Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings. He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.
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Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist. This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).
Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez
In the manner of Ambrose Heal, an Arts & Crafts oak linen press the upper section with a pair of deeply panelled doors with elaborate stylized copper hinges, the base with two short over short over two long drawers and box plinth,125 cm wide x 51 cm deep x 206 cm highGood order generally.The left-hand door has a slight twist across it, this is held in check by the lock on the other door The interior has four trays one of which has a clumsy block repair that could be improved upon. The top edge doesn't show signs of a former cornice but could have had a boarded top as some signs of glue blocks remain.The drawers run but the top drawers will need their runners replaced soonThe bottom section has NO keys, the locks are marked HLL Patent The bottom long drawer has the right-hand swan neck is missing but the back plate remainsThe sides are front panels and drawer fronts are intact and without splits or cracks.
Children's Film Memorabilia: includes press stills and slides, lobby cards, merchandise and ephemera -Press stills include: Monsters Inc. (x10 rolled), Recess, Inspector Gadget, 102 Dalamations, Doug's First Movie, Hunchback of Notre Dame, Little Mermaid, Pocahontas, Dinosaur, Emperors New Groove (x2), and Atlantis;Press slides include: 102 Dalmations (x8), Toy Story (x4), Hunchback of Notre Dame (x3), and Fox and the Hound (x4);Lobby cards include: Mighty Joe Young, Monsters Inc. (x2), Lilo and Stitch, Princess Diaries, Inspector Gadget, Fox and the Hound, Santa Claus 2, 102 Dalmations, and Atlantis banner sets (x2);together with, two Disney Pixar first-edition hardback books, the first: KURTTI (Jeff). A Bug's Life, publisher's lenticular pictorial board, published New York: Hyperion 1998; the second: HAUSER (Tim). The art of Wall.E, forward by Andrew Stanton, dust jacket unclipped, published San Fransisco: Chronicle Books 2008; Toy Story Hero alarm clock; Ratatouille children's dining set; four Tarzan art sets; Incredibles spiral-bound notebook; Mulan completed Panini sticker-book; Monsters Inc. advertising booklet; Pocahontas mobile card display; two Herbie: Fully Loaded control cars; eight Tarzan Tantoor friendly tales plushies; Monsters Inc. book-end; Mickey Mouse Disney store watch; Buena Vista 2003 dual-time alarm clock; six Chicken Little egg lights; Finding Nemo child's long-sleeved t-shirt with Man Hunter to front, size medium; Jungle Book 2 Storybook; Jungle Book 2 The Big Jungle Hunt; Disney Fairies woven bracelet with fairy pendant; Monsters Inc child wrist watch; four Topolino Micky Mouse figures 150, 119, 136, and 140/1000 with COA; Night at the Museum torch in case; Goal Addidas X Goal backpack, and a Wild backpack. (88) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
Political & Cricketing interest: two framed signed Surrey Cricket Club bats (full sized), each signed by prominent Conservative and Labour MPs, to include former Prime Ministers John Major, Gordon Brown and Tony Blair, as well as Douglas Hurd, Michael Howard, Jonathan Aitken, John Redwood, Michael Portillo, Malcolm Rifkind, Virginia Bottomley, John Prescott, Robin Cook, Mo Mowlam, Harriet Harman, Jack Straw and others, together with, 'The Bradman Albums': Volumes One and Two, published by Queen Anne Press, within slipcase.Qty: 3From the estate of the late Tony Berry, former Deputy Chairman of Tottenham Hotspur FC
