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Danuta Dolecki ou Dana Jarry (Polish 20th Century) Printemps en Auvergne (Spring in Auvergne), inscribed at the back with pencil 'salon d'automne 1960 Clermont Ferrand', and 'Ecole des Beaux Arts de (?) Pologne', oil and gesso on board, frame 80cm x 64cm

The Dam Busters Film signed 12 WW2 RAF Veterans who served with 617 Sqn . 19 Sep 2001 Scampton Guy Gibson and the Dambusters. The Dam Busters. Picture cachet of Richard Todd, Michael Redgrave in The Dam Busters Film Ursula Jeans, Basil Sydney, Patrick Barr, Ernest Clark and Derek Farr. Personally Signed by F Howkins Wireless Op 617 Sqn He took part in the Tirpitz , Dortmund – Ems Canal and Kembs Canal Dam Raids. Arthur Frank Poore DFC Lancaster Pilot with 106 and 617 Squadrons flew on raids included the Saumar Tunnel, Albert, Lyons, Etaples,Brest,Creil and the D – Day Spoof. Flying Officer Raymond .E.Grayston . took part in Operation Chastise as a flight Engineer on Les Knights Crew on Lancaster AJ-N which attacked the Eder Dam 16 to 17 May 1943 Dambuster & later on the Dortmund Ems Canel forced to bail out and became a POW and was sent to Stalag Luft 111. Flt Lt Hubert 'Hughie' Evans RAF DFC. Joined the RAFVR in January 1940 as a Wireless Operator/ Air Gunner flew in Wellington's 1st Tour with 49 Sqn at Scampton in 1941 and then joined 617 Sqn with Quinton's crew until 1944 for his 2nd tour. He was posted to 15 Sqn at Mildenhall on Experimental Bombing of U - Boat Pens. Adjutant Harry Humphries Flt Lt Administrator 617 Squadron (Dambusters) Selected by Guy Gibson to be the founder adjutant and assisted leader of the Dam Busters Raid, put the crews together for this important mission. Flt.Lt. Percy (Bill) Buttle DFC with 51 (Halifax) Sqn. Later joined 617 Sqn., navigator. Theatres of Operation Europe, Aircraft flown Stearman Biplane, Catalina, Anson, Wellington, Halifax and Lancaster . He was Navigator With Sqn Ldr Benny Goodman’s )crew from the time of his first operation with 51 Sqn until termination with 617 sqn. Rowland Smith 617 Sqn Tail Gunner with 9, 619 and 617 Squadrons. His Pilots were Stout and Knilans. Took put in many raids including the U – Boat – Pens at Brest & Lorient, Flying Bomb Sites, Attack on the Factories of Albert – France, the attack on Toulouse. Sqn Ldr L W Curtis DFC, Signals Leader on the Tirpitz mission with 617 Sqn. Also with 149, 99 & 158 Sqns and the famous 617 Dam Buster Squadron. His operations were carried out in Europe, North Africa and Russia. Whilst serving with 617 Squadron he flew with Squadron Leader Micky Martin. He flew on many aircraft, the Wellington, Halifax, Fairey Battle, Whitley, Lancaster, Stirling and Mosquito. He was awarded the DFC and Bar. by Ronald P Castleman Warrant Officer Air Gunner (crew member of Sqn Ldr Poore) Squadrons: 106, 617,Prior 106, No 10 OUT Det.St. Eval May 1943 5 Auti Sub Sweeps Bay of Biscay Theatres of operation Europe Aircraft flown Whitley, Lancaster, Wellington. Sqn Ldr J.Castagnola DSO,DFC* & Bar pilot with 617,57 Squadrons. Was on the Tirpitz, Kembs Canal ( his bomb probably demolished the western most sluice gate ) Ijmuiden, St Cyr Clermont Ferrand, D Day Spoof and Saumar Tunnel raids. Theatres of Operations Western Europe Aircraft flown Dakota, Vampire, Venom, Lancaster, Hunter. Wg Cdr J B Tait 617 Sqn Pilot led attack on the battleship Tirpitz. Awarded 4 DS0's. A. (George) Chalmers DFC, DFM Wireless operator/Air gunner on the Dams Raid, 17 May 43. F/ Sgt W C Townsend Crew 3rd Dams raid Wave Attacked Ennepe dam unsuccessfully Returned safely. Full Details enclosed Certified No 8 of 10 Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Pascaline (oder: "Arithmatique"), Replika-Rechenmaschine von Blaise PascalLegendäre erste mechanische Rechenmaschine der Welt des großen französischen Mathematikers und Philosophen, der 1623 in Clermont-Ferrand in der Auvergne geboren wurde. Bereits als Kind hatte er einige anerkannte fundamentale mathematische Lehrsätze entwickelt, zum Beispiel über geometrische Kegelschnitte. Blaise Pascal schrieb später zahlreiche mathematische Abhandlungen. Er bewies die Abhängigkeit des Luftdrucks von der Höhe des jeweiligen Ortes, diskutierte die Frage des Vakuums gegen den Willen der Naturforscher und schuf die Grundlagen für die Entwicklung der Hydraulik - heute noch gebräuchlich als "Pascal'sches Gesetz". Mit 19 Jahren entwickelte Blaise Pascal seine erste Rechenmaschine. - Die "Pascaline" ist für Addition sowie Subtraktion nach der Neuner- bzw. Zehner-Komplement-Methode (= addieren, um zu subtrahieren) konzipiert, da sie nur in einer Richtung gleichlaufende Zahnräder aufweist. - Zum Rechenvorgang: Dieser begann mit der Nullstellung aller Schaulöcher durch Verdrehen der Zifferräder. Zum Addieren wurde das an den Anzeigerollen befindliche Lineal nach oben geschoben. Die Anzeigerollen waren 2-reihig mit Ziffernfolgen gekennzeichnet. Die untere Reihe war nach rechts laufend steigend von 0 bis 9 (Addition) und in der oberen Reihe fallend von 9 bis 0 (Subtraktion) ausgelegt. Für beide Rechenarten galt also die gleiche mechanische Handhabung: Ein Stift wurde in den Speichenzwischenraum der entsprechenden Ziffer des Einstellrades eingeführt und dann bis zum Anschlag herumgedreht. Zur Umschaltung von Addition auf Subtraktion wurde lediglich das Lineal nach unten geschoben. Die Arbeitsweise blieb die gleiche. Pascals Rechenmaschinen hatten von Anbeginn bereits Zehnerübertragung und konnten auch zur Multiplikation eingesetzt werden, was allerdings einem sehr mühsamen Unterfangen gleichkam. - Blaise Pascal erhielt 1649 für seine Rechenmaschine das "Privilège Royal", und sie war damit die erste patentierte Rechenmaschine der Welt"! Außerdem war die "Pascaline" auch die erste Rechenmaschine mit automatischer Zehnerübertragung. Mit Blaise Pascal und seiner Rechenmaschine begann die Entwicklung der mechanischen Rechner, zunächst in Europa und dann weltweit, was dann schließlich nach mehr als 300 Jahren zur Erfindung des ersten Mikroprozessors führte, den "Intel 4004", der für den ersten Elektronen-Tischrechner der Welt, den "Busicom 141-PF" von 1971, entwickelt wurde. - Literatur: Stan Augarten, "Bit by Bit, An Illustrated History of Computers", 1984, S. 22-30. - Die hier angebotene Maschine ist eine sehr originalgetreue Kopie aus dem Jahr 2011. Start Price: EUR 3000 Zustand: (2/2)Working Replica of the Six-Digit "Pascaline Calculator"With lacquered-brass case, spoked digit-wheels with engraved white-metal scales corresponding (right to left) to: "Nombre Cimple", "dixaines", "Centaines", "mille", "dixaines de mille" and "Cantainnes de mille", sliding rule for changing display from addition to subtraction, brass-framed interior mechanism with six axles each carrying three lantern gears and an inscribed paper-covered drum for the display, on wood plinth with four feet and hinged flap, width 12 in. (31,5) x depth 51/8 in. (13 cm) x height 3 in. (7,8 cm). - Note: Blaise Pascal (1623-1662), mathematician, physicist and philosopher, is credited with the invention of the first mechanical calculator capable of addition and subtraction. His father, Étienne Pascal, was a lawyer and a judge in the tax court who assumed a new position as tax commissioner for Upper Normandy, based in Rouen, in 1639. France had declared war with Spain four years earlier, leading the French government to renege on part of its internal debt and to increase taxation. Étienne - assisted by his son - was under pressure to keep accurate account of the rising tax levies with only the help of counting boards. In 1642 the 19-year old Blaise began designs for a machine that would simplify his father's work. As a reviewer wrote in Le Figaro Littéraire in 1947, "the calculating machine was born of a filial love flying to the rescue of the tax man". - Pascal's first design was for a five-digit calculator; he later refined his principal by creating six and eight-digit machines. Due to the difficulty in cutting toothed gears accurately, Pascal used lantern-type gears formed by pinned wheels that could turn in one direction only. - His design was simultaneously simple and brilliant; the Pascaline could add and subtract two numbers directly and multiply and divide by repetition. The six digit-wheels on the outer case are connected to axles that each carry three lantern gears and a paper-covered drum with inscribed figures. The digit-wheels were rotated by a stylus. For addition, a sliding rule located on the number display was pushed upwards for digits from 0-9. For subtraction, the rule was pushed downwards for digits from 9-0. - The Pascaline was also revolutionary for including digital carry-over. Whenever a ten was carried, a ratchet mounted between the gears, pushed the adjacent gear around a notch, so that the display moved one digit higher. Unfortunately for its operator, a design flaw meant that the ratchets were inclined to jam - perhaps one reason why production of the Pascaline was not financially successful at 100 Livres apiece. It was, however, a mathematical sensation, leading Pascal's friend, the poet Charles Vion Dalibray, to compose a sonnet in its honor: - "... Calculation was the action of a reasonable man, And now your inimitable skill. Has given the power to the slowest of wits". - Pascal accordingly applied for a privilege (the 17th century term for a patent), which was only eventually granted in 1649, after its inventor had presented the issuing officer, Chancellor Seguier, with an 8-digit calculator of his own. - The total production of the Pascaline is not known, however, researchers estimate that no more than 20 examples were produced, of which 9 are known today. It was, nevertheless, an historic achievement, not least for demonstrating "that an apparently intellectual process like arithmetic could be performed by a machine". Its introduction led to the development of mechanical calculators in Europe and, eventually, to the invention of the very first microprocessor, the "Intel 4004", for the "Busicom 141-PF" electronic desk calculator in 1971. Understood in this way, the Pascaline is arguably world's earliest mechanical computer. - Literature: Stan Augarten, "Bit by Bit, An Illustrated History of Computers", 1984, pp. 22-30. - A historically accurate replica from 2011. Start Price: EUR 3000 Condition: (2/2)

