Eckhart, Johann Georg: De origine Germanorum eorumque vetustissimis coloniis, migrationibus ac rebus gestis libri duo. Göttingen: J. W. Schmid 1750. 23 x 18 cm. Mit gest. Titelvign., 21 gest. Kupfertafeln (davon 19 gefaltet) und 5 gest. Textkupfern. 2 Bll., XXXXVIII SS., 2 Bll., 448 SS. Ldr. mit goldgepr. Rs. und reicher Rv.(Gering berieben. Teilw. etwas feuchtfleckig.)Graesse II, 459. OPAC SBN IT\ICCU\UBOE\032870. - Erste Ausgabe des posthum erschienenen Werkes zur germanischen Vor- und Frühgeschichte des Leibniz-Schülers Eccard (1664-1730). - "Noch größer und nachwirkender erscheinen die Verdienste, die sich E. als Geschichtsforscher erworben hat. Er steht neben Mascow und Leibniz an der Schwelle der neuen deutschen Geschichtsschreibung, deren hervorstechender Charakterzug die strenge Wissenschaftlichkeit, eine festere kritische Methode und das Zurückdrängen nicht zur Sache gehöriger Einflüsse bildet." (ADB V, 627 ff.).
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(Bodmer, Johann Jakob): Die Grundsätze der deutschen Sprache. Oder: Von den Bestandtheilen derselben und von dem Redesatze. Zürich: Orell, Geßner und Comp. 1768. 18,5 x 11,7 cm. 131 SS., 1 Bl. (Druckfehler). Interimsbroschur. Die Blätter größtenteils unbeschnitten.(Broschurrücken fast vollständig abgerieben, Umschlag gebräunt und fleckig. Titel und erste 3 Blatt im Oberrand blass wasserfleckig. Exlibris auf der Innenseite des Rückumschlags. Geringe Altersspuren.)Goed. IV/1, 14, 59. - Erste Ausgabe der Sprachlehre, deren Methodik und Grundsätze der Schweizer Philologe Bodmer derjenigen des Abbé Girard zur französischen Sprache entlehnt hat.
GENIUSZeitschrift für werdende und alte Kunst. Hrsg. von C. G. Heise, H. Mardersteig u. K. Pinthus. Jahrgänge I-III (alles) in 3 Bdn. München: Kurt Wolff Verlag 1919-21. 34,2 x 26 cm. Mit 16 OrGraphiken sowie zahlr. Abbildungen und Beilagen. 319; 332; 356 SS. OrHPgt. mit Rs. und goldgepr. Deckelvignette.(Leicht berieben und bestoßen, kleinere Bezugsdefekte an Ecken und Kanten. Deckel mit schwachen Kratzspuren. Vereinzelt geringe Alterspuren.)Raabe, Zeitschriften 74. Diesch 2968. - Mit 8 OrHolzschnitten von R. Seewald, F. Marc, E. Heckel, M. Kaus, F. Masereel, A. Rouveyre, K. Schmidt-Rottluff (2) und 7 OrLithographien von I. Epper, K. Caspar, A. Archipenko, G. Ehrlich, K. Hofer, A. Kanoldt und E. Scharff sowie 1 OrRadierung von H. Nauen. - „Die Sucht zum Ungewöhnlichen um jeden Preis und die sektenhafte Verstiegenheit ihrer Götzendiener hat wertvolle Beurteiler kopfscheu gemacht und die Gesamtheit der jungen Schaffenden in falschen Ruf gebracht. Die Zeit ist reif, um allem Wirrwarr der Richtungen zum Trotz Nuancen zu vergessen, das Einigende bewußt zu unterstreichen, an Stelle fantastischer Propaganda die besonnene Auswahl des Besten zu setzen, mit dem Herzen leidenschaftlich dem Neuen zugetan, aber ohne lähmende programmatische Formel, als höchsten Maßstab einzig anerkennend, ob das gebotene Werk selbst Leben hat und Leben zeugt“ (Vorwort zu Bd. I). - Die wichtigste und meistbeachtete deutsche Kunstzeitschrift unter Einbeziehung der expressionistischen Dichtung. Mit Beiträgen führender Kunsthistoriker und Vertreter des Museumswesens.