Film Memorabilia: includes press stills, lobby cards and merchandise -Press stills include: High Heels and Low Lives (x2), Coyote Ugly, Scary Movie One, Little Voice, Mansfield Park, Very Annie Mary, High Fidelity, The Next Best Thing, Metro, End of Days, Hotel Splendide, Leon, The Rock, Deception, Gangster Number One, Sex, Instinct, Power, The Hurricane, Come in 60 Seconds, Cop-Land, Dracula and Brother;Lobby cards include: Operation Dumbo Drop, The Count of Monte Cristo (x2), Royal Tennabaums (x2), Instinct, Coyote Ugly, End of Days, House Guest, Holy Man, Keeping Faith, While You Were Sleeping, Bad Company, The Next Best Thing, The Rock, Signs, Insomnia, Sixth Sense, Snake Eyes, and Metro;together with, two Recruit men's grooming kits; two End of Days watches; two A Good Year wine bags; Lord of the Rings Two Towers watch; Starsky and Hutch Ford Grand Torino 1:18 scale model car with COA, and a Borat bathing suit. (53) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
BINDING SETS: 1- Walpole, Horace: The Works in 5 Vols. Robinson, 1798, 1st. Edn. 4to. With plates & plans, some folding. Cont. full calf gilt; One volume with hinges cracked; 2- Hooker, R: the works, 3 vols. Clarendon Press, Oxford, 1807. Leather binding; 3- Montagu, M: Letters of Mrs. Elizabeth Montagu. 4 vols. Cadell, 1809-13; 4- Alfred Tennyson: The Works, 11 vols. In the original box. (13)
YEATS, W.B: The Collected Works in Verse and Prose, in 8 volumes. Shakespeare Head Press, Stratford-on-Avon, 1908, 1st. Edn. With four portrait frontispieces. Original cloth backed boards with the nameplate to the pastedown of each volume, of Dorothea Mackellar [Isobel Marion Dorothea Mackellar OBE was an Australian poet and fiction writer]. Many pages unopened. A good set. (8)
Leonard Beaumont: ART FROM LINOLEUM. Printed by C Woollons & Sons Sheffield, published by the Book Room Library Press, Sheffield, 1932. The book, comprising six linocuts ('Two Members of the Swiss Alpine club', 'The curfew', 'Grinders', 'Marchers', 'The Typist' and 'Factory Chimneys'), one printed in colours pasted to the front cover. Original wrappers, VG
CHARTERIS, Leslie (The SAINT- 16 books, all Signed and Inscribed to Beryl), Plus a Signed typed letter: 1- The Saint's Choice. 1967, 1st UK edn; 2- The Saint and the Fiction Makers. 1968, 1st US edn; 3- The Saint and the People Importers, 1971, 1st UK edn; 4- The Saint and the People Importers, 1972, 1st US edn; 5- The Saint's Getaway. White Lion Publishers, 1973; 6- Catch the Saint, 1975, 1st US edn; 7- The Saint around the World. White Lion Publishers, 1976; 8- the Saint and the Hapsburg Necklace, 1976, 1st US edn; 9- Send for the Saint: The Midas Double and The Pawn Gambit, 1978, 1st US edn; 10- the Saint and the Templar Treasure, 1979, 1st US edn; 11- Count on the Saint: The Pastor's problem and the Unsaintly Santa., 1980, 1st US edn; 12- Catch the Saint. Magna print books, 1980, large print edition; 13- The Fantastic Saint, 1982, 1st US edn; 14- The Saint: Five complete Novels, 1983, 1st US edn. Thus; 15- Salvage for the Saint, 1983, 1st UK edn; 16- The Saint in Pursuit. Chivers Press, 1986, large print edition. All Very Good+/Fine copies, with Dust Jackets (Except for the two 'large print', which were not issued with DWs?. plus: TLS: A charming letter sent On his letter headed paper, 19 August 78. 'Dear Beryl, I had this book signed and wrapped…' Goes on to praise her 'steak-&-kidney pie that we love so much. It must still be the best in the world...' 22 lines, and signed Leslie & Audrey (16+1)
Easton Press: A New, Authentic, and Complete Collection of Voyages Round the World, Undertaken and Performed by Royal Authority…l Account of Captain Cook's First, Second, Third and Last Voyages, 2 Vols. Limited edition, No. 324 of 800; Baudelaire; R Wild (ill): Petits Poemes en prose. 1942, Numbered Limited edition, Signed binding; Boeck, W: Picasso. Barcelona, 1958, (4)