A late 19th Century French carte de visite photograph by Alfred Gendraud in Clermont - Ferrand studio of an elderly lady sat holding rosary. Held within decorative ebonised resin frame. Measuring approximately 18cm x 13cm. 

4th-3rd millennium B.C. or later. With rectangular panel for the body, short neck and two large eyes above each with a socket to accept an insert. 1.5 grams, 19 mm (3/4 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector. [No Reserve]

Late Period, 664-332 B.C. Modelled in the round with ribbed loop above, flange and two lateral tabs. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. I, nos. 7a-p, for examples of heart amulets. 1.64 grams, 18 mm (3/4 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.According to ancient Egyptian beliefs, the heart (ib) was considered to be the centre of intelligence, emotions, and behaviour. The heart was also believed to store an individual's memories. During the Weighing of the Heart ceremony in the afterlife, the heart could speak up for the deceased and account for their lifetime of actions before Osiris. For this reason, heart amulets were placed on the mummy to safeguard the organ and ensure a favourable outcome during judgment. [No Reserve]

Late Period, 664-332 B.C. Teardrop-shaped flat pendant pierced at the broad end, with incised text to both faces. 1.70 grams, 36 mm (1 3/8 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector. [No Reserve]

Late Period, 664-332 B.C. Figurine of a naked male seated on a rectangular base, his phallus extended forward on which the harp he is playing rests; sold with a later white-glazed heart with blue finial, possibly after the antique. Cf. Petrie, W.M.F., Amulets. Illustrated by the Egyptian Collection in University College, London, 1914, pl. I, nos. 7a-p, for examples of heart amulets. 24.5 grams total, 18-44 mm (3/4 - 1 3/4 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector. [2, No Reserve]

Late Period, 664-332 B.C. With dorsal pillar, pierced for suspension. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.100(a). 1.76 grams, 25 mm (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The tyet amulet was associated with the goddess Isis and was often referred to as the knot or girdle of Isis. It was commonly placed within the mummy wrappings on the upper torso of the deceased, with the belief that it would invoke Isis' protection and safeguard the body, thus ensuring their rebirth in the afterlife. [No Reserve]

Late Period, 664-332 B.C. Square-section wadj papyrus stalk amulet surmounted by a ram's head wearing the Atef crown; the front inscribed with ankh (life) and renpet (year) hieroglyphs. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, item 25(d), for type. 1.92 grams, 39 mm (1 1/2 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The papyrus column or wadj amulet is typically made out of turquoise feldspar or faience, as is prescribed in the Book of the Dead. The word wadj, meaning “green”, evokes concepts of well-being and vitality. Papyrus amulets were often placed around the neck of the deceased to ensure eternal youth in the afterlife. The ram's head is associated with the god Amun and the Atef crown with Osiris, ruler of the Underworld. [No Reserve]

Late Period, 664-332 B.C. Each a square-section column with flared base, transverse ribs, pierced at the top. Cf. Tinius, I., Altägypten in Braunschweig. Die Sammlungen des Herzog Anton Ulrich-Museums und des Städtischen Museums, Wiesbaden, 2011, p.166, no. 322, for similar. 1.29 grams total, 23 mm each (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The djed pillar signifies the concepts of 'enduring' and 'stability' and was a common funerary amulet from the Old Kingdom onwards. It was first associated with the gods Ptah and Sokar but later became a symbol of Osiris, representing the god's backbone. In this context, the djed pillar appears in Chapter 155 of the Book of the Dead, concerned with the deceased's resurrection. [2, No Reserve]

Late Period, 664-332 B.C. Modelled resting on a tongue-shaped base with ribbed suspension loop. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.28(a). 2.15 grams, 23 mm (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.Various gods were depicted in the form of rams. The downturned horns on this amulet indicate that the ram is a representation of Amun. The ram was symbolically linked to concepts of revival and fecundity. Eventually, it became associated with Osiris and was recognised as the god's soul or ba. [No Reserve]

Late Period, 664-332 B.C. Comprising: a melon bead; double plume with inked collector's reference to the reverse 'ES.7'. 3.61 grams total, 14-23 mm (1/2 - 1 in.). Left Amulet: Brought by missionaries in the 19th century. Acquired in 1962. Ex Haeberlin collection. From a North German private collection E.S. with Gorny Mosch, Munich, Germany, 16 December 2015, 828 (Part) Right Amulet: From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector. [2, No Reserve]

Late Period, 664-332 B.C. Modelled in the round as a standing hippopotamus (Tawaret) figure on a rectangular base with loop to the rear. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.39(b). 1.98 grams, 24 mm (1 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.The goddess Tawaret was a female hippopotamus with the arms and legs of a lion and the back and tail of a crocodile. Despite her fearsome appearance, Tawaret was a household deity and protector of women in childbirth. [No Reserve]

Late Period, 664-332 B.C. Tilapia fish modelled in the round; tail restored. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, pl.93(c). 3.20 grams, 43 mm (1 3/4 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.This amulet represents a ‘Tilapia nilotica’ or ‘bolti’, a prevalent fish species found in the Nile. Not only was it esteemed for its delicious taste, but it was also revered as a symbol of rebirth and resurrection due to its unique ability to carry its eggs in its mouth, suggesting self-creation. [No Reserve]

Late Period, 664-332 B.C. Comprising a resting lioness on a rectangular base and the god Thoth in baboon form. 1.30 grams total, 12-15 mm (1/2 - 5/8 in.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.Throughout ancient Egyptian mythology, lioness goddesses played a significant role in the religious beliefs of the people. These goddesses, including Sekhmet, Bastet, and Wadjet were revered as powerful and fierce protectors. Their presence was believed to ward off evil and safeguard the people from harm. The baboon was an animal manifestation of the god Thoth. Thoth was revered for his association with knowledge, writing, and healing. It is likely that the popularity of Thoth amulets as mummy amulets is linked to his role as the recorder of the final judgment, which determined whether the deceased had lived a life of virtue. [2, No Reserve]

New Kingdom, 18th Dynasty, 1410-1372 B.C. Modelled with carapace and mouth details, the underside with hieroglyphic text giving the dedication: 'the good god, lord of the Two Lands, beloved of Amun', with the cartouche containing the throne name of Amenhotep III (Neb-Maat-Re). Cf. Newberry, P.E., Catalogue général des antiquités égyptiennes du Musée du Caire N° 36001-37521, Scarab-shaped Seals, Cairo, 1907, pl. IV, no. 36202, for a scarab with a similar layout belonging to one of Amenhotep III's predecessors. 2.53 grams, 17 mm (5/8 IN.). From the collection of Doctor Girard, a collector for over 60 years. with Hotel des Ventes de Clermont-Ferrand, 22 May 2017. Property of a French collector.

France 1813 Postal History wrapper posted to Garily? Manuscript postal rate 3 line Clermont Ferrand mileage cancel

Camus, Jean-Marie (French, 1877-1955); b. Clermont-Ferrand FRANCE, Death of Paul Brouardel, 1906, a uniface bronze plaque by J.-M. Camus, central bust left, figures of Truth, Justice and Science around, edge impressed bronze and cornucopia, 90 x 75mm, 217.17g (BM Acq. 1978-82, p.38, 26; Storer –; Brettauer –; cf. DNW 57, 1326). Very fine £50-£70 --- Provenance: Baldwin Auction, 11 February 2006, lot 475 (part) Paul Camille Hippolyte Brouardel (1837-1906) was a pathologist, hygienist, and member of the Académie Nationale de Médecine.

