of Coronado...Enjoy.For more information about the artist and their story please visit:https://epostories.auction/epostory/371/this-belongs-in-a-museum

GRAHAME OF CLAVERHOUSE VISCOUNT DUNDEE original first edition 1911.THE MICHAEL BARRINGTON work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible

Fred Haise signed photograph, in gold ink, "Our view of home from Odyssey on our way to the Moon! Apollo 13 LMP." This lot includes a piece of heatshield flown piece from Apollo 13 Command Module. NASA describes the fine art print as; "Apollo 13 image taken as it returned to Earth on 14 April 1970 immediately after rounding the Moon. The Baja Peninsula and Northern Mexico are visible, as is the Southwestern. United States. Most of the rest of North America is covered by clouds. Apollo 13 splashed down safely in the Pacific 3 days after this picture was taken."Artifact Cloud COA included for heatshield.(Photograph) sight; height: 8 in x width: 7 1/2 in. Framed; height: 15 3/4 in x width: 12 1/2 in.

Gordon Barker (20th/21st Century) 'Winter Fairground', signed, also inscribed verso, acrylic on paper, 12? x 16? ** The artist was born in Gibraltar in 1960 but moved to Northamptonshire as a boy. After a great deal of encouragement from his art teacher he continued to paint and develop his own style and experimented with different materials including glass, he had a few local exhibitions and eventually ventured to London with his work. He has sold many hundreds of his pictures to a variety of different clients including recording companies and MTV Europe, The Gap and others as well as many private collectors often through private commissions. He has works in corporate and private collections in many countries including France, Germany, South Korea, USA, Denmark and of course the U.K. His work has been printed for greeting cards and prints by the publisher Lanternfish, a jigsaw has also been created by the company Artifact Puzzles.

Original Royal Standard of Princess Margaret. "9' x 4' 6" PRINCESS MARGARET" Printed on white border as is handwritten code HHZ 0876. "Linen" with evocative lions, Scottish lionand Welsh Harp, two roses and thistle with good colour retention and substantial white border with peg still in place. Important original artifact providing a personal link to the Queen's late sister, Princess Margaret.

Gordon Barker (20th/21st Century) 'On a Wonderful Summers Day' signed, also inscribed verso, acrylic on paper, 12? x 16? ** The artist was born in Gibraltar in 1960 but moved to Northamptonshire as a boy. After a great deal of encouragement from his art teacher he continued to paint and develop his own style and experimented with different materials including glass, he had a few local exhibitions and eventually ventured to London with his work. He has sold many hundreds of his pictures to a variety of different clients including recording companies and MTV Europe, The Gap and others as well as many private collectors often through private commissions. He has works in corporate and private collections in many countries including France, Germany, South Korea, USA, Denmark and of course the U.K. His work has been printed for greeting cards and prints by the publisher Lanternfish, a jigsaw has also been created by the company Artifact Puzzles.