Carel Weight. Helen Roeder (ed.): The Curious Captain. Letters to Helen Roeder. Camberwell School of Art and Crafts, 1989. Limited edition # 5 of 180, SIGNED by Weight, Roeder & Eileen Hogan (director the Camberwell Press). ALSO the title page Inscribed 'with best wishes, Carel Weight, Nov. 1994'; Evans, Mike: The Beats: From Kerouac to Kesey. 1st. Edn. DW. Inscribed & Signed by author, fine; Young, Christopher: Sea signs, notes to nature, and miscellaneous poems. English publishing co. no date (1890) Inscribed: 'With the author's kind regards, 14-4-90' Has a poem relating to the victims of Jack the Ripper (page 84). Original boards gilt; Frank Richards: Thanks To Bunter, Cassell, 1964, 1st. Edn. DW (11/ 6), Good; and Fleming, Ian: The Man with the Golden Gun. Cape, 1965, 1st. Edn. DW (18s). Edges of dw a little frayed. VG. (5)
BIBLES: BIBLES: 1- D'oyly, George & Richard Mant: The Holy Bible, According to The Authorized Version; 2 vols. Oxford, Clarendon Press, 4to. Folding map & Plates. Cont. full leather with gilt decoration and aeg. VG; 2- Richard Mant: Book of Common Prayer. Oxford, 1820. Cont. full leather, aeg; 3- Novum Testamentum Graecum. J Nichols, 1783, 2nd. Edn. 4to. Near cont. full leather, aeg; VG; 4- Book of common prayer; Etc. (Qty)
FLEECE PRESS: Garwood (Tirzah): Long Live Great Bardfield, & Love to You All The Autobiography of Tirzah Garwood. (2012). Limited edition of 550 copies. With Eileen Garwood's bookplate; Plus a couple of The Fleece Press publication announcements, including: Richard Bawden, his life and work. Very Good/fine; Anne Ullmann (Compiled by): The Wood-Engravings of Tirzah Ravilious. Gordon Fraser Gallery, London, 1987. Limited edition # 287 of 1000. Original wrapper, partially faded. (2)
Photography (SIGNED): Redfern, David: The Unclosed Eye: The Music Photography of David Redfern. Expanded Edn. Dw. Signed by Redfern. 4to. Fine; Robert Altman (photo): The Sixties. Santa Monica Press, 2007, 1st. Edn. DW. SIGNED by Altman, 4to. Fine; Mankowitz, Gered: The Experience: Jimi Hendrix at Mason's Yard. 2010, 1st. Edn. DW. Inscribed and Signed by Mankowitz. 4to. Fine, Plus a 'Bowstir Ltd' Headed paper, 4 lines, also signed; Mick Rock exposed: the faces of rock 'n' roll. San Francisco: Chronicle Books, 2010 1st. Edn. DW. Front black endpaper SIGNED in bold Silver by Mick Rock, Fine; Nobby Clark's Theatre: 25 Years of Photographs. 1994, Signed. 4to. Soft covers, fine; Goodbye Look: Photo Designs of Hipgnosis (6)
Eric RAVILIOUS (ill): 1- Proof? Bookplate by Ravilious for Roger Beban, pasted to front pastedown of: David Wooster: Alpine plants. 1872, 1st. Edn. With 54 colour plates. Cont. half leather, rubbed; 2- British Art: BBC Talks Pamphlet. The Kynoch Press, 1934, 1st. Edn. Pictorial boards by Ravilious; VG+/Fine; 3- Ravilious; Gill; etc (ill): IMAGE: 5, English wood engraving 1900-1950. 1st. Edn. Original card covers and DW, VG; 4- Powers, Alan: Eric Ravilious: Imagined Realities. Imperial War Museum, 2003. Title page SIGNED by Powers. 4to. Card covers; Fine; 5- Russell, James: Ravilious. Dulwich Picture Gallery, 2015, 1st. 4to. Original card covers; Fine; 6- Russell, James: Ravilious in Pictures: Sussex and the Downs. Mainstone Press, Norwich, 2009, 1st. Edn. DW, Fine; 7- Binyon, Helen: Eric Ravilious: Memoir of an Artist. Lutterworth Press, 1983, 1st. Edn. DW. VG+; PLUS: John PIPER (ill): Richards, J.M: The Castles on the Ground. 1946, 1st. Edn. DW (with a few tears); & English Scottish and Welsh Landscape 1700 - c.1860. 1944, 1st. End. Pictorial boards; rubbed. (9)
Edward BAWDEN (ill): 1- Hoyle, Walter & Olive Cook: To Sicily with Edward Bawden. Previous Parrot Press, Oxford, 1998, Limited edition, #183 of 350 copies, SIGNED by Hoyle & cook. 4to. Original pictorial boards, VG; 2- Noel Carrington: Life in an English Village. King Penguin, 1949, 1st. Edn. VG; 3- Another copy, Spine torn, with loss; o/w VG; 4- BBC Year Book - 1947, 1st. Edn. DW; 5- Saunders, G: Bawden, Ravilious and the Artists of Great Bardfield. V&A, 2015, 1st. Edn. DW. (5)