WW2 signed 617 sqn attack on Clermont Ferrand Michelin Factory cover signed by raid veteran Gerald Hobbs 2010 special 617 Sqn The Dambusters Scampton postmark. Number 4 of 20 issued. Info card inside. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

EVELYNE AXELL (1935-1972)Marine 1971Emaux sur plexiglas, unalit et cadre d'artisteSigné et daté en bas à droiteEmaille op plexiglas, unalit en kunstenaarslijst Gesigneerd en gedateerd rechtsonderEnamel on Plexiglas, unalit and artist's frameSigned and dated lower right131 x 169 cmFootnotes:Provenance / Herkomst König Galerie, Berlin Collection privée/ Privécollectie, BelgiqueBibliographie / Bibliografie - Marcel Moreau, Jean Antoine, Evelyne AXELL, 1978, Palais des Beaux-Arts, Bruxelles, p. 19.- Jean Antoine, et al, Evelyne Axell et les années 60. Un frisson de la vie (Het ruisen van het leven), 1997, Snoeck-Ducaju & zoon, Gent, p. 55.- Claude Lorent, Marcel Moreau, Jean Antoine, Evelyne Axell, 1935-1972: L'amazone du Pop Art. 2000, La Renaissance du Livre, Tournai, p. 28.- Claude Lorent, Sarah Wilson, Evelyne Axell: From Pop Art to Paradise = Le Pop Art Jusqu'au Paradis. 2004, Somogy, Paris, 2004, p. 141.- Evelyne Axell : Die belgische Amazone der Pop Art, Bruxelles, 2006, Communauté Française de Belgique, Cover.- Jean Antoine, Nathalie Roux, Evelyne Axell: du viol d'Ingres au retour de Tarzan. 2006, iac éditions, Roche-la-Molière, France, p. 120.- Susanne Titz, Liesbeth Decan, Axelleration, 2011, Lannoo Publishers, Tielt, p. 77.Exposition / Tentoonstelling 1971: « Axell », Palais des Beaux-Arts, Brussels1971: 'Evelyne Axell', Galerie Flat 5, Bruges1978: « Evelyne Axell », Palais des Beaux-Arts, Brussels1997: « Evelyne Axell et les années 60. Un frisson de la vie (Het ruisen van het leven) », Musée des Beaux-Arts d'Ixelles, Brussels1999: « Evelyne Axell en de jaren zestig », Provinciaal Museum voor Moderne Kunst, Ostende2000: « L'amazone du Pop Art», Centre Wallonie-Bruxelles, Paris2004: « Axell. Le Pop Art jusqu'au Paradis », Maison de la Culture de la province de Namur, Musée Provincial Félicien-Rops, Namur, Galerie Détour, Jambes, Belgium2006: 'Evelyne Axell, Die belgische Amazone der Pop Art', Fernsehturm and Belgian Embassy, Berlin2006: « Evelyne Axell, Du viol d'Ingres au retour de Tarzan », Musée d'art Roger-Quillot, Clermont-Ferrand, France2011: « Axelleration » (retrospective exhibition), Museum Abteiberg, Monchengladbach'Evelyne Axell est l'étoile filante du Pop Art en Belgique. Décédée à l'âge de 37 ans en 1972 dans un accident de voiture, elle a laissé une œuvre forte et engagée, à la fois sexy et ludique. Elle débute sa carrière devant les projecteurs, dans un univers de strass et de paillettes, avant de se tourner vers les arts plastiques. Mariée au réalisateur Jean Antoine, elle côtoie de nombreux artistes et intellectuels qui lui prodiguent des conseils et lui offrent leur soutien. René Magritte l'aide à peaufiner sa technique picturale tandis que Pierre Restany exerce une influence déterminante sur sa réflexion d'artiste femme. Ses premières œuvres sont des huiles sur toile d'une facture assez classique qui, bien que très personnelles, puisent leur inspiration chez des artistes pop tels que Rosenquist et Wesselman, tant au niveau formel qu'au niveau de la représentation qu'ils proposent de la femme, ouvertement consommable. Ces créatures, lascives et aguichantes, ne s'éloignent guère des pinups du Pop Art. Mais à la fin des années 60, Evelyne Axell s'affranchit des influences et devient nettement plus aventureuse, cherchant à travers de nouvelles techniques, sa propre façon d'évoquer le monde urbain, industriel et publicitaire cher aux artistes Pop. Elle introduit toutes sortes de matériaux à son répertoire : le clartex, une matière plastique de fabrication locale, la fourrure ou encore le plexiglas. Maîtresse de sa destinée, l'artiste se met en scène, comme dans cette « Marine » de 1971, voluptueuse en tenue d'Eve, se livrant à l'appétit du spectateur. Elle clame ainsi l'autonomie et l'autodétermination féminine, sans que le ton soit au militantisme. C'est sa manière à elle de s'engager dans le mouvement naissant de libération de la femme. Dans les dernières années de sa courte vie, Evelyne Axell s'emploie à réinventer le paradis. Avec leurs découpes de plexiglas se détachant de panneaux de bois laqués, les tableaux de cette époque sont conçus comme des décors de théâtre. Ils sont « un plaidoyer pour le bonheur, une invitation au plaisir, une proposition de retour aux origines, aux candeurs premières. Nous sommes loin ici des miasmes de la civilisation, des conflits de notre société, des revendications violentes ou feutrées de nos amazones », comme le dit joliment Jean Dypréau dans le texte de présentation de l'exposition du Palais des Beaux-Arts en 1972. Evelyne Axell was de vallende ster van de Pop Art in België. Ze stierf op 37-jarige leeftijd in 1972 bij een auto-ongeluk en liet een oeuvre na dat sterk en geëngageerd, zowel sexy als speels is. Ze begon haar carrière in de schijnwerpers, in een wereld van strass en glitter, voordat ze zich op de beeldende kunst richtte. Ze was getrouwd met filmregisseur Jean Antoine en ontmoette veel kunstenaars en intellectuelen die haar advies en steun gaven. René Magritte hielp haar haar schildertechniek te perfectioneren, terwijl Pierre Restany een beslissende invloed had op haar denken als vrouwelijk kunstenaar. Haar eerste werken waren olieverf op doek in een vrij klassieke stijl die, hoewel zeer persoonlijk, geïnspireerd was op popartiesten als Rosenquist en Wesselman, zowel wat betreft de vorm als de manier waarop ze vrouwen voorstelden als openlijk consumeerbaar. Deze wezens, wulps en verleidelijk, zijn niet ver verwijderd van de pinups van de Pop Art. Aan het einde van de jaren 60 bevrijdde Evelyne Axell zich van deze invloeden en werd ze veel avontuurlijker, waarbij ze nieuwe technieken gebruikte om haar eigen manier te vinden om de stedelijke, industriële en reclamewereld op te roepen die Pop-kunstenaars zo dierbaar was. Ze voegde allerlei materialen toe aan haar repertoire: clartex, een lokaal gemaakte kunststof, bont en plexiglas. Als meester over haar eigen lot zette de kunstenares zichzelf op het podium, zoals in deze 'Marine' uit 1971, wulps gekleed als Eva, die zich overgeeft aan de eetlust van de kijker. Op deze manier verkondigde ze vrouwelijke autonomie en zelfbeschikking, zonder een militante toon aan te slaan. Het was haar eigen manier om zich te engageren met de ontluikende vrouwenbevrijdingsbeweging.In de laatste jaren van haar korte leven begon Evelyne Axell het paradijs opnieuw uit te vinden. Met hun plexiglazen uitsneden die afsteken tegen gelakte houten panelen, werden de schilderijen uit deze periode opgevat als theatrale decors. Ze zijn 'een pleidooi voor geluk, een uitnodiging tot plezier, een voorstel om terug te keren naar onze oorsprong, naar onze oorspronkelijke openhartigheid. Hier zijn we ver van de miasma's van de beschaving, de conflicten van onze maatschappij, de gewelddadige of verstilde eisen van onze Amazones', zoals Jean Dypréau het mooi verwoordde in de tekst waarmee de tentoonstelling in het Paleis voor Schone Kunsten in 1972 werd gepresenteerd.For further information on this lot please visit Bonhams.com

SOULAGES PIERRE: (1919-2022) French painter. A.L.S., Pierre, one page, 4to, Rue des Trois Portes, Paris, n.d., to Pierre and Annick [Beres], in French. Soulages writes to his correspondents just before leaving Paris for Rodez, providing them with the address of the Hotel Broussy, and advising them on routes, ‘La route la plus courte (30 km de moins) est la plus penible - mais la plus pittoresque et passe par Clermont F., Issiore, Saint-Flour, Espalion. La meilleure et las plus rapide passe par Brive, Figeac, Decazeville’ (Translation: ‘The shortest route (30 km less) is the most arduous – but the most picturesque and passes through Clermont F., Issiore, Saint-Flour, Espalion. The best and fastest route goes through Brive, Figeac, Decazeville’). The artist concludes by stating that he will be glad to see his correspondents soon. VG Pierre Beres (1913-2008) Russian-born French bookseller, antiquarian book collector, publisher and art collector. Rodez, the birthplace of Soulages, is a small city located in the south of France, in the heart of the triangle formed by Toulouse, Clermont-Ferrand and Montpelier. The Musee Soulages was opened in Rodez in May 2014.

The 1905 VI Coupe Internationale (Gordon Bennett). A red album of original postcards divided into four sections; 47 cards depicting portraits of Thery, cars and maps of the course, published by Couty Freres (?). 66 cards depicting drivers and their cars, road views and villages published by VDC and La Havane. A run of unevenly numbered pictures of the course by La Havane of Clermont Ferrand and another grouping of 39 cards imaging the Auvergne Circuit by unknown publishers. Some duplicates. Circa 250 cards.