Ca 664 - 332 B.C. Late Period, 26th - 30th Dynasty. Egyptian. An ancient Egyptian jar beautifully formed of a rich Nile silt depicting the face of Bes. He is shown as a grotesque dwarf, with a lion's mane. The eyes, ears and eyebrows have been elagently incised for decoration; the mouth with a gentle smile.The jar has one verticle handle, a long cylindrical neck, ridge around the rim and a ring base. His face showing grotesque appearance in order to ward off evil and back luck. Although, a protector of the household, pregnant women and children, Bes was also associated with happiness and laughter. Bes was one of the most important deities of ancient Egypt. He was portrayed as looking fierce, grotesque, and threatening, in order to ward off bad luck and evil. He was believed to be able to strangle bears, lions and snakes with his bare hands. He was often associated with household items such as bed, chairs, mirrors, and walls. Bes was known as the protector of the home, protector of pregnant women and children. People would worship him in hope of receiving good luck and family protection against bad luck and evil spirits that may cause an ill fait or illness.Aside from his roles as a protector, as many deities were, Bes was associated with entertainment, laughter and happiness. He was the thought to entertain children with singing and dancing. One of the most popular depictions of Bes in ancient Egypt was on jars and vessels with his face as decoration. The jars would provide Bes’ effigy and provide protective and healing abilities. If a child was ill and was given milk out of a Bes jar, then the milk would turn to medicine. It was common for physicians to provide medicine out of a Bes as part of the treatment process. Bes jars were used between the 18th Dynasty, all the way through to the Roman Period. Bibliography:Water, Milk, Beer and Wine for the Living and the dead: Egyptian and Syro-Palestinian Bes-Vessels from the New Kingdom through the Graeco-Roman Period, Kevin Kaiser, 2003, Page: Catalogue no. 197, Plate: Cat. 197Gifts of The Nile: Ancient Egyptian Arts and Crafts in Liverpool Museum, Piotr Bienkowski, Angela Tooley, 1995, Pg: 44, Plate: 57Egyptian Antiquities in the Liverpool Museum: a List of the Provenanced Objects, Piotr Bienkowski, Edmund Southworth, 1986, Page: 54Egyptian Treasures in Europe volume 4: National Museums & Galleries on Merseyside, Liverpool, Andrea Davies, Dirk van der Plas (ed), 2001, Page: 1973.1.422A Catalogue of the Egyptian Antiquities in the Possession of F. G. Hilton Price Dir. S.A. (1897), F G Hilton Price, 1897, Page: 404, Plate: 3345Christie's London, sale 9723, October 29, 2003, lot 230.Museum Reference:The Liverpool Museumhttps://www.liverpoolmuseums.org.uk/artifact/bes-jar-3Accession Number: 1973.1.422University of London (UCL)https://www.ucl.ac.uk/museums-static/digitalegypt/pottery/archive/uc2888.jpgAccession Number: UCL UC2888https://www.ucl.ac.uk/museums-static/digitalegypt/pottery/archive/uc2877.jpgAccession Number: UC 2877Egyptian Museum, Turin. Drovetti collection cat 2553.The Australian Museumhttps://australian.museum/learn/cultures/international-collection/ancient-egyptian/Accession Number: 205-1Michael C Carlos Museumhttps://collections.carlos.emory.edu/objects/11737/bes-jarAccession Number: 2004.019.001Museum of Fine Art, Budapesthttps://www.mfab.hu/artworks/bes-jar-2/Accession Number: 51.2077Brooklyn Museumhttps://www.brooklynmuseum.org/opencollection/objects/18395Accession Number: 07.447.478Royal Ontariohttps://collections.rom.on.ca/objects/203159/bes-jar, Accession Number: 910.2.85Provenance: From a London private family collection, formerly acquired on the UK art market in the 1960s - 1970s; then passed by descent. Size: L:120mm / W:60mm ; 160g

A 17th Century Italian gilt painted gesso wood religious artifact reliquary. The piece set within a fruitwood frame of octagonal form with ebonised and gilded carved relief details. The centre with folded gilt paper decoration and the names of Saints / Holy figures within. Measures approx; 17cm x 14.5cm.

'Artifact Still Life (Burial) William Morris, 1990 20-teiliges Objekt der ''Artifact Series''. Farbloses Glas mit kobaltblauer Pulverein- und Goldfolienaufschmelzung, formgeschmolzen, weiße körnige Substanz aufgeschmolzen, teils irisiert. 2 Teile in Gravur signiert und datiert: William Morris 1990. H. 37 cm; B. ca. 80 cm (variabel) Lit.: ''William Morris Glass - Artifact and Art'', University of Washington Press, Seattle & London 1989, S. 72/73 - ''Contemporary Crafts and the Saxe Collection'', The Toldedo Museum of Art, Toledo 1993, Plate 37.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.

'Artifact Still Life'' William Morris, 1990 4-teiliges Objekt der ''Artifact Still Life Series''. Farbloses Glas mit kobaltblauer Pulvereinschmelzung, formgeschmolzen, weiße körnige Substanz aufgeschmolzen, teils irisiert. In Gravur signiert: William Morris. D. 18 bzw. 36 cm; L. 40 bzw. 61 cm (Knochen) Lit.: ''William Morris Glass - Artifact and Art'', University of Washington Press, Seattle & London 1989, S. 61.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.

A carved hardwood artifact, boat shaped and 20cm long

Creamer Jug "liberated" from Adolf Hitler's Personal Train by Cpl Whitney. Montgomery instructed his Staff including Whitney to locate the train as he wanted to to tour around it as a statement of victory. Once they found the train Whitney took the small creamer Jug. It has a Nazi Eagle with D & R (Deutsches Reichbahn) and a code 241 on the base believed to correspond with Hitlers Train. Corporal H.F.Whitney Corps of Military was part of the security group around FM Montgomery from 1943. An important artifact with excellent provenance.

African art Aduno-koro ritual vessel, DogonMali. . Cm 70,00 x 26,00 x 19,00. A horse-shaped decorated wooden vessel with engraved figures on both sides. The artifact maintains its original cover. Among the Dogon people, this ritual vessel called Aduno Koro (literally Ark of the world) was meant to host the offerings dedicated to Amma "the creator" and to the ancestors during the annual celebration called goruNOTE- For a similar piece see: “Ritual vessel, horse with figures (Aduno Koro)”, Metropolitan Museum, NY.Provenance: Parisian collection of the painter Arturo Carmassi (Lucca 1925 - Empoli 2015). This piece had come through the inheritance of the collector and humanist Renèe Druart (Grasse 1888 - 1961) whose daughter Carmassi had married.