Charles DARWIN- Order of the Proceedings at the Darwin Celebration, Held at Cambridge June 22 - June 24, 1909. With a Sketch of Darwin's Life. Cambridge University Press, 1909, 1st. edn. Francis Darwin’s copy, with his name & date 1909 to front blank. [Francis Darwin was a botanist & the third son of Charles Darwin, There is a court in Cambridge named after him].
Ravilious, Eric (ill); Mais, S.P.B: The Royal Jubilee 1935: Thrice Welcome. Southern Railway Of England, London, 1935, 1st. Edn. With a folding map. Stiff card covers with Ravilious wood engraved Crown & Sceptre paper cover. PP.41. Printed at The Curwen Press. Three essays by S.P.B. Mais, Charles Graves and D.I. Frazer Harris. Very Good+
BINDING/Roman: Murphy: The Works of Cornelius Tacitus, in 4 vols. 1793-4, cont. full leather; Mommsen, T; W P Dickson (Transl): History of Rome, in 4 volumes. Bentley, 1868. Cont. full calf with gilt crests to upper cover. VG; Gell, W: Pompeiana: The Topography, Edifices and Ornaments of Pompeii, the Result of Excavations since 1819. Two Volumes. Jennings, 1832; Letarouilly, Paul: Edifices De Rome Moderne - Six parts (The Scopas Series) complete in five volumes, Tiranti, 1828. 4to. Original boards; Crusins: The Lives of the Roman Poets, in 2 vols. 1726-1732, Cont. full panelled calf & later spines. VG; Roma Sotterranea Or Some Account Of The Roman Catacombs 1869. Full leather; Melmoth: Cicero's familiar letters, in 3 vols. Dodsley, 1789. Cont. full calf; Stobart: The Grandeur That Was Rome; Adam: Roman Antiquities. 1819. Cont. full tree calf & later spine; The Walpole Press: The Roman Empresses, in 2 vols. 1899, Limited edn. 488/1000 original cloth; Bound Pamphlet: Henshaw: Roman antiquities. 1843. With a folding plate. (26)
Tafelaufsatz, Jugendstil,Laeuger Karlsruhe um 1920. Roter Scherben, hellgelb glasiert, grün bemalt, schwarzes Schlicker-Überdekor. Tiefe, rd. Schale m. ausschwingendem Rand auf auslaufendem Rundfuß. Wandung außen m. stilis. Blattdekor m. gezackten Kanten, d. Untergrund m. Linien- zeichnung. Am Boden Wappen-Pressmarke, Press-Schriftzüge "Prof. Läuger" u. "Made in Germany", Pressnr. Lippenrand m. kl. Chip u. 2 kl. rep. Chips. D 22,2 cmart deco, Badisches Wappen, grün, Keramik, Schlickermalerei, Schwarz
Speise-/ Kaffee-Service für 8 bzw. 12 Pers.,Meissen 2. Hälfte 20. Jh. Teils II. Wahl. Dekor "Feldblume" auf Form "Neuer Ausschnitt", Goldrand. Am Boden Schwertermarke (teils m. Schleifstrichen), Press- u. Malernr., Jahreszeichen (f. 1963-'88). Best. aus: Speise (II. Wahl): 8 Vorspeiseteller, 8 Speiseteller (1 x I. W.), 8 Suppenteller, rd. Terrine, kl. quadrat. Schüssel, ov. Platte, rd. Platte, Saucière; Kaffee (I. Wahl): 12 Kaffee- tassen m. UT, 12 Gebäckteller, Kaffeekanne, Sahnegießer, Zuckerdose, rd. Kuchenplatte, rd. Gebäckschale, zus. 70 Teile. Bouquets d. Dekors bei Gebäcktellern u. Kuchenplatte seitl. platziert, an restl. Teilen (falls mögl.) mittig, 1 UT m. kl. Chip.bunt, farbig, Feldblume, Neuer Ausschnitt, Schwertermarke
"Holländerin im Regen", Meissen um 1920.V. Wahl. Entw.: Philippe Lange. In Schritt- stellung, d. gebeugte Haupt m. heraufgezogenem Überrock schützend, m. d. Händen haltend. Auf kl. Rundsockel, verso an Kante sign. "P. Lange". Reduzierte Staffage in Blau- u. Grau-Tönen. Am Boden Schwertermarke m. 5 Schleifstrichen, Press- u. Malernr., Modellnr. "B 261". Gesicht m. Krakelée, Sockelkante m. Glasurfehlern. H 28,5 cmB 261, blau, Frau, Genre, Jugendstil, Philippe Lange, Schwertermarke, Tuch
Tee-Service für 6 Pers.,Nymphenburg um 1940. Form "Lotos", Entw.: Wolfgang v. Wersin. Hellbeiger Fond, d. Kanten u. Henkel m. feinen hellgrauen Streifen. Am Boden grünes Rauten- schild, Press-Rautenschild, Press- u. Malernr. Best. aus: 6 Teetassen m. UT, 6 Kuchenteller, Teekanne, Sahnegießer, Zuckerdose, kl. rechteckiges Tablett, zus. 22 Teile. 1 Tassenlippe m. kl. Chip.art deco, beige, Lotos, Rautenschild, Wolfgang von Wersin