Cornwall/Surrey etc Special Rugby Programmes (4): What became a trio of programmes for the dramatic semi-final of 1967, which required three meetings before Surrey's eventual 14-3 win. Plus a rarity, Clermont Ferrand v Cornwall 1969. All G/VG

C H KEITH: FLYING YEARS, London, John Hamilton, circa 1937 special edition for The Aviation Book Club, original cloth worn plus ANON: WAR BIRDS DIARY OF AN UNKNOWN AVIATOR, Ill Clayton Knight, London, John Hamilton [1927] first edition, original cloth worn and soiled, ex Lib plus YPRES AND THE BATTLES OF YPRES, Clermont-Ferrand, Michelin, 1919 first edition, original cloth plus NORMAN THWAITES: VELVET AND VINEGAR, London, Grayson & Grayson, 1932 first edition, Lib cloth worn plus IAN MORRISON: GRANDFATHER LONGLEGS A LIFE AND GALLANT DEATH OF MAJOR H P SEAGRIM, London, Faber & Faber, 1947 first edition, original cloth worn, ex Lib plus ALEXANDER CLIFFORD: THREE AGAINST ROMMEL THE CAMPAIGNS OF WAVELL AUCHINLECK AND ALEXANDER, London, George G Harrap, 1943 uncorrected proof, original wraps (6)

NETSUKE EN BOIS REPRÉSENTANT ASHINAGA ET TENAGAFin du XVIIIe siècle A WOOD NETSUKE OF ASHINAGA AND TENAGALate 18th centuryAshinaga supporting Tenaga on his back, Tenaga, reaching down to grab a struggling octopus with his left hand; signed So[...]. 9.1cm (3 9/16in) high.Footnotes:木彫根付　足長手長　銘「藻[...]」　18世紀後期Provenance:Sold at Aguttes & Laurent, Clermont-Ferrand, 13 May 1982, lot 75.Purchased from Josette Schulmann, January 1985.A rare and intriguingly signed netsuke whose signature has provoked endless speculation and debate, it has previously been attributed to Mataemon. Very few examples allegedly signed by Mataemon are however known, one formerly with Max Rutherston (catalogued as signed with a cipher, rutherston.com/stock-portfolio/wood-hero-netsuke-mr1923/). Another two illustrated by Sydney L. Moss, OHYB, pp.274-279, nos.36-37. The two characters for the two Sydney Moss examples were read as 'Matain', which does not match the signature on this present lot, although the carving style is remarkably similar and of comparable quality.For further information on this lot please visit Bonhams.com

NETSUKE EN BOIS REPRÉSENTANT UN MASQUE DE KYOGENXIXe siècleA WOOD NETSUKE OF A KYOGEN MASK19th centuryThe unidentified character carved with a bemused expression, his bulging eyes looking down, his eyebrows raised and thin lips pursed; unsigned. 4.7cm (1 7/8in) high.Footnotes:木彫根付　狂言面　無銘　19世紀Provenance:Sold at Aguttes & Laurent, Clermont-Ferrand, 13 May 1982, lot 23.For further information on this lot please visit Bonhams.com

ALBERT RUTHERSTON (BRITISH 1881-1953) BILLY-SUR-ALLIERsigned Albert Rutherston 05 lower rightoil on canvas54.5 x 74cm; 21 1/2 x 29 1/4in74 x 92cm; 29 1/4 x 36 1/4in (framed) Property from the Artist’s FamilyProvenance:Capt. R. Gordon-Canning (purchased at the Leicster Galleries in 1953) Exhibited: London, Leicester Galleries (Ernest Brown & Phillips), Albert Rothenstein, 1953, no. 17Albert Rutherston (born Rothenstein), was the younger brother of better known painter William Rothenstein (see lots 34 & 35). He joined the Slade School of Art in its late 19th century heyday, when Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. Aged just sixteen, he was the youngest student by far, but he soon fell in with a gilded set of artists, befriending Augustus John (see lots 38 & 39) and William Orpen. His elder brother kept a watchful eye over his considerably younger sibling, and dubbed the trio the 'Three Musketeers'. John, Orpen and Albert first holidayed together in France in the summer of 1899, staying in Vattetot, along the Normandy coast from Etretat, where they were joined by William and the older painter Charles Conder. The following summer Albert was in Dieppe where he met Walter Sickert with Max Beerbohm. In 1904 he visited Billy-sur-Allier near Clermont-Ferrand on a painting trip with Spencer Gore, returning with Gore the following year when he completed the present oil. Rothenstein painted the town from the east beneath a threatening sky, its defensive fortress dominating the surrounding landscape. In the years that followed Albert thrived at the very heart of the avantgarde. Living at 8 Fitzroy Street in Bloomsbury, he shared a space at 19 Fitzroy Street with Sickert, brother William, Spencer Gore, Harold Gilman and Walter Russell. There they held open days to show their work on Saturday afternoons. The combined aim, as Sickert recounted, was 'to create a Salon d'automne milieu in London'. Other artists soon joined, among them Augustus John, Wyndham Lewis and J.D. Innes, and their Saturday afternoons attracted the interest of a wide range of cultural luminaries, among them Hugh Lane, Ottoline Morrell and Jacques Emile-Blanche.ARR may apply

Emailleschild Michelinum 1930, gemarkt Made in France R.C. Clermont-Ferrand sowie Hoxa? Luynes, dreifarbig emailliertes, hochrechteckiges Schild mit Firmenschriftzug und Werbeemblem, mehrere originale Bohrungen, Reste alter Montierungen, nicht komplett, Korrosionsspuren, sonst gute Erhaltung mit schönem Glanz, Z 1, Maße 83 x 34 cm.

Zoologie - Conchologie - - Pierre-Louis Duclos. Histoire Naturelle Génèrale et Particulière de tous les genres de Coquilles Univalves Marines à l'état vivant et fossile, publiée par monographies, où Description et Classification méthodique de toutes les espèces connues jusqu'à ce jour, représentées en couleur avec la figure et l'anatomie d'un assez grand nombre de mollusques nouvellement découverts. Genre Olive. Genre Colombelle. 2 Tle. in 1 Bd. Mit 48 handkolorierten lithographierten Tafeln (35 Tafeln (nummer. 1-33, 4bis u. 18bis) zur Oliva u. 13 Tafeln zur Colombelle) mit insg. 679 Muscheldarstellungen. Paris, Firmin Didot Frères und privater Verlag (Institut de France?), 1835-1840. 4 Bl., Taf. 2 Bl., Taf. Folio. Marmor. Halbkalbsleder d. Zt. mit goldgepr. RTitel u. RVerg. (berieben, etw. bestoßen). Seltene erste und vollständige Ausgabe dieser Publikation, die der Beginn einer vollständigen Abhandlung über die Meeresschnecken der Welt hätte werden sollen. Mit Ausnahme eines Teils, der nach einer fünfjährigen Verzögerung 1840 jeweils zur Oliva und zur Colombelle veröffentlicht wurden, war dies alles erschienene. - In Bibliotheken meist nur unvollständige Exemplare, der Olive-Teil oft mit nur 24 statt 35 Tafeln (Hinweis auf zwei Ausgaben?). - Dance, Shell Collecting 161. - Tomlin. Shell sales III. - BM 1254. - Caprotti 187. - Nissen, ZBI 1170. - Schierenberg cat. 82, 176 (inkompl. Kollation). - Kohn. Conus of the Southeastern United States and Caribbean (2014), S. 209f. - Der französische Malakologe Duclos (1783-1853) war Schüler und Anhänger Lamarcks und beschrieb viele Olividae und andere tropische Mollusken von vergleichsweise großer Größe. Er hatte eine Vorliebe für glatte, polierte Meeresmuscheln, wie aus dem 1854 veröffentlichten Verkaufskatalog seiner Muscheln hervorgeht. Duclos Sammlung, die 80.000 Exemplare aus der ganzen Welt umfasst und alle Molluskengruppen repräsentiert, wurde 1854 von Henri Lecoq erworben. Heute wird sie im Museum für Naturgeschichte Henri Lecoq in Clermont-Ferrand aufbewahrt und enthält Referenzstücke, die die Beschreibung neuer Arten ermöglicht haben. - Die Tafeln von Jean Gabriel Pretre und Henry Legrand gehören in Form und Farbe zu den besten des 19. Jahrhunderts. - Mit Besitzerstempel von Roberto Massimo Lawley (1818-1881), italienischer Naturforscher u. Paläontologe, bekannt für seine "Lawley Collection" (Haifischzähne). - Durchgehend papierbedingt etwas gebräunt und stockfleckig, im Text zu Beginn u. Tafeln vereinzelt stärker, insgesamt gut. 2 parts in 1 vol. With 48 hand-coloured lithographed plates (35 plates (num. 1-33, 4bis and 18bis) on the Oliva and 13 plates on the Colombelle) with a total of 679 illustrations of shells. Contemp. marbled half calf with gilt spine title (rubbed, somewhat bumped). - Rare first and complete edition of this publication, which should have been the beginning of a complete treatise on the marine gastropods of the world. With the exception of one part each on the Oliva and the Colombelle, published after a five-year delay in 1840, this was all that appeared. - In libraries mostly incomplete copies, the Olive part often with only 24 instead of 35 plates (indication of two editions?). - The French malacologist Duclos (1783-1853) was a student and follower of Lamarck and described many Olividae and other tropical molluscs of comparatively large size. He had a preference for smooth, polished marine shells, as can be seen from the sales catalogue of his shells published in 1854. Duclos' collection, which comprises 80,000 specimens from all over the world and represents all mollusc groups, was acquired by Henri Lecoq in 1854. Today it is kept in the Henri Lecoq Museum of Natural History in Clermont-Ferrand and contains reference specimens that have enabled the description of new species. - The plates by Jean Gabriel Pretre and Henry Legrand are among the best of the 19th century in terms of shape and colour. - With owner's stamp of Roberto Massimo Lawley (1818-1881), Italian naturalist and palaeontologist, known for his "Lawley Collection" (shark teeth). - Throughout somewhat browned and foxed due to the paper, in the text at the beginning and plates occasionally stronger, overall good.