FRITZ FISCHEREDGAR ALLAN POE: Die Maske des Roten Todes. Tuschemanuskript mit 15 OrZeichnungen von F. Fischer auf Bütten. Weidach 1956. 38 x 27,3 cm. 1 Bl., 15 SS., 1 nn. S. kalligraphierter Text. Strukturierter Papierumschlag mit mont. kalligraph. Deckelschild.(Umschlag aus der Fadenheftung gelöst und am Rücken gebräunt. Innen im Bundsteg leicht gebräunt und stellenweise minimal fleckig.)Mit burlesken Zeichnungen der Maskenballteilnehmer, in deren vermeintliche Idylle sich der Rote Tod in Gestalt eines totenköpfigen Rächers mit Peitsche eingeschlichen hat. - Unikat.
A large Black Forest 'Flotenuhr' or organ clock, 19th C.H 264 - L 79,5 - D 44,5 cm Contrary to popular misconception, the genre of wood carvings known collectively as Black Forest carvings do not emanate from the Black Forest region of Southwest Germany at all. They are in fact the work of the master craftsmen of the Swiss region of Brienz, on the northern shore of Lake Brienz, situated in the south east corner of the Canton of Bern. The confusion probably stems from the fact that the rich darker woods favoured by the carvers of Brienz bear a striking similarity to the dark pines from which the Black Forest region gets its name. At the end of the Napoleonic Wars, as the continent of Europe reopened to wealthy British travellers, Lake Brienz emerged as a popular stopover for gentlemen undertaking a Grand Tour. The man credited with founding the tradition of carving in Brienz was a wood turner by the name of Christian Fischer (1790-1848). When the village was struck by famine in 1816, Fischer began adding ornate carvings to ordinary household goods, such as bowls, cups, and boxes to sell as souvenirs to tourists. His efforts proved so successful that Christian was soon able to open his own workshop where he trained fellow villagers in his art, in order to meet the growing demand. Most carvings focused on the flora and fauna of Switzerland, with bears, goats, sheep, and birds of prey much in demand, as well scenes from local life such as shepherds and Swiss cottages. In addition to purely decorative figures or group carvings, the workshops applied their skill to a wide variety of useful household items. These included ornate and highly desirable clocks, hat stands, inkwells, umbrella stands and even chairs and tables. As travellers returned home with their Grand Tour souvenirs, so in turn the reputation of the Brienz craftsmen was greatly enhanced, and the town soon became synonymous with fine wood carving. With support from the Swiss government, Brienz artists were encouraged to exhibit their works worldwide, notably winning several medals at the Great Exhibition of 1851 in London. In 1884 a School of Woodcarving was opened in Brienz, and to this day remains the only institution in Switzerland where young people can train in the art of wood carving. In 2009 the Swiss Woodcarving Museum was also opened in the town, where many of the regions finest works can be seen.
MAX SVABINSKY (1873-1964) | AUTOGRAPH WITH DRAWING (CZECH/ BOHEMIAN) | 1915 | profession: Painter | country: Czechia | signature: Original signature | size: 210 x 160 mm | technique: Ink on paper | Lot information |Hand-drawn and signed portrait of renowned Czech painter, graphic artist, and illustrator Max Svabinsky. This ink drawing on paper portrays a man wearing a historical hat, accompanied by the artist's signature and dated "6/1915". The work demonstrates Svabinsky's masterful handling of lines and his keen sense of detail.