Satz von 3 Amoretten aus der "L-Serie",Meissen Ende 19. Jh. Entw.: Heinrich Schwabe. Jew. Putto, auf versch. Weise m. Herzen beschäftigt. Jew. auf rd. Stand m. naturalist. Oberfläche u. gekehltem Rund- sockel. Am Boden jew. Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. Gold jew. oberflächlich berieben. a) "Amor als Herzschmied": m. Schürze an Ambos stehend, Hand m. Hammer hoch erhoben. Modellnr. "L 114". H 19 cm b) "Amor als Philisoph": auf Felsen m. Tuch sitzend, ein Herz in d. Hand, ein anderes entflammt am Boden. Modellnr. "L 103". Hand m. Redegestus restaur., Standkante m. minim. Chip. H 16,4 cm c) "Amor, das Feuer entfachend": auf Baum- stumpf m. Tuch sitzend, m. Blasebalg d. beiden brennenden Herzen vor ihm am Boden be- arbeitend. Modellnr. "L 108". Blasebalg-Griff m. minim. Brandriß, Standkante m. minim. Chip. H 18,2 cmHeinrich Schwabe, Herz, L 103, L 108, L 114, L-Serie, Putto, Schwertermarke
"Der Jongleur", Meissen 1976.Entw.: Peter Strang. Auf Postament sitzender Clown, eine Hand hoch erhoben, m. 5 Zwiebel- muster-Tellern jonglierend, zu seinen Füßen versch. Kegel u. Kugeln. Am Boden Schwer- termarke, Press- u. Malernr., Jahreszeichen (f. 1976), Modellnr. "60460". H 26,8 cm60460, Clown, Harlekin, Peter Strang, Schwertermarke, Teller, Zwiebelmuster
Eule, Meissen 1997.Entw.: Max Esser (1921). Weiß glasiert. Auf glockenförm. Sockel m. fein gebogter Kante sitzender Vogel, d. Bick gesenkt. Verso am Sockel bez."M. Esser". Am Boden Schwerter- marke (m. 1 Schleifstrich f. minim. Mängel), Press-Schwertermarke m. "weiß", Pressnr., Jahreszeichen (f. 1997). Sockelkante unten m. minim. Formfehler. H 35,8 cmMax Esser, Schwertermarke, Tiere, Vogel, weiß
Kl. Skulptur Miguel Berrocal(1933 Villanueva de Algaidas - 2006 Antequera) "Mini David", um 1970. Expl. 1206/ 10.000. Zinn u. Zink, vernickelt. Puzzle-artig zus.gesetzte Elemente, einen männl. Torso bildend. In Rundsockel eingesteckt. Arm-Ansatz m. Press-Sign. "berrocal" u. Schlag- stempel-Nr. "1206". In orig. Styropor-Box-Torso m. Einsätzen f. Einzelteile sowie d. zus.gebaute Skulptur. Skulptur berieben, Box m. alters- gemäßen Gebr.spuren. Skulptur H 14 cm, Box Ges.L 33 cmAkt, Exemplar, Mann, Puzzle, signiert, Spanien
Mokka-Service für 6 Pers., Meissen um 1976.Dekor "Jägerlatein" auf Form "Gr. Ausschnitt". Goldrand, -staffage. Am Boden Schwertermarke, Press- u. Malernr., Jahreszeichen (f. 1976 u. '77). Best. aus: 6 Tassen m. UT, 6 Gebäckteller, Mokkakanne, Sahnegießer, Zuckerschale, zus. 21 Teile.bunt, farbig, Figurenszenen, Großer Ausschnitt, Heinz Werner, Jägerlatein, Jagd
Konvolut Tischdekor- und Serviceteile"Bayrisches Königsservice", Nymphenburg Ende 20. Jh. Entw.: D. Auliczek. Form "Perl". Facettierte Formen m. typ. Perl-Relief-Kante in gold-blau, d. Flächen m. Schleifen-bekrönten Medaillons m. Grisaille-Ansichten, Goldzweig-gerahmt. Am Boden grünes Rautenschild (teils m. "A" f. nach 1972), Press-Rautenschild, Press- u. Malernr., teils Titel d. Motivs. Best. aus: rd. Terrine, gr. rd. Schale (nur Pressmarke), Eisbehälter m. Ein- satz, ov. Platte, 2 Tassen m. UT, kl. Kelchvase, zus. 11 Teile. Prov.: Sammlung Ingeborg Schäffler-Wolf, Heilbronn.Ansicht, blau, Dominikus Auliczek, Grisaille, München, oktogonal, Perl, Rautenschild
Amor, zwei Herzen durchbohrend,Meissen um 1900. Entw.: Joh. Pollak. An Baumstütze m. Tuch- draperie stehend, in leicht gebeugter Haltung m. beiden Händen kräftig einen Pfeil durch zwei Herzen stoßend, am Boden zw. d. Füßen d. Köcher m. Pfeilen. Auf gr. Rundsockel m. gekehlter Kante. Am Boden Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. "M 116". 1 Flügel minim. berieben. H 27 cmAmor, Herz, Johann Pollak, M 116, Pfeile, Putto, Schwertermarke