RENAULT LOUIS: (1877-1944) French Industrialist. A pioneer of the automobile industry and founder of Renault. Lengthy and interesting A.L.S., Louis, four pages, 8vo, Clermont-Ferrand, 3rd February 1906, on the Hotel de l´Univers printed stationery, to his mistress Jeanne Hatto, in French. Renault sends a lengthy and warm letter to his mistress. Renault´s French text contains multiple mistakes as he stopped his studies early and based his business success on his intuition, imagination and pragmatism, and referring to his recent and his forthcoming trips, states in part `Il ne fait vraiment pas froid et la route est tres supportable derriere la glace même par ce villain temps. J´ai fait arrange la capote et il n´y a plus de courant d´air. Voici mes projets. Je compte partir Dimanche matin pour le Puy et serais surement Lundi matin chez Halger a Urrieux près St Etienne où je compte trouvé de tes nouvelles…. Si la grande Opera te lache, viens me retrouver… Si elle te lache pas la grande Opera, tache de la lacher vers le 15 Février. Mon gros choux chérie tu as ainsi que moi besoin d´un peu de repos´ ("It's really not cold and the road is very bearable behind the front car glass even with this bad weather. I have had the hood fixed and there is no more air flow. Here are my projects. I intend to leave on Sunday morning for Le Puy and will surely be by Monday morning at Halger in Urrieux near St Etienne where I expect to hear from you…. If the great Opera drops you, come and find me… If the great Opera don´t drop you, try to drop them around February 15th. My big beloved chouchou, you need a little rest as well as me") Renault further sends his kisses, and refers to her lips, to his love for her and expects that she is behaving like an angel in Paris. Accompanied by the original Hotel de l´Univers printed stationery envelope, addressed in Renault´s hand, postmarked and stamped. Left corners clipped and small tear to the centre fold, none affecting the text or signature. G Jeanne Hatto, an opera singer, was Renault´s mistress and long-time companion.    

SIDONIUS APOLLINARIS, G.S. Opera. (Ed. J. de Wouweren). Lyon, J. Pillehotte, 1598. (28), 352, 156, (4) pp. Cont. vellum w. overl sides & or. ties w. bone closure. (Bookplate on paste down, upper blank margin ti-p. cut off, lower outer corner stained at the end, slightly browned/foxed). NOTE:The late Gallo-Roman writer Saint Sidonius Apollinaris (c 431-487), born in Lyon, was Urban prefect of Rome until 469, patrician and senator and he was also the bishop of Clermont-Ferrand. His works are important because they document several political events and daily life in this period of change between Late Antiquity and the Middle Ages. - Adams S-1074.

ANNA GAULT DE SAINT GERMAN (Poland, 1760-1832).Untitled.Pencil on paper.Signed on the back.Measurements: 62 x 47 cm.Anna Gault began her training at a very young age with her father Józef Rajecki, who was a painter and was known for his portraits. Later Anna left the family home as she became the protégée of King Stanis?aw August Poniatowski of Poland. Despite continuing to paint, she was not well received by the court, but in 1783 Anna enrolled at the art school for women at the Louvre (Paris). She studied with Ludwik Marteau and Marcello Bacciarelli in Warsaw; Jean-Baptiste Greuze and possibly Élisabeth Vigée Le Brun in Paris. Later, however, he became part of the circle surrounding Jacques-Louis David. It was in Paris that she married the miniaturist, Pierre-Marie Gault de Saint-Germain.She became the first Polish woman to exhibit her work at the Salon in 1791. Although she sent many paintings to Warsaw, Bacciarelli considered few worthy of adding to the Royal Collection. She nevertheless continued to paint for the Polish royal court circle and, in Paris, received numerous commissions from the local aristocracy, thanks to the reluctant influence of the king's agent, Filippo Mazzei. During the Reign of Terror, she fled Paris for Clermont-Ferrand.

ANNA GAULT DE SAINT GERMAN (Poland, 1760-1832).Untitled.Pencil on paper.Signed on the back.Measurements: 62 x 47 cm.Anna Gault began her training at a very young age with her father Józef Rajecki, who was a painter and was known for his portraits. Later Anna left the family home as she became the protégée of King Stanis?aw August Poniatowski of Poland. Despite continuing to paint, she was not well received by the court, but in 1783 Anna enrolled at the art school for women at the Louvre (Paris). She studied with Ludwik Marteau and Marcello Bacciarelli in Warsaw; Jean-Baptiste Greuze and possibly Élisabeth Vigée Le Brun in Paris. Later, however, he became part of the circle surrounding Jacques-Louis David. It was in Paris that she married the miniaturist, Pierre-Marie Gault de Saint-Germain.She became the first Polish woman to exhibit her work at the Salon in 1791. Although she sent many paintings to Warsaw, Bacciarelli considered few worthy of adding to the Royal Collection. She nevertheless continued to paint for the Polish royal court circle and, in Paris, received numerous commissions from the local aristocracy, thanks to the reluctant influence of the king's agent, Filippo Mazzei. During the Reign of Terror, she fled Paris for Clermont-Ferrand.

ANNA GAULT DE SAINT GERMAN (Poland, 1760-1832).Untitled.Pencil on paper.Signed on the back.Measurements: 62 x 47 cm.Anna Gault began her training at a very young age with her father Józef Rajecki, who was a painter and was known for his portraits. Later Anna left the family home as she became the protégée of King Stanis?aw August Poniatowski of Poland. Despite continuing to paint, she was not well received by the court, but in 1783 Anna enrolled at the art school for women at the Louvre (Paris). She studied with Ludwik Marteau and Marcello Bacciarelli in Warsaw; Jean-Baptiste Greuze and possibly Élisabeth Vigée Le Brun in Paris. Later, however, he became part of the circle surrounding Jacques-Louis David. It was in Paris that she married the miniaturist, Pierre-Marie Gault de Saint-Germain.She became the first Polish woman to exhibit her work at the Salon in 1791. Although she sent many paintings to Warsaw, Bacciarelli considered few worthy of adding to the Royal Collection. She nevertheless continued to paint for the Polish royal court circle and, in Paris, received numerous commissions from the local aristocracy, thanks to the reluctant influence of the king's agent, Filippo Mazzei. During the Reign of Terror, she fled Paris for Clermont-Ferrand.

A French Art Deco styled clock garniture comprising of a sculpture of a seated figurine of a lady with a bird perched on her outstretched hand, the figure in spelter with a black, silver and gold finish, mounted on a stepped plinth of red, beige, black and grey contrasting marble, the inset clock presented as an octagonal dial with Art Deco numerals, hands, champagne finish, marked for retailer Haegy, Clermont Ferrand, bell striking movement, two side pieces in the form of trapezoid vases in contrasting red and beige marble. The Pendulum, bell and key are present. Centre piece measurements (H) 21.5 cm x (w) 36 cm x (D) 11 cm.Condition Report: Not currently running, there are a few small chips to the marble case and vases, predominantly to the corners, largest approximately 1 cm x 0.5 cm

2006 Clermont Ferrand Attack on the Michelin Rubber Works cover signed by H.C.Knilans DSO DFC. 1 of 18 covers. Unaddressed, fine.

RENAULT LOUIS: (1877-1944) French Industrialist. A pioneer of the automobile industry and founder of Renault. Lengthy and interesting A.L.S., Louis, four pages, 8vo, Clermont-Ferrand, 3rd February 1906, on the Hotel de l´Univers printed stationery, to his mistress Jeanne Hatto, in French. Renault sends a lengthy and warm letter to his mistress. Renault´s French text contains multiple mistakes as he stopped his studies early and based his business success on his intuition, imagination and pragmatism, and referring to his recent and his forthcoming trips, states in part `Il ne fait vraiment pas froid et la route est tres supportable derriere la glace même par ce villain temps. J´ai fait arrange la capote et il n´y a plus de courant d´air. Voici mes projets. Je compte partir Dimanche matin pour le Puy et serais surement Lundi matin chez Halger a Urrieux près St Etienne où je compte trouvé de tes nouvelles…. Si la grande Opera te lache, viens me retrouver… Si elle te lache pas la grande Opera, tache de la lacher vers le 15 Février. Mon gros choux chérie tu as ainsi que moi besoin d´un peu de repos´ (“It's really not cold and the road is very bearable behind the front car glass even with this bad weather. I have had the hood fixed and there is no more air flow. Here are my projects. I intend to leave on Sunday morning for Le Puy and will surely be by Monday morning at Halger in Urrieux near St Etienne where I expect to hear from you…. If the great Opera drops you, come and find me… If the great Opera don´t drop you, try to drop them around February 15th. My big beloved chouchou, you need a little rest as well as me”) Renault further sends his kisses, and refers to her lips, to his love for her and expects that she is behaving like an angel in Paris. Accompanied by the original Hotel de l´Univers printed stationery envelope, addressed in Renault´s hand, postmarked and stamped. Left corners clipped and small tear to the centre fold, none affecting the text or signature. G Jeanne Hatto, an opera singer, was Renault´s mistress and long-time companion.    