VLADIMIR IVANOVICH REBIKOV (1866-1920) | SIGNED LETTER (RUSSIA / RUSSIAN) | Vladimir Ivanovich Rebikov (Влади́мир Ива́нович Ре́биков) | profession: Composer | country: Russia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten text with signature | Lot information |Handwritten signed letter from the prominent Russian composer Vladimir Rebikov, sent from Interlaken, Switzerland. Rebikov was a pioneer of Impressionism in Russian music and one of the first to experiment with new harmonic techniques. In the letter, Rebikov requests the sending of the music journal Dalibor, which had published a report on his concert. Original text of the letter in German: "Sehr geehrter Herr, Man hat mir geschrieben, dass in der Musikzeitung Dalibor von meinem Konzert geschrieben war. Ich bitte Sie hoflichst, das mir zuzusenden. Hochachtungsvoll, Ihr ergebener W. Rebikoff" Translation in English: "Dear Sir, I have been informed that the music journal Dalibor has written about my concert. I kindly ask you to send it to me. Respectfully, yours faithfully W. Rebikoff"
![Brontë [married name Nicholls] (Charlotte [pseud. Currer Bell], novelist, 1816-1855) 2 cabinet portrait photographs of Charlo](https://cdn.globalauctionplatform.com/9b60799e-9906-42b6-a5f7-b29d0101d393/0581c6e4-57af-4222-a76c-b29d012388db/468x382.jpg)
Brontë [married name Nicholls] (Charlotte [pseud. Currer Bell], novelist, 1816-1855) 2 cabinet portrait photographs of Charlotte Brontë, taken from the celebrated portrait by George Richmond in 1850, decorated brass frames, tarnished, housed in a leather pouch, each 65 x 52mm., [not before 1850]. *** "George Smith [publisher]... persuaded [Charlotte]... that she ought to have her portrait painted and had undertaken to pay for sittings with George Richmond... . When she arrived at the studio, she was in a state of heightened nerves and great anxiety. It needed little to push her over the brink and that little was the wretched hairpiece. George Richmond was puzzled when she removed her hat to see what he took to be a pad of brown merino on her head and, unable to imagine what its purpose was, asked her to remove it. Not surprisingly, Charlotte burst into tears of mortification. When she was finally allowed to see the finished work, she again burst into tears, exclaiming that it was so like her sister Anne." - Juliet Barker, The Brontës, p. 644, 1995.
TWO CONTINENTAL PORCELAIN PORTRAIT PLAQUES, LATE 19TH / EARLY 20TH CENTURY each hand painted, of oval form and in the manner of KPM, the larger depicting a young man in a hat, with impressed marks K2 to verso, the smaller depicting a young lady playing a mandolin, with impressed marks K12 to versothe largest 18cm x 14cmQty: 2
TWO KARL ENS CERAMIC FIGURES, EARLY TO MID 20TH CENTURY one modelled as Pierrot and Pierrette dancing, the other modelled as a gentleman with top hat, each with green stamped mark to basethe larger 26cm highEach in overall good - fair condition. Single male figure with some figures broken, another re-glued. Finge rim other hand slightly chipped. Additional images now available.
Frank Vernon Martin (1921 - 2005)"Greta Garbo", a chiaroscuro portrait of the Hollywood star richly dressed in fur and a cloche hat, gazing nonchalantly, aquatint and drypoint, signed by artist in graphite, 47/50, in double card mount and contemporary ebonised frame under glass, 71 cm x 54 cm overall[Martin was born in Dulwich, South London in 1921 and grew up attending the theatre alongside his mother, who worked as an actress in the 1920s-1930s. This sparked a lifelong fascination with the acting profession and reinforced his love of the movies, making him an avid filmgoer and inspiring numerous works later in life.The artist began studying history at Oxford, but decided to pursue an artistic career after being commissioned into the Royal Artillery in 1941. Upon his return, he enrolled in the printing department of Saint Martin's School of Art, London where he was taught by prominent etchers and wood engravers; Clifford Webb and Gertrude Hermes.He began his professional career as a freelance illustrator, wood engraver and commercial artist; illustrating fashion for The Sunday Times. He also produced works for other books, magazines and private clients; receiving eight major Folio Society commissions, designing a letterhead for British author/journalist Evelyn Waugh and creating cover illustrations for the Oxford Standard Authors series. One such Folio Society rendering, for Stendhal's Scarlet and Black, was praised as "the best series of post-war English illustrations". He taught his craft at the Camberwell School of Art, becoming Senior Lecturer and later Head of Department. He retired in 1980, devoting the last 25 years of his life to his art and producing limited-edition prints. His favourite and most renowned works, those of Hollywood actresses of the silent movie era, ooze nostalgia and present an adoration of women, their intelligence and beauty. No doubt inspired by a childhood immersed in his mother's aura and the glamour of her profession.His work is held in public and private collections worldwide. These include Tate and Victoria and Albert Museum, London and in the private collections of actor Sir Michael Caine and musician Sir Elton John.Numerous solo exhibitions include locations such as Folio Society, National Film Theatre, Lyric Theatre Hammersmith, Editions Graphiques Gallery, Atrium Gallery and the Leeds International Film Festival. ]
Three tinted Victorian ambrotype photographic portaits, depicting ladies in velvet and lace trimmed day gowns, together with two other similar examples, one of a seated lady in a feather-trimmed hat, a small dog nestled in her lap, former three in velvet-lined leather cases, largest 8.5 cm x 10 cm
Cased six piece condiment set by Mappin & Webb, Birmingham 1929, with three non-matching plated spoons and one silver spoon, two cased part sets of spoons, another of cocktail sticks, five continental silver spoons, Mexican silver hat and a silver handled cake slice, total weighable silver, 12.6ozt 292gm
Four novelty late 19th / early 20th century ceramic tobacco jars, two of barrel shape with removable figural head covers, each approx. 17.5cm high, another depicting a sailor wearing hat titled "H.M.S. Nelson", approx. 15.5cm high, and the other of a man in fez hat, approx. 15cm high. (4) Condition: older gentleman barrel shaped example with restoration and damage; man in fez hat and HMS Nelson examples with damage to lids, chips and nibbles; all with loss to paint, wear commensurate with age.
A 19th century oval porcelain portrait plaque, with hand painted depiction of a young lady in red hat and jewelled necklace, probably Continental, approx. 10.5cm x 15cm, in wooden frame. Condition: slightest loss to paint to couple of areas; no damage to porcelain portrait front, back not visible encased in frame, frame with wear and tear.
English School (19th century), Portrait of a lady in large hat and white dress, Oil, approx. 6.8cm x 8.8cm, unsigned, glazed with gilt metal mounts, in hinged elaborate Victorian wooden case with foliate design, overall approx. 10.2cm x 12.5cm. Together with a 19th century watercolour on paper of a Victorian lady in bonnet and dress, unsigned, approx. 6cm x 7.5cm, in gilt metal mount with twisted edging. (2) Condition: general wear to oil of lady, the case has missing part to front cover lower left section; other minor chips and nibbles; overall wear and marks inside commensurate with age; Other with general wear and slight loss to gilt metal surround..
A 20th century painted plaster figure of a man with tiger, approx. 37cm high, together with another figure of a man wearing hat and holding a large twin handled basket, approx. 40cm high. (2) Condition: paint loss; chips and nibbles; lots of old repairs - to basket ad one arm; filler to hat (repaired), wear. Man with tiger chipped and nibbles, wear.
A 20th century Chinese carved hardwood wall plaque model as the head of a bearded Immortal, having bone teeth and inset eyes, approx. 23cm long, together with another hardwood wall plaque also depicting an Immortal, wearing hat, also having with bone teeth and inset eyes, approx. 25.5cm long. Condition: split to one with hat on through one eye and above; some small chips and nibbles; general wear.
A novelty barrel shaped ceramic tobacco jar with gentleman in top hat top, approx. 28cm high; a novelty figural ceramic tobacco jar and cover depicted as a female, her head and shoulders removable and the fruit she is holding formed as a seperate jar and cover, approx. 27cm high, along with a smaller barrel shaped tobacco jar, Austrian made stamp to base, formed as a female in a head scarf, approx. 14.5cm high. (3) Condition: nibbles and chips to smallest female form example; loss to paint, nibbles and wear to larger barrel shaped example and some loss, chips and nibbles to other and restoration to ladies hat, wear and paint loss commensurate with age.
Hussmann, Albrecht Hinrich (Lüdingworth/Cuxhaven, Fürstenberg a.d. Weser 1874-1946) Liegendes Fohlen um 1920/30 Bronze, schwarz patiniert. Gr. 18,5×16,5×12,2 cm. Sign. u. nummeriert "Alb. Hin. Hussmann" "2604". Berliner Bildhauer, der sich auf Pferde spezialisiert hat, als Professor lehrte und regelmäßig auf der Großen Berliner Kunstausstellung ausstellte. Nach dem Krieg arbeitete er für die Porzellanmanufaktur Fürstenberg. (61287)
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