Konvolut Serviceteile, Meissen Ende 20. Jh.Meist I. Wahl. "Zwiebelmuster" auf Form "Neuer Ausschnitt". Am Boden Schwertermarke (wenige Teile m. Schleifstrich f. minim. Mängel o. II. Wahl), Press- u. Malernr., teils Jahreszeichen (u.a. f. 1991). Best. aus: Kaffee/ Tee: 6 Kaffee- tassen m. 5 UT (1 x II. Wahl), 6 Teetassen m. 5 UT, 6 Kuchenteller, Teekanne, Kaffeekanne, Sahnegießer, Zuckerdose, Königskuchenplatte; Speise: 6 Vorspeiseteller, 2 Speiseteller, 3 Suppenteller, rechteckige Butterdose, 3 Ge- würzstreuer (1 x II. Wahl); sowie: Zuckerschale, 2 kl. Leuchter, flacher Deckel zusätzl., zus. 52 Teile. 2 x Kaffeetassen-Lippe m. kl. Chip/ 3 x UT- Kante m. Chip, 1 x Tee-UT m. Chip/ Haarriß, Teekannen-Deckel zu klein/ Knauf minim. bestoßen, Zuckerdosen-Deckelknauf minim. bestoßen, 2 x Streuer-Stand minim. bestoßen/ 1 Deckel fehlt, Zuckerschalen-Lippe m. minim. Chip.blau, Neuer Ausschnitt, Schwertermarke, Zwiebelmuster
Ovales Tablett und gr. Tasse mit UT,Nymphenburg 2. Hälfte 20. Jh. Jew. am Boden grünes Rautenschild m. "A" (nach 1972), Press-Rautenschild, Press- u. Malernr. Tablett: Hoher, leicht schräger Rand, zu kl. mittigen Spitzen bzw. Volutenhenkeln auf- schwingend. Großflächig vergoldet. Gold minim. berieben. L 33,2 cm Tasse m. UT: Halbkugelige Tasse m. ge- spaltenem Asthenkel, UT m. breit gemuldeter Fahne. Jew. kobaltblauer Fond m. Goldrändern, Henkel gold staffiert. UT m. moderner Ovalmarke "Porzellan Manufaktur Nymphenburg" m. "F". UT D 17,8 cmkobaltblau, Rautenschild, schlicht, vergoldet
Porzellanträger, Meissen 1983.Jugendstil-Entw. v. Theodor Eichler. Mann in Schrittstellung, m. beiden Händen d. auf d. Kopf balacierte Tablett m. versch. Porz.figuren (da- runter u.a. "Ziege auf Milchschale") stützend, hinter ihm am Boden Holzkiste m. kl. Vogel- schale. Auf quadrat. Sockelplatte. Am Boden Schwertermarke, Press- u. Malernr., Jahres- zeichen (f. 1983), Modellnr. "60553". Vogelschale restaur. H 19,5 cm Aus einer Serie zu Tätigkeiten in d. Porzellanmanufaktur.Handwerk, Jugendstil, Mann, Schwertermarke, Serie, Theodor Eichler, Ziege
Kaffee-Service für 6 Pers., Meissen um 1967."Marseille"-Relief m. kupfergrünen Blumen- bouquets, ebensolchen Blütenzweigen u. ange- spitztem Goldrand. Am Boden Schwertermarke, Press- u. Malernr., teils Jahreszeichen (u.a. f. 1967 u. '68). Best. aus: 6 Tassen m. UT, 6 Ge- bäckteller, Kaffeekanne, Sahnegießer, ov. Zuckerdose, zus. 21 Teile. 1 x UT-Standring m. minim. Chip, Kannen- Deckelknauf minim. bestoßen.Blumenbouquet, Kupfergrün, Marseille-Relief, Schwertermarke
Allegorische Gruppe "Die Malerei",Meissen um 1860. Entw.: M.V. Acier. An Staffelei sitzende Amorette, ein Bild malend, v. 2 weiteren Amoretten begleitet, eine stehend m. Mappe, d. andere am Boden sitzend. Unter d. Staffelei Kasten m. Malutensilien. Auf unregelmäßigem Felssockel m. stark geschweifter Kante m. Lorbeer u. Goldspiralen-Dekor. Am Boden Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. "N 5". 1 Band d. Lorbeers bestoßen, restaur.: Pinsel, Kasten, 1 Band d. Lorbeers. H 18,8 cmAmorette, Maler, Michel Victor Acier, N 5, Pinsel, Staffelei, Putti, Schwertermarke
Speise-/ Kaffee-Service für 8-14 Pers.,Meissen um 1940 und 1990. "Alt-Ozier"-Relief m. Tulpenbouquets u. feinen Goldspitzen an Kante d. Spiegels. Am Boden Schwertermarke, Press- u. teils Malernr., an wenigen Teilen Jahreszeichen (f. 1990). Best. aus: Speise: 14 Speiseteller, 11 Suppenteller, 10 Brotteller, 2 rd. Terrinen, ov. Terrine, quadrat. Schüssel, 4 versch. ov. Platten, 2 rd. Schalen, 2 ov. Schalen, 2 Saucièren; Kaffee: 8 Kaffee- tassen m. UT (jew. Jahreszeichen f. 1990), 12 Kuchenteller, rd. Platte, zus. 78 Teile. Wenige Teile m. minim. gelblichem Scherben (wohl dat. bedingt), 1 Speiseteller m. Chip, 1 Suppenteller m. Chip, 2 Brotteller m. Chip/ 1 x Sprung, Schüssel m. Sprung, 1 rd. Schale m. Sprung, Saucière m. minim. Chip am Ausguß, 2 Kuchenteller m. Chip.Alt-Ozier-Relief, Goldspitze, Schwertermarke, Tulpen
Satz von 2 Tellern mit Kakiemon-Dekor,Meissen 20. Jh. 1 x I. Wahl. Form "Neuer Ausschnitt" m. farbigem Dekor im Kakiemon-Stil u. Goldrand. Jew. am Boden Schwertermarke (1 x m. Punkt f. Pfeiffer- zeit u. Schleifstrichen f. IV. Wahl), Press- u. Malernr. Best. aus: Kuchenteller "Schmetterling auf Zweig" (IV. Wahl), Speiseteller "Drei Freunde". D 21,4 bzw. 25,5 cmbunt, farbig, Drei Freunde, Kakiemon, Schmetterlinge, Schwertermarke
Kaffee-Service für 11-12 Pers.,Nymphenburg 2. Hälfte 20. Jh. Bunte Blumenbouqets u. Streublüten auf Flecht- relief. Goldrand. Am Boden grünes Rautenschild, teils Press-Rautenschild, Malernr. Best. aus: 12 Kaffeetassen m. 11 UT, 12 Mokkatassen m. UT, 11 Gebäckteller, Kaffeekanne, Teekanne, Milchkännchen, Zuckerdose, Butterdose, Konfitürendose, ov. Gebäckplatte, rd. Kuchen- platte, zus. 66 Teile. 1 Kaffeetasse m. kl. Chip, Milchkännchen bestoßen/ Henkel def.Blumen, Flechtrelief, München, Rautenschild
Allegorische Gruppe "Die Astronomie",Meissen um 1900. Entw.: M.V. Acier. An dreieckigem Klauenfuß- Tisch sitzender Putto, durch ein Fernglas blickend, vor d. Tisch am Boden weiterer Putto, am Himmelsglobus arbeitend, in d. Hand ein Blatt m. Sternbild. Auf Ovalsockel m. Grasoberfläche. Am Boden Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. "C 46". Fernglas m. Gestell u. 1 Finger, 1 Schulter, 1 Flügel sowie Zirkel restaur., Stand m. minim. Chip. H 14,5 cmC 46, Fernrohr, Himmelsglobus, Michel Victor Acier, Putti, Schwertermarke, Stern
Prunk-Kaffeeservice für 12 Pers.,Meissen um 1990. "X-Form" m. matt- u. glanz-vergoldetem Relief. Am Boden Schwertermarke, Press- u. Malernr., Jahreszeichen (f. 1984-'98). Best. aus: 12 Kaffee- tassen m. UT, 12 Kuchenteller, Sahnegießer, Zuckerdose, rd. Kuchenplatte, zus. 39 Teile. Gold an wenigen Stellen minim. berieben.Golddekor, Relief, Schwertermarke, X-Form
Sächsische Grenadiere, Meissen um 1900.Entw.: Emmerich Andresen. Dicht nebeneinander laufend, d. eine m. Tornister auf d. Rücken, jubelnd m. Eichlaubkränzen u. Gewehr, d. andere m. Sprechgestus z. Seite gewandt, d. Schwert an d. Seite. Auf Rundsockel m. Blütenbesatz, Rocaillenkante u. Baumstumpf-Stütze. Reich staffiert. Am Boden Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. "P 183". Blätter u. Blüten teils bestoßen u. übertupft, restaur.: Gewehr, 2 Hände, Schwertgriff, Eichblätter. H 28,3 cmEichenlaub, Eisernes Kreuz, Emmerich Andresen, Kaiser, P 183, Pickelhaube, Schwertermarke, soldat
Satz von 5 Speisetellern, Meissen 19. Jh.Runde, glatte Form m. leicht schräger Fahne. Dekor in Unterglasur-Blau: Fahne m. Blüten- girlanden, Spiegel m. Zweigmotiv. Am Boden Schwertermarke m. Knauf (2 x m. Stern f. Marcolini, 1774-1813, 3 x m. blauer Ziffer), Press- u. Malernr. Ascheflug, kl. Brandrisse, Ober- fläche partiell berieben, 2 x Standring leicht bestoßen. Größe u. Wölbung leicht variierend. D 23,8 - 24,3 cmblau, glatt, Marcolini, Schwertermarke, Stern, Zweige
Gr. Speise-/ Kaffee-/ Tee-Servicefür mind. 10 Pers., Nymphenburg Anf.- 2. Hälfte 20. Jh. Dekor "Bavaria" m. Bandd-umranktem Rauten- Medaillon u. blau-weiß gestreifter Kante. Am Boden grünes Rautenschild (versch. Varianten/ versch. Datierung), Press-Rautenschild, Press- u. Malernr. Best. aus: Speise: 13 Vorspeiseteller, 13 Speiseteller, 12 Suppenteller, 10 Suppen- tassen m. UT, 2 tiefere Suppentassen m. 1 UT, 14 Salatteller (ohne Rauten-Medaillon), 11 Brot- teller, 10 Eierbecher, 7 Dessertschalen, 2 versch. rd. Terrinen, Senftöpfchen m. Löffel, Saucière, gr. quadrat. Schüssel, 3 versch. rd. Schüsseln, rd. Schale, 2 kl. rd. Schalen, gr. rd. Platte, gr. ov. Platte, ov. Schale; Kaffe/ Tee: 17 kl. Kaffeetassen m. 13 UT, 2 gr. Kaffeetassen m. UT, 29 Tee- tassen m. 22 UT, 2 gr. Teetassen, 15 Kuchen- teller, 8 vierpaßige Schälchen, 3 versch. Kaffeekannen, Heißwasserkanne, 2 rd. Unter- setzer (1 x ohne Rauten-Med.), 2 Teebeutel- Ablagen, Sahnegießer, 3 Zuckerdosen, Teedose, Königskuchenplatte, vierpaßige Gebäckplatte (weißer Rand); sowie: Menu-Ständer, 2 ov. Henkelplatten, 2 versch. ov. Tabletts, zus. 248 Teile. Blaudekor in leicht versch. Farbtönen (wg. versch. Dat.); Dekor d. Vorspeiseteller teils berieben, 1 x Dessertschalen-Stand bestoßen, Saucièren-Henkel m. beschliffenem Ascheflug, 1 kl. Kaffeetasse m. Sprung, 1 gr. Kaffee-UT m. Chip, 3 x Teetassen-Lippe m. Chip/ 4 x Sprung, 1 Tee-UT m. Chip, 1 gr. Tee-UT m. Chip, 1 x Kuchenteller-Dekor berieben, 1 Kaffeekannen- Deckel bestoßen, 1 Zuckerdose def./ 1 x Sprung, 1 ov. Henkelplatten-Rand restaur. Prov.: Sammlung Ingeborg Schäffler-Wolf, Heilbronn.Bavaria, blau, München, Rautenschild