Catherine Reineke-Manry, Vegetabile Kompositionmoderne Darstellung eines Mangroven-Urwalds, Buntstiftzeichnung auf Papier, rechts unter der Darstellung signiert und datiert "Catherine Reineke-Manry 1988", sehr schön hinter Glas und Passepartout gerahmt, Passepartoutausschnitt ca. 37 x 49,5 cm. Künstlerinfo: frz. Malerin (geboren 1946 in Le Breuil-sur-Couze), studierte an der Kunstakademie (École Supérieure d’Art de Clermont Métropole) Clermont-Ferrand bei Alain Brayer, beteiligte sich an zahlreichen Ausstellungen, unter anderem in Pont-du-Château, Chamalières, Saint-Sauves-d’Auvergne, Brives, Clermont-Ferrand, Paris, Verneuil-en-Bourbonnais, Vichy, Volvic, Saint Germain des Fossés, Geretsried und in Istanbul sowie Lefkosa auf Zypern, erhielt diverse Preise, wie 1987 den Großen Preis von Frankreich und 1998 den Meige-Preis für Kunst und Literatur, tätig in Chamalières, Quelle: Homepage der Künstlerin.

GERARD SCHLOSSER (French born in 1931)Je suis monté jusqu'ici, 1993Coloured silkscreen on paper annotated on the bottom left and signed in pencil the bottom rightEdition of 20 copies 63 x 47 in FramedExhibition : Permanence, Pfizer Foundation, Musée des Beaux-Arts, Clermont-Ferrand, 1994 KoeR, Apacc, Montreuil, 2007

Boris Artzybasheff for Wickwire Spencer Steel Company, 25 monochrome printed American wartime propaganda posters, copyright 1943/44, loose, approx. 43 x 51cm (some edges nicked and /or pin marked); together with Maurice Busset, Avion Caproni 3 Moteurs en Panne; Ecole de Bombardement de Clermont Ferrand, 2 woodblock prints, circa 1919, printed in blue and black, mounted, 30 x 48cm

TEN ASSORTED WHISKY MINIATURESLot includes: Aberlour-Glenlivet 9 Year Old (70° Proof / 1 2/3 Fl Oz), 10 Year Old Single Malt Clermont - Ferrand for Scottish House (40% ABV / 5cl), Balblair Elements (40% ABV / 5cl), Benromach 17 Year Old Centenary (43% ABV / 5cl), Deanston 12 Year Old (40% ABV / 5cl), Glen Moray 12 Year Old (40% ABV / 5cl), Glenturret 5000 Days Old (40% ABV / 5cl), Inchmurrin (40% ABV / 5cl), Lochindaal (Bruichladdich) 10 Year Old (43% ABV / 5cl) and Old Pulteney 12 Year Old (43% ABV / 5cl).

"Pascaline" (oder: "Arithmatique"), Replika Legendäre erste mechanische Rechenmaschine der Welt des großen französischen Mathematikers und Philosophen Blaise Pascal, der 1623 in Clermont-Ferrand in der Auvergne geboren wurde. Bereits als Kind hatte er einige anerkannte fundamentale mathematische Lehrsätze entwickelt, zum Beispiel über geometrische Kegelschnitte. Blaise Pascal schrieb später zahlreiche mathematische Abhandlungen, er bewies die Abhängigkeit des Luftdrucks von der Höhe des jeweiligen Ortes, diskutierte die Frage des Vakuums gegen den Willen der Naturforscher und schuf die Grundlagen für die Entwicklung der Hydraulik ... - heute noch gültig als "Pascal'sches Gesetz". - Mit 19 Jahren entwickelte Blaise Pascal seine erste Rechenmaschine, nach zahlreichen zeitgenössischen Berichten sollen maximal 20 Stück je gebaut worden sein, wovon heute noch 9 Exemplare, ausschließlich in öffentlichen Museen, bekannt sind. - Die "Pascaline" ist für Addition sowie Subtraktion nach der Neuner- bzw. Zehner-Komp­lement-Methode (= addieren, um zu subtrahieren) konzipiert, da sie nur in einer Richtung gleichlaufende Zahnräder aufweist. - Zum Rechenvorgang: Dieser begann mit der Nullstellung aller Schaulöcher durch Verdrehen der Zifferräder. Zum Addieren wurde das an den Anzeigerollen befindliche Lineal nach oben geschoben. Die Anzeigerollen waren 2-reihig mit Ziffernfolgen gekennzeichnet. Die untere Reihe war nach rechts laufend steigend von 0 bis 9 (Addition) und in der oberen Reihe fallend von 9 bis 0 (Subtraktion) ausgelegt. Für beide Rechenarten galt also die gleiche mechanische Handhabung: Ein Stift wurde in den Speichenzwischenraum der entsprechenden Ziffer des Einstellrades eingeführt und dann bis zum Anschlag herumgedreht. Zur Umschaltung von Addition auf Subtraktion wurde lediglich das Lineal nach unten geschoben. Die Arbeitsweise blieb die gleiche. Pascals Rechenmaschinen hatten von Anbeginn bereits Zehnerübertragung und konnten auch zur Multiplikation eingesetzt werden, was allerdings einem sehr mühsamen Unterfangen gleichkam. - Blaise Pascal erhielt 1649 für seine Rechenmaschine das "Royal Privilège", sie war damit die erste patentierte Rechenmaschine der Welt! Außerdem war die "Pascaline" auch die erste Rechenmaschine mit automatischer Zehnerübertragung, wie sie auch die erste Rechenmaschine in Serienproduktion war. Mit Blaise Pascal und seiner Rechenmaschine begann die Entwicklung der mechanischen Rechner, zunächst in Europa und dann weltweit, was schließlich nach mehr als 300 Jahren zur Erfindung des ersten Mikroprozessors führte, des "Intel 4004", der für den ersten Elektronen-Tischrechner der Welt, den "Busicom 141-PF" von 1971, entwickelt wurde. Die hier offerierte "Pascaline" ist ein absolut originalgetreuer Nachbau des Originals aus der IBM-Sammlung, hergestellt von dem Ingenieur Roberto A. Guatelli um 1981. Es handelt sich um eine 8-stellige Buchhaltungsmaschine für französische Währung. Der Aufbau besteht aus 6 x 10, 1 x 20 und 1 x 12 Stellen. Die am wenigsten signifikanten Stückelungen, Sols und Deniers, befinden sich auf der rechten Seite. Der 12er-, 20er-, 10er-Übertrag erfolgt über alle Positionen problemlos! Geschützt wird die "Pascaline" durch eine Schatulle aus Nußbaumholz. - Die "Pascaline" ist zweifellos eine Riesen-Rarität von hohem kulturellen wie wissenschaftlich-technischem Wert! Start Price: EUR 7500 "Pascaline" (or "Arithmatique") Replica The "Pascaline" offered here is a faithful replica of the original from the IBM collection, by the engineer Roberto A. Guatelli c. 1981. It is an 8-digit accounting machine for French currency. The construction consists of 6 x 10, 1 x 20 and 1 x 12 digits. The least significant denominations, Sols and Deniers, are on the right hand side. The 12s, 20s, 10s carry over all positions without problem. The calculator is housed in a walnut case. -Blaise Pascal (1623-1662), mathematician, physicist and philosopher, is credited with the invention of the world's first mechanical calculator capable of addition and subtraction. His father, Étienne Pascal, was a lawyer and a judge in the tax court who assumed a new position as tax commissioner for Upper Normandy, based in Rouen, in 1639. France had declared war with Spain four years earlier, leading the French government to renege on part of its internal debt and to increase taxation. Étienne - assisted by his son - was under pressure to keep accurate account of the rising tax levies with only the help of counting boards. In 1642 the 19-year old Blaise Pascal began designs for a machine that would simplify his father's work. As a journalist wrote in "Le Figaro Littéraire" in 1947, "the calculating machine was born of a filial love flying to the rescue of the tax man". - Pascal's first design was for a five-digit calculator; he later refined his principal by creating six-, eight- and ten-digit machines. Due to the difficulty in cutting toothed gears accurately, Pascal used lantern-type gears formed by pinned wheels that could turn in one direction only. - His design was simultaneously simple and brilliant; the Pascaline could add and subtract two numbers directly and multiply and divide by repetition. The ten digit-wheels on the outer case are connected to axles that each carry three lantern gears and a paper-covered drum with inscribed figures. The digit-wheels were rotated by a stylus. For addition, a sliding rule located on the number display was pushed upwards for digits from 0 to 9. For subtraction, the rule was pushed downwards for digits from 9 to 0. - The "Pascaline" was also revolutionary for including digital carry-over. Whenever a ten was carried, a ratchet mounted between the gears, pushed the adjacent gear around a notch, so that the display moved one digit higher. Unfortunately for its operator, a design flaw meant that the ratchets were inclined to jam - perhaps one reason why production of the Pascaline was not financially successful at 100 livres apiece. It was, however, a mathematical sensation, leading Pascal's friend, the poet Charles Vion Dalibray, to compose a sonnet in its honor: "... Calculation was the action of a reasonable man, And now your inimitable skill. Has given the power to the slowest of wits". - Pascal accordingly applied for a privilege (the 17th century term for a patent), which was only eventually granted in 1649, after its inventor had presented the issuing officer, Chancellor Seguier, with an 8-digit calculator of his own. - The total production of the Pascaline is not known, however, researchers estimate that no more than twenty examples were produced, of which nine are known today. It was, nevertheless, an historic achievement, not least for demonstrating "that an apparently intellectual process like arithmetic could be performed by a machine". Its introduction led to the development of mechanical calculators in Europe and, eventually, to the invention of the very first microprocessor, the "Intel 4004", for the "Busicom 141-PF" electronic desk calculator in 1971. Understood in this way, the "Pascaline" is arguably world's earliest mechanical computer. - Literature: Stan Augarten, "Bit by Bit, An Illustrated History of Computers", 1984, pp. 22-30. Start Price: EUR 7500