Martin Eder - - 1968 Augsburg - lebt und arbeitet in Berlin La Mathematique du slip. 2006. Öl auf Leinwand. Links unten signiert und datiert. Verso signiert, datiert '05 2006', betitelt und mit der internen Werknummer 'WVZ 759' bezeichnet. 200 x 240 cm (78,7 x 94,4 in). . [JS]. • Seltene Kombination aus Eders berühmtesten Bildmotiven: seinen Tiergemälden und seinen Pin-ups. • Eder wird von der renommierten Galerie Eigen+Art, Berlin/Leipzig, vertreten. • 2009 zeigten die Staatlichen Kunstsammlungen Dresden die Ausstellung 'Martin Eder. Der dunkle Grund'. • 2013 waren Eders Gemälde in der großen Schau 'Painting forever!' in der Neuen Nationalgalerie, Berlin, ausgestellt. PROVENIENZ: Galerie Eigen+Art, Berlin/Leipzig (auf dem Keilrahmen mit dem Stempel und dem Etikett). 'Ich kann mich nicht abgrenzen von der Welt der Bilder, wenn ich ein Bild male. Jemand macht eine Bergwanderung und kommt dann nach Hause und malt dann seine Bergwanderungserlebnisse auf. Aus allem, was er im Gehirn gesammelt hat, produziert er ein Artefakt. Meine Bergwanderung geht eben nicht in die Natur, sondern durch die ganze Kulturgeschichte des Bildes, durch den Supermarkt, auf Autobahnrastplätze, durch übelste Kaschemmen, auch durch den Sumpf, durch Shoppingmalls, durch Teeniezeitschriften, durch den ganzen Müll, der mir jeden Tag ins Auge, ins Ohr gedrückt wird. Daraus entstehen meine Arbeiten. Sie sind Reisebeschreibungen.' Martin Eder, zit. nach: Monopol. Magazin für Kunst und Leben, Januar 2013, S. 48. Aufrufzeit: 19.06.2021 - ca. 16.33 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMartin Eder -1968 Augsburg - lebt und arbeitet in Berlin La Mathematique du slip. 2006. Oil on canvas. Lower left signed and dated. Signed, dated '05 2006', titled and with the work number 'WVZ 759' on the reverse. 200 x 240 cm (78.7 x 94.4 in). . [JS]. • Rare combination of Eder's famous motifs: Animal meets Pin-up. • Eder is represented by the acclaimed Galerie Eigen+Art, Berlin/Leipzig. • In 2009 the State Art Collections Dresden showed the exhibition 'Martin Eder. Der dunkle Grund'. • In 2013 Eder's works featured in 'Painting forever!' at Neue Nationalgalerie, Berlin. PROVENANCE: Galerie Eigen+Art, Berlin/Leipzig (with stamp and label on the stretcher). 'I can't distinguish myself from the world of pictures when I paint a picture. Someone goes on a mountain hike and then comes home and paints the hiking experience. They produce an artifact from everything gathered in the brain. My hike does not take me into nature, but to the entire cultural history of the picture, through the supermarket, to motorway stops, through the worst dives, through cesspits, through shopping malls, through teenage magazines, through all the rubbish eye and ear have to put up with every day. This is where my works come from. They are travelogs.' Martin Eder, quote from: Monopol. Magazin für Kunst und Leben, January 2013, p. 48. Called up: June 19, 2021 - ca. 16.33 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Titanic Collection 8 FDC and Titanic Mooring Rope Artifact Including, Titanic Rescue 1998, R.M.S. Titanic1998, Gambia Remembers the R.M.S. Titanic 1998, The Titanic (Maldives) 1998, Titanic The Glitz and The Glamor 1998, Faces of Titanic 1998, Building the Legend 1998, Titanic The Aftermath 1998. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Lancaster Artifact & Information Including A Piece Taken from the Port Wing, TLS Explaining origins of Artifact, TLS Investigation into Aircraft Wreck, Copy of Lancaster in Lapland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

An antique 18th Century Italian gilt painted gesso wood religious artifact reliquary of upright form having an ornate scrolled wing top with stepped detail and rose medallion. The main body having central glazed panel with inset St name and scrolled paper surrounded by two columns of three further paper names / artifacts. The lower section similar to the top with floral medallion all raised om twin pedestal base with plinth. Measures approx; 28cm x 13cm x 6.5cm.

§ ‡ WILLIAM MORRIS (AMERICAN B.1957-) ARTIFACT TOOTH, 1993 signed and dated, blown glass(46cm wide x 28cm high (18.1in wide x 11in high))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass