Eliot, Thomas Stearns. Collection of 3 typewritten letters with signature and handwritten additions, 12 letters from his wife Valérie, further correspondence and enclosures. Ca. 1924-93. various formats. In private linen box.
Well-kept small archive, compiled by the Fribourg Eliot researcher and librarian Gerd Schmidt. - Contains: T. S. Eliot. Typewritten letter with signature, short handwritten postscript and inserted accents. London, 31.III.1924. 1 p. 26 x 18.5 cm. - In French to Jacques Rivière, director of the "Nouvelle Revue Francaise". Thanks for "l'envoi du précieux inédit de Proust" and, also on behalf of the Vicomtesse Rotheremere, "pour tous les soins que vous avec pris pour nous". With letterhead from "The Criterion. A Quarterly Review". - T. S. Eliot. Typewritten letter with signature and short handwritten addition. London, 1.III.1956. 1 p. (greeting and signature on the reverse). 20 x 17.5 cm. - English on Faber & Faber stationery to Ronald Gregor Smith, The Athenaeum, London. Hopes to be able to arrange "a date in two or three weeks (not Holy Week, however)" for a dinner (in his own hand). Dictates the reason for the delay into the machine: "I have been for over a month in a nursing home and am now convalescing at home, but am not yet allowed out of doors ...". - T. S. Eliot. Typewritten letter with signature and handwritten postscript. London, 22.XI.1957. 1 p. 20 x 17.5 cm. - On Faber & Faber stationery to a German autograph collector. "I almost never write with a pen since for many years I have suffered from a writer's cramp ...". In his own hand: "I hope this brief specimen of my handwriting will suffice." - Valérie Eliot, his secretary, second wife since 1957 and executor of his estate (1926-2012). 12 typewritten letters with signature, 1 handwritten postscript and all envelopes. London, 1970-88. Together approx. 12 pp. 20 x 15 cm to DIN A4. - With one exception in English to Gerd Schmidt, on sheets with private head (mostly Kensington Court Gardens) or from Faber & Faber. Responds to requests for the publication of poems and letters from the estate. In April 1984, thanks "excitedly" for a copy of Eliot's above letter to Rivière, "because I have been pursuing my husband's letters to Rivière for many years without success and had begun to fear that he would not appear in the Correspondence". May 1984 then thanks for notification of Eliot's letter to Gregor Smith, July 1985 inquiry about Eliot's correspondence with E. R. Curtius, December 1987 the corrective notification "that 'Casey Jones' was not written by my husband. It is a popular American folk ballad that TSE used to enjoy singing!". - Also mentions the following letter: Laurence Binyon, poet and art historian, close friend of Ezra Pound. Handwritten letter with signature. Streatley, Berks., 18.VII.1941. 2 pp. 19.5 x 14 cm. - To the writer Robert Nichols about reactions to his most recent publication of poetry ("The North Star"): "T. S. Eliot, by the way, admires Angkor ... and in Hospital most. He wanted to have the book published by his firm, but Macmillan wouldn't allow it. In writing to me he was very modest about his own work - wondering if his 'experiments' are really any good, etc.". - Also: Typewritten letter from Erhart Kästner, handwritten letter from Eva Hesse and handwritten card from Hugo Friedrich to Schmidt, 1967-75 - 3 offprints dedicated to Schmidt by Alfred Weber (1) and Donald Gallup (2) on Eliot and Pound, 1968-92 - Further enclosures, including some large-format prints of photo portraits of Eliot (including National Portrait Gallery). - In very good condition.
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Leitner, Quirin von. The most outstanding works of art in the Treasury of the Austrian Imperial House. With 100 original etchings by J. G. Fahrnbauer, E. Kozeluch, A. Lang, C. Poschinger, E. Schuhmann, W. Unger and J. Wopalensky. Vienna, Holzhausen, 1870-73. 3 pp. 58. 56.5 x 44 cm. Original leather binding with gilt-stamped spine and cover title, gilt edges, in cloth case.
First edition. - ÖBL V, 121 - Magnificent work on the occasion of the reorganization of the treasury holdings. The excellently engraved illustrations show the most important objects in the imperial collections. - Some minor foxing. - A good copy.
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Wulff, O.; Volbach, W. F. Late antiquity and Coptic fabrics from Egyptian grave finds in the state museums, Kaiser-Friedrich-Museum, Egyptian Museum, Schliemann Collection. With 38 mounted color plates and 97 collotype plates. Berlin, Wasmuth, 1926. XIII, 159 pp. 33.5 x 25 cm. Original cloth (somewhat rubbed).
Richly illustrated monograph with catalog of the Berlin museum holdings. - Slightly browned, a few text pages slightly creased, otherwise good.
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Collectible pictures - Liebig pictures. 3 albums with a total of 150 (except for 1 picture) complete series. Circa 1890-1900. 27 x 27 cm. Mounted in original canvas albums (somewhat rubbed and bumped, 1 stronger, joints partly chipped).
Contains German, Italian and French series of various motifs. - Missing only image 1 of "Famous old churches". - Backing boards browned, partly broken and with chips, the collector's pictures themselves in good condition.
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Collectible pictures - Liebig picture album with 74 complete series. Circa 1890-1900. 27 x 28 cm. Mounted in original canvas album (somewhat rubbed, rear hinge torn approx. 2 cm).
Contains series including: Entwicklung der Beleuchtungsarten, Kleines Volk, Wie man reist, Lauf der Lebensjahre, Berühmte Maler, Auf der Rennbahn, Don Quixote, Spezialtruppen, Eine Bergpartie, Der Thierkreis, Die Puppe, Berühmte Regimenter, Types de Vaisseaux de Guerre, Schätze der Erde, Manöverbilder, Wilhelm Tell, Frithjof Sage, Der Carneval von Venedig, Die fünf Sinne. - Also 2 series with only 5 images. - Album browned due to paper, front endpaper with tear and small corner tear, some maps slightly bumped or slightly rubbed.
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Festbücher - Alken, Samuel Henry Gordon; Sala, George Augustus. The Funeral Procession of Arthur Duke of Wellington. Colored aquatint panorama consisting of 28 sheets with a total length of approx. 20 meters. London, Ackermann, 1853, height: 13.7 cm. Original canvas cover with gilt-stamped title and cover vignette, set in an original coffin-shaped red wooden box lined with velvet and silk, cover with red leather cover and gilt-stamped title (rubbed, corners bumped).
First edition. - Abbey, Life in England, 597 - Huge panorama commemorating the state funeral of the "Iron Duke" and capturing the military splendor and pageantry of one of the great spectacles of the Victorian age. - "Probably the most ornate and spectacular funeral ever seen in England." (ODNB). - An estimated one and a half million people took part in Wellington's funeral procession. The extraordinary panorama shows the huge procession with military regiments, bands, Chelsea Pensioners, civil servants, members of his household, royal, political and ceremonial figures and the new Duke. - The box by Sangorski & Sutcliffe, signed in the frame (46 x 23.5 x 6 cm). - The panel with the coffin carriage can be opened. - Inside cover of the linen cover with 3 bookplates. - Somewhat stained and browned, some leaves restored.
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Utopia - Ziegenhagen, Franz Heinrich. Doctrine of the right relation to the works of creation, and the general happiness of mankind to be brought about by the public introduction of the same alone. With folded engraved frontispiece and 7 (1 folded several times) copper plates by Daniel Chodowiecki as well as 1 folded music supplement by W. A. Mozart (on 4 folding plates, 8 pp.). Brunswick, Vieweg, 1799. 4 pp., 633 p. (recte 639; pp. 95/96 and 233-236 counted twice), 2 pp. 19.5 x 11.5 cm. Half cloth (circa 1880) with gilt-stamped spine title (slightly rubbed).