Charles Camoin, 1879 Marseille – 1965 ParisFLUSS BEI LE THORONET Öl auf Leinwand. 54 x 65 cm. Links unten signiert „Ch. Camoin“, um 1919. In dekorativem Rahmen.Beigegeben eine Expertise von Mme. Grammont-Camoin, Paris, 1. März 2017, sowie ein Zertifikat des Art Loss Register. Die Archives Camoin werden das Gemälde in das in Vorbereitung befindliche Werkverzeichnis aufnehmen. Frische Grün- und Blautöne lassen den Blick des Betrachters durch ein dicht bewachsenes Flusstal schweifen. Felsen und Bäume säumen das linke und rechte Ufer des Flusses, welcher im vorderen Teil des Gemäldes eine Linksbiegung nimmt und im Hintergrund an einer hohen Felswand weiterzuführen scheint. Mit raschem Duktus gesetzte Farbtupfer und -flächen in Rose-, Ocker- und Gelbtönen deuten eine blühende Vegetation an und fügen sich zu einer Landzunge zusammen, die von links in die Bildmitte hineinragt. Mithilfe einer abstrakten Formensprache lässt Camoin einen sommerlichen Ausblick in die Natur bei Le Thoronet entstehen.Provenienz: Auktion Me Renaud, Paris, 18. Juni 1976, Lot 123 (falsche Maße, betitelt Rochers et rivières). Auktion Vassy-Jalenques, Clermont-Ferrand, 3. Dezember 2011, Lot 36. Auktion Artcurial Briest Poulain F. Tajan, Paris, 27. März 2013, Lot 315. Ausstellung: Paris, Galerie Vildrac, 1919. Limoges, Salon de la Société des Amis des Arts de Limoges, Nr. 155 (betitelt „Les Rochers“). (1271491) (10)Charles Camoin,1879 Marseille – 1965 ParisRIVER NEAR LE THORONETOil on canvas.54 x 65 cm.Signed “Ch. Camoin” lower left, ca. 1919.Accompanied by an expert’s report by Mme. Grammont-Camoin, Paris, 1 March 2017, and a certificate from the Art Loss Register. The painting will be included in the catalogue raisonné currently being prepared by Archives Camoin.Provenance:Auction Me Renaud Paris, 18 June 1976, lot 123 (incorrect dimensions, titled Rochers et rivières).Auction Vassy-Jalenques, Clermont-Ferrand, 3 December 2011, lot 36.Auction Artcurial Briest Poulain F. Tajan, Paris, 27 March 2013, lot 315.Exhibition:Paris, Galerie Vildrac, 1919.Limoges, Salon de la Société des Amis des Arts de Limoges, no. 155 (titled “Les Rochers”).

Sloter - 5 x Lola T280 slot cars including # 400210 1972 Sebring car, # 400205 in Gitanes livery, # 400203 1973 Clermont Ferrand car. All models appear Mint and come in Near Mint boxes with only minor storage marks. (5)

Paul Gayard 1807 Clermont-Ferrand - 1855 Enghien-les-Bains/Frankreich Schlafender Windhund. Bronze braun patiniert. Auf Plinthe signiert: ''Gayard'' und datiert ''1848''. 5,5 x 14 x 6 cm.

Joé Descomps ( Clermont-Ferrand, 1869-Paris, 1950). Desnudo femenino, escultura criselefantina en marfil tallado, 21,5 cm. alt. Sobre peana en mármol. Espécimen en marfil  de elefante, anterior al 1 de Julio de 1947, conforme al reglamento CE 338/97 de 9/12/1996, artículo 2w.

PELLETIER, Pierre Jacques(1869 Clermont-Ferrand - 1921 Paris) Landschaft in der Provence Öl/Leinwand. Rechts unten signiert. 65 x 92 cm. Gerahmt 83 x 110 cm. Französische Sommerlandschaft mit blühenden Kräutern und Staffage Im Himmel retuschiert. Französischer Landschaftsmaler, Schüler von Beauverie. Literatur: Vollmer.

Group of decorations,FRANCE,Legion of Honor, Officer's Cross, Third Republic model; Knight's Cross (2), July Monarchy model (missing the ribbon, and the centrepiece on the back), Third Republic model (awarded to M. Fluhr, with member's card to the SociŽtŽ d'entr'aide des membres de la LŽgion d'honneur section belge [Mutual Aid Society of the members of the Belgian Section of the Legion of Honor]); War Cross with three stars on the ribbon (2 silver and 1 bronze), back reads 1914-1917; 1914-18 commemorative war medal with VOLUNTARY ENLISTMENT bar; Medal of honour of social welfare; with a badge from the Chamber of commerce of Clermont-Ferrand Issoire by Chobillon Paris.Dents and chips in the enamel, beautiful to very beautiful condition . (7)

Joé Descomps Joé Descomps Joé Descomps (1869 Clermont-Ferrand - 1950 Paris) Miniatur-Aktstatuette einer jungen Frau mit Rosen Elfenbein, vollplastisch geschnitzt. Sign.; Würfelförmiger, anthrazitfarbener Steinsockel. Neben Dimitri Chiparus und Ferdinand Preiss zählte Descomps zu den bedeutendsten Bildhauern seiner Zeit, die sich durch Elfenbein- und Chryselephantinefiguren einen Namen machten. Ges.-H. 12 cm. Carved ivory miniature figure of a female nude on dark stone base. Signed.

Berny d'Ouville, E. (Frankreich - tätig um 1830), zugeschr., Sohn des Charles Antoine Berny d'Ouville, E. (Frankreich - tätig um 1830), zugeschr., Sohn des Charles Antoine Berny d'Ouville, E. (Frankreich - tätig um 1830), zugeschr., Sohn des Charles Antoine Claude Berny d'Ouville (1775 Clermont-Ferrand - 1842 Paris), Bildnis einer jungen Dame im vornehmen schwarzen Kleid, geschmückt mit einem breiten weißen Spitzenkragen, eine Kamee-Brosche ziert den Ausschnitt, das dunkle Haar wird von einer Nadel gehalten, eine Miniatur in hervorragender Technik gemalt, original Rahmung, vergoldeter verzierter Metallrahmen mit alten Rahmenlabel A. Blaye / Paris, 135mm x 115mm, Lit.: Jacqueline du Pasquier / L'age d'or du petit Portrait / Paris 1995, Provenienz: süddeutsche Privatsammlung

Original vintage advertising poster for Michelin tyres. Dynamic image of running Bibendum on the yellow background. Michelin is a French multinational tyre manufacturer based in Clermont-Ferrand in the Auvergne-Rhone-Alpes region of France. It is the second largest tyre manufacturer in the world after Bridgestone and larger than both Goodyear and Continental. In addition to the Michelin brand, it also owns the Kleber tyres company, Uniroyal-Goodrich Tire Company, SASCAR, Bookatable and Camso brands. Michelin is also notable for its Red and Green travel guides, its roadmaps, the Michelin stars that the Red Guide awards to restaurants for their cooking, and for its company mascot Bibendum, colloquially known as the Michelin Man. Acceptable condition, folds, creasing, tears, small paper loss at the bottom, stains, impression marks. Country of issue: France, designer: Unknown, size (cm): 80x60, year of printing: 1990s

A wood netsuke of a man with the bunbuku chagama (badger tea-kettle)By Minkoku, Edo, 19th centuryThe man with a bemused expression, holding down the bunbuku chagama in his hands, his right foot stepping on the badger's tail; signed on an inlaid tablet Minkoku. 3.4cm (1 5/16in).Footnotes:木彫根付　文福茶釜　銘「民谷」　19世紀Provenance: R. Mathieu Collection.Purchased at Aguttes, Clermont-Ferrand, 1982.Published:Ducros, NS, 1978, p.85.For further information on this lot please visit Bonhams.com

Three boxwood netsuke19th centuryThe first a simulated Bizen stoneware model of Hotei holding a fan, partially hollowed out beneath, signed on the reverse Shisui with a seal Koku, 3.4cm (1 5/16in) high; the second of Sato Tadanobu lifting a goban with one hand and the hem of his robe with the other, with painted details, signed Shuzan, 5.4cm (2 1/8in) high; the third a blind masseur strengthening his muscles by lifting a large boulder, signed Gyokkei, 3.2cm (1¼in) high. (3).Footnotes:黄楊彫根付　三点（布袋、佐藤忠信、按摩）　19世紀Provenance:The first: Purchased at Tajan, Paris, 11 March 2011, lot 66.The second: Paul Corbin Collection.The third: Purchased at Aguttes, Clermont-Ferrand, March 1982.Published:The second: Weber, KH, pl.LIX, no.6.For further information on Nagamachi Shuzan, see N. Davey, MTH, p.56.A very similar example of the third is illustrated by B. Hurtig, MNA, p.114, no.434; another is illustrated by A. Ducros, NS, 1978, p.104.For further information on this lot please visit Bonhams.com