"Der gefesselte Amor", Meissen um 1900.Entw.: Paul Helmig. An Baum gelehnt stehend, m. Rosengirlanden daran gefesselt, traurig blickend. Auf naturalist. Stand, zu seinen Füßen d. leere Köcher, Sockelkante m. Rocaillendekor. Am Boden Schwertermarke m. Knauf, Press- u. Malernr., Modellnr. "R 123". Blätter bestoßen u. teils restaur./ nachgetupft, kl. Finger bestoßen. H 19 cmEngel, Girlanden, Festons, Paul Helmig, Putto, R 123, Rosen, Schwertermarke
Gr. Amphore "Nordische Mythologie",Historismus, Villeroy & Boch um 1900. "Chromolith-Ware", matt- u. glanz-glasiert. Kugelige Amphore m. hohem Hals u. kl. Rund- fuß, d. Schultern m. gr. Hermen-Zierhenkeln. Wandung beidseitig m. gr. Oval-Medaillons m. Figurenszenen d. nordischen Mythologie, jew. Beschlagwerk-gerahmt, auf restl. Wandung, Hals u. Fuß weitergeführt. Am Boden Pressmarke "Mettlach VB", Bez. "Ges. Gesch.", Press- u. Malernr. Standkante m. feinem Brandriß. H 44 cmChromolith-Ware, Götter, Helm, Herme, Karyatide, Mettlach VB, Mythologie, Pressmarke, Relief, Vulkan
Satz von 6 gr. Durchbruchtellern,Nymphenburg Mitte - 2. Hälfte 20. Jh. Dekor "Cumberland". Spiegel jew. m. gr. buntem Blütenbouquet, v. versch. Insekten u. Streublüten flankiert, gerahmt v. feinen Goldspitzen. Fahne m. durchbrochenem Flechtrelief, reich gold staffiert m. blauer Kante. Am Boden jew. grünes Rautenschild (3 x m. "A"/ nach 1972), Press- Rautenschild, Press- u. Malernr. D 26,2 cm Prov.: Sammlung Ingeborg Schäffler-Wolf, Heilbronn.Blumen, Cumberland, durchbrochen, Golddekor, Insekten, München, Rautenschild, Schmetterlinge
Paar Speiseteller "Potsdamer Stadtschloß",KPM Berlin um 1920. Relief "Rocaille" m. reicher Goldstaffage, am Rand m. gelbgrundigen Partien u. kl. farbigen Blütenbouquets, im Spiegel jew. gr. farbiges Bouquet. Am Boden Zeptermarke, eisenroter Reichsapfel, Press- u. Malerzeichen. Gold minim. oberflächlich berieben. D 25,2 cmBlumen, gelb, Golddekor, Relief, rocaille, Zeptermarke
Durchbruch-Tafelaufsatz, Meissen um 1890.Runde Schale m. durchbrochenem Flechtrelief- Rand, durchsetzt v. 5 Reserven m. bunten Streublüten, Spiegel m. Streublüten. Reiche Goldstaffage, Rand außen ebenfalls dekoriert. Auf Schaft m. Nodus u. gewölbtem Rundfuß in geschwungen-reliefierter Oberfläche m. ver- einzelten Blütenzweigen u. Goldrand. Am Boden Schwertermarke m. Knauf, Press- u. Malernr. H 22,4 cmdurchbrochen, Golddekor, Schwertermarke, Streublüten
2000 Ginetta G20Registration number D33 TWFGreen with red highlights and a red interiorPrepared for sprints and hillclimbsRoad legal, factory built former press carLow mileage of approx. 30,000 recorded milesBody-off restoration a few years ago, with expenditure totalling £42,000 (invoices available)Brand new Ford 2L Zetec engine with modified head and Piper cams tested at 170bhp and 150 ft lb torque fitted in 2015 and 8,000 recorded miles sinceBespoke five speed close-ratio gearboxCustom stainless exhaustCustom differentialAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions HPI clear Events participated in include Nürburgring, Liege-Corse run, Prescott, Loton Park, Curborough Reviewed by Richard Hammond, reportedly winner of sports car trophy presented by Bugatti Owners Club in 2018, and in Classic Marques Calender December 2019, plus many othersView videoView video This lot must be collected by 12.30pm on Friday 25th October. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £100 + VAT, to include the first week of storage, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
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