Rare title edition of the work first published by the author himself in Hamburg in 1792. - Lanckoronska/Oehler II, 119-120 and 214 - Rümann 1299 - Schröder 4549, 1 - Bauer 1551-54, 1556-59 and Engelmann 664-667, 672-675 (Chodowiecki) - RISM M 4161. - With Ziegenhagen's autograph: In the preface, the author recommends a stay on the agricultural estate that he still intends to build in "Strasburg" in the 1792 print; in the very poorly selling 1799 edition of the title, as here, Ziegenhagen tried it on his estate in Billwerder, which ultimately did not work out either. The place name is blackened here and a handwritten slip is bound in opposite: "*Hamburg, auf meinem Landgute, von welchem das große Kupfer ein Abbild ist". - Attached to this is another handwritten sheet with French text, which confirms the above phenomenon and also refers to "Dr. Rauschenplatt" (Johann Ernst Arminius von Rauschenplat, 1807-1868, German revolutionary?): "Le fameus Dr. Rauschenplatt a contenu que Hourir n'etait qu'un plagiaire de Ziegenhagen." - An early major work of utopian socialism. - The most important work by the Hamburg merchant Franz Heinrich Ziegenhagen, in which he describes his attempt to establish a separatist colony as an agricultural educational institution independent of existing society. This institution was later to be transformed into a community with collective ownership. Based on the ideas of Rousseau, Ziegenhagen called for the right relationship between things to be restored in order to live well and happily. Chodowiecki's wonderful large folding copper - "a particularly interesting and amusing large-format folded panel" (Lanck./Oehler) - shows the ideal of such a system. In 1788, Ziegenhagen bought an agricultural estate in Billwerder near Hamburg in order to found such an institution, which would exemplify his ideas of common property, the idea of the collective and social security. He appealed in vain to wealthy citizens, the nobility and even the French Convention to support the establishment of similar colonies and ultimately failed with his project. After twelve years, he sold the Billwerder estate, returned to his Alsatian homeland in 1802 and committed suicide there four years later. - In addition to its philosophical significance, this work is important not least because of the outstanding Chodowiecki illustrations. "The colony with its bird's-eye view of the buildings and squares, with its children playing and grazing herds of cattle, illustrates Ziegenhagen's teachings without detracting from the artistic effect. The other panels, an anatomical school, a smithy, the turner's and mechanic's workshop, the rooms of the nature teacher and schoolmaster are also particularly finely executed ..." (ibid.). - Nevertheless, Ziegenhagen succeeded in persuading W. A. Mozart to set an exemplary song to music. The cantata, written in 1791 - and thus at the same time as his composition of the Magic Flute - is attached to this work as an 8-page music appendix (KV 619. - RISM M 4161), the text of which has a clear connection to Masonic ideas and which was also published separately as a broadsheet in the same year (Wolfstieg 41259). - The engravings partly on bluish paper. - 1 music plate and the folding plate with marginal tear, title and preliminaries with brown stain (due to the engraving in the preface), last text leaf somewhat stained, otherwise a fresh copy.
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New Zealand - Teichelmann, Ebenezer. Collection of 17 photographs. Silver gelatin prints of the time (Vintages) mounted on cardboard. New Zealand, around 1910. Size of the photos: approx. 22 x 37.5 cm and 32 x 40 cm (1). Cartons: approx. 42 x 56 cm.
Beautiful, large-format photographs by the New Zealand photographer and mountaineer Ebenezer Teichelmann (1859-1938). - With views of Mount Cook, Mount Sefton, Hooker Valley, forest and nature scenes, flocks of sheep (4). - 10 of the photographs with inscription in pencil, 6 of them with indication of the photographer (probably signature in his own hand). - Backing boards with a stamp of a frame store in Sydney on the reverse. - Cartons partially stained. - Including: McKerrow, Bob. Ebenezer Teichelmann. Pioneer New Zealand mountaineer, explorer, surgeon, photographer and conservationist. Cutting across Continents. With numerous illustrations. New Delhi, tara-india research press, 2005. 270 pp. 22 x 16 cm. Original cloth with original dust jacket.
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Ukraine - Jurjewka, April 30, 1899. Commemorative album for the director and builder of the Donetz-Jurjewka smelting works. With 12 mounted original photographs. Vintage. Silver gelatine. Sizes: from 27.5 x 39 cm to 38 x 47 cm. Portfolio: 53 x 64 cm. Loose plates in leather wing folder of the period with 3 metal fittings and 2 metal clasps (wings with tears, folder somewhat damaged, rubbed and scuffed).
Splendid album for the farewell of the unnamed builder and director of the Jurjewka smelting works in Donetsk, who took his leave after 4 years as director. With large-format photographs, including a photographic title page, 1 portrait plate of the high-ranking employees, 1 view of the topping-out ceremony, 6 views of the ironworks and 3 views of the surrounding area. - The silk shirts are missing, backing boards somewhat dusty and with small losses, the photographs somewhat faded, otherwise in good condition.
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Varia - Room picture albums - Fri-Ho-Di. Scrapbook of the Fritz Homann Margarine-Werke Dissen. With approx. 288 pinned original stereophotographs and 3 cardboard glasses. Circa 1930. 3 x 7 cm each, in dozens on 24 cardboard supports (22 x 32.5 cm). Original linen portfolio with cord stitching in slipcase (this damaged, cord torn, cover somewhat stained).
Rare collector's picture album with small stereophotographs of landscapes, cities and buildings in Germany. Arranged in 16 series of varying numbers of images, the album contains 288 images and is largely arranged by series. These become irregular towards the end, with surplus and missing photos the total number adds up to an almost complete album. The pictures are printed on the back, some advertising the "success of 50 years of experience" of the works founded in 1876. Pockets with 2 original spectacles in the rear inside cover, another one enclosed loose. - Glasses with signs of wear, otherwise in very good condition.
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Varia - Room picture albums - Collection of 4 stereo picture series with 20 pinned original photographs each. No place or publisher, around 1950. 10 x 16 cm. Original half cloth bindings, 3 with cover titles (1 with private inscription on adhesive label).
Munich, Nuremberg, "Old Heidelberg" and "Winter in Oberbayern", the cities in pre-war photographs. - In addition: C. Dahlfeld. Pictures for stereoscopic exercises for use by cross-eyed people. Part I. 16th edition. With 30 (instead of 31) double plates and scale. Stuttgart, 1949. with text booklet in original linen folder.
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Varia - Room picture albums - Schöne Heimat. 3 albums. With 1 picture viewer (instead of 3) and 69 (of 72) original stereophotographs as well as 1 doublet. Oberaudorf, Otto Schönstein, around 1950. 4 pp. text each (German, English or French). Photographs 6 x 13 cm. Original cardboard or half-linen boxes (15 x 16.5 cm) with cover titles (bumped, 1 joint repaired).
Comprises Northwest Germany (24 photos and 1 double), South Germany (21 of 24, missing 4, 23 and 24) and Southwest Germany (24), apparently all published. - In addition: Stereothek, Volume II. From the Watzmann to the Zugspitze. With foldable stereo glasses and 20 stereophotographs. Munich, Franz Klaus, around 1950. 13 p., 1 sheet. 15 x 13.5 cm. Original linen box (somewhat bumped and warped). - And: Old nativity scenes from the nativity scene collection of the Bavarian National Museum in Munich. With viewer and 30 stereophotographs. Oberaudorf, Schönstein, 1952. 6 pp. 15 x 16.5 cm. Original half-linen box.
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Damiani, Felice. Untitled. (Demeter and Minerva). Oil on canvas. Signed "Damiani" lower left, with coat of arms and illegibly inscribed, verso with mounted document with handwritten notes on the work by the owner "H.V." in October 1932. Mid-16th century. Image size: 128.5 x 109 cm. Framed in gold-mounted wooden frame: 134 x 114 cm.
Felice Damiani (1530-1608/1609), known as Felice da Gubbio or the Paolo Veronese of Umbria, a pupil of Benedetto Nucci in Gubbio, executed a large number of painterly works in Italian churches. These include the churches of Sant'Agostino in Gubbio and Sante Maria de Lumi in San Severino Marche. As Damiani's works are mostly Christian religious motifs, it can be assumed that this impressive painting with Greek and Roman mythological imagery was a commissioned work. The coat of arms in the lower left corner could therefore be that of the commissioner. - The canvas with old doubling, rubbed, corners and edges rubbed and with a few retouches, the upper left corner with restored tears and a somewhat larger loss of color, overall browned, with craquelure and tiny stains as well as isolated losses of color. The simple, unadorned frame of 2005 made of gold-framed wooden strips with very minor bumping. - Provenance: West German family property since circa 1900 - Due to its size, transport must be organized by the buyer.
Icon of St. John the Annunciator (the "Angel of the Desert"). Parquetized wood composite panel (cedar wood), kovcheg, levkas, tempera, gilding. Russia, 18th century. Panel size: 31 x 27 cm.
With numerous later renewals and additions to the paint layer, some from the 19th century. Renewed inscriptions (designation of the saint and text of the scroll: "And I saw and testified that this is the Son of God"). - The composite panel verso reinforced by parquetry from the period, shrinkage cracks, remnants of small nails in the margins.