Ex-Schlumpf and Mercedes-Benz Museum Collections1901 Panhard et Levassor Type A2 7hp Twin-Cylinder Rear-Entrance TonneauRegistration no. BS 8623Chassis no. 3114*Copies of factory Panhard-Levassor records on file*Copiously researched and fresh from extensive restoration by noted specialists*'The definitive London to Brighton car' with early start time*Dated by The Veteran Car Club of Great Britain1,648cc, Side-Valve Twin-Cylinder Phenix Inline Engine7hp, Single CarburettorThree-Speed Manual Transmission with Chain DriveFront Suspension, Fully Elliptic Leaf Spring, Rear, Semi-Elliptic Leaf SpringTwo-Wheel Contracting Band Brakes, with additional Transmission BrakeFootnotes:'...the two-cylinder car must be regarded as one of the most reliable and best-made machines of the Veteran era' – John Bolster, of the Panhard-Levassor.The dawn of the automobile may be in the Benz camp, but in many ways the Système Panhard, pioneered much of the concept of how a car was operated and continues to be today. The engine was moved to the front, beneath a 'bonnet', the transfer of speed was mechanical, cog on cog, rather than by belt, and Panhards were the first to encase their geared transmission in a 'box'. Piano style pedals were used for operating clutch and transmission brakes. First a tiller was used to operate the directional control of the car, but within a few years this was replaced with a 'steering' wheel. It all sounds obvious today, but the Panhard was the first car on which these concepts were seen. Only one main aspect shows its age, that of the transfer of power to the road by chains from the transfer 'box', this part of the mechanism would remain fashionable through the introduction of the Daimler 'Mercedes' product for at least a decade, but still to many the idea of a chain drive car remains very appealing!Type A2 Panhard-Levassors such as this magnificent example may be considered as a transitional model as they retain the Daimler-Phénix powerplant which the brand, and arguably the industry, had been built upon, but it was now mounted in a car with a lower frame and of proportions that were more user friendly. In addition to their importance and stature in the history of the automobile, in today's age of vociferous documentation and proof of history, Panhard-Levassor cars are head and shoulders above most in that the original ledgers recording their order and supply survive, definitively proving their age, which can be a challenge for some cars.This example has been extensively researched by its owner, enabling much of its fascinating history to be charted. To begin with, copies of the Panhard-Levassor ledger records describe this motor car as being built with 7hp engine number 3114 on 25 October 1901, with 'caisse carrosserie ordinaire' bodywork, being their reference to a standard rear-entrance tonneau, 'garniture en cuir noir tendue, porte arriere montante jusqu'en haut' - tight black leather trim, rear door rising to the top (confirming tonneau), and electric ignition. Today, the car sports a coachbuilder plaque for La Carrosserie Industrielle, which it has worn since at least the 1960s, who were Paris based and were more than likely the builder of its body for Panhard. The car was sold to Palais de l'Automobile – a dealing agency for a number of automobile manufacturers, situated at 219 Boulevard Peraire in Paris. Precisely who the Palais delivered 3114 to is not known, but documented through the French vehicle registration system its ensuing history starts as early as 1909, when the car was registered with the licence number '415 BB', a Bordeaux plate. Its owner at this point was one A. Kossotty a 'Constructeur & Mecanicien' of Avenue Gambetta in the town of Saintes. Beneath the annotation on the hand-written records, its next owner is Paul Cureau. As it turns out, these two gentlemen were father and son-in-law, Paul Cureau marrying Marguerite Kossotty in 1902 in Paris and later taking over Mr. Kossotty's business. It is conceivable that Cureau had bought the Panhard in Paris, and brought it with him to the Bordeaux region later, or else more likely that either had bought the car as an intriguing piece of engineering history a few years after it would have been current. It is also possible that they were responsible for the light revisions to its guise in which the car was presented to the Association des Proprietaries de Vielles Voitures Automobiles 'Les Teuf-Teuf' on 30th July 1937, by which time it can be seen to have had its rear seats removed, and its standard bonnet replaced with a more angular affair which it retains to this day. The seller surmises that perhaps Kossotty or Cureau had customised it to participate in sporting events held in that region by Le Petite Gironde. The owner in July 1937 is listed to the 'Teuf-Teuf' as Albert Streit of Cachan, a Paris suburb, who cited ownership on his application of a Hurtu car also. From this point, the Panhard was used in the club's events, notably as late as 25th June 1939 on a Paris-Rouen rally, and returned to use immediately after the war. Period film footage exists of this and other 'Vieux Tacots' parading through Paris on 1st January 1947. Its use continued through this period, it being seen on other news reel footage of 1950s events in France, in Pau, and in Paris, and a magazine article of it in Clermont-Ferrand. At some point it seems that it appeared on the radar of the Schlumpf brothers who were busy quietly amassing their huge collection on their textiles business property in Mulhouse. Although best known for more than 100 Bugattis that they accumulated, there are many veteran cars, and it is believed that the Panhard at least for a little while was one of those. A photo on file shows the car with another Schlumpf collection car in the 1960s. According to information supplied to the last but one owner when the car was purchased from the reserve collection of the Mercedes-Benz Museum via their Classic Center, it had arrived in their collection described as an 1898 (sic) Panhard, but for the reason of its Daimler engine, and had come from Schlumpf in exchange for the Silberpfeil – or Silver Arrow Grand Prix Mercedes-Benz, which remains in that collection today. Certainly, the Panhard resided with Mercedes from 1965, and emerged when included in a group deal with the Louwman Collection in 2010. It was sold as part of a separate group deal from that collection to noted Swiss Enthusiast and dealer Christoph Grohe in 2012, from whom the current owner acquired the car. Over the course of the last 7 years, the Panhard was first researched thoroughly to ensure that a restoration would be as accurate as possible, and then entrusted to experts in their respective fields. The majority of this work was carried out by the team at Tattersalls Veteran to Classic, the mechanical aspect was refurbished where necessary, including rebuilding of the engine with new bearings, repair to one of its mountings, new drive cogs, and the fitment of a modern starter motor to assist with its use. Interestingly, during this exercise the pistons were found to have domed heads, suggesting an attempt at increasing its performance. To match its build sheet, Tattersall's woodwork expert David Thompson ensured that the rear of bodywork was rebuilt to its original rear entrance tonneau design, using comparisons with a surviving factory 1901 car. At the same time the now much bowed wood members of the frame were replaced (the original bars remain with the car), and an additional transverse leaf spring which was fitted to the rear was removed, to return it to its original format. The upholstery work was undertaken by esteemed trimmer Julian Taylor of Protectus, complete with a two-piece front/rear tonneau cover in double-duck. The whole car was brush painted in period style in Brewster Green by Daniel... For further information on this lot please visit Bonhams.com

Continental - Œuvres de Messire Antoine Arnauld [...], volume VI only, Paris & Lausanne: Chez Sigismond d'Arnay & Compagnie, 1776, title-page engraved armorial vignette, allegorical headers and historiated initials engraved by George Malbeste (1754-1843), occasional woodcut vignettes of flowers and urns, rebacked and relaid contemporary calf boards, marbled edges, late 19th century ecclesiastical seal bookplate: Ex Libris R: Can: Chapman, 4to, (1); Hua ([Citizen Eustache-Antoine]), Notions Élémentaires sur le Régime Hypothécaire [...], second edition, Paris: An VII de la République Française [1799], contemporary speckled calf over papered boards, 8vo, (1); Instructions sur les Principles Vérités de La Religion, et sur les Principaux Devoirs du Christianisme [...], Clermont-Ferrand: Landriot, 1818, contemporary calf, flat six-compartment spine tooled in gilt with the Cross, Virgin Mary and the Host, Adamesque paterae and devices, lettering piece to the second-compartment, 8vo, (1); 7 19th century French novels, various imprints and dates, bound en suite in gilt-tooled blue morocco over boards, 8vo, (7); further 19th century literature, including Victor Hugo; Fournier's La Langue Française [...], thirty-third edition, Pairs: 1826, contemporary vellum, 8vo, (1); various 17th, 18th and 19th century leather bindings, various sizes; etc., [38]

Original vintage motorcycle and bicycle advertising poster for Favor Cycles & Motos Clermont Ferrand France featuring a great image of a cyclist on a bike and motorcyclist on a motorbike racing alongside each other inside a circle with stripes on the background. Acceptable condition, tears and minor loss. Country of issue: France, designer: Jean Pruniere, size (cm): 49.5x50, year of printing: 1930s

Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com

Michelin tyre interest - Cristal D'Arques frosted and clear glass Bibendum figure produced in 2000 as a souvenir solely for visitors to the original factory at Carmes in Clermont-Ferrand H19cm, boxed with visitor's folding plan Condition Report Click here for further images, condition, auction times & delivery costs

Studio of Frans Francken the Younger (Flemish, 1581–1642) The visit of the Queen of Sheba to King Solomon Oil on cradled panel 21 1/4 x 29 1/2 in. (54 x 74.9cm) PROVENANCE: Private Collection, New York, New York. NOTE: A similar composition is in the Roger Quillot Art Museum in Clermont-Ferrand, France. We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D, for their kind assistance in cataloguing the present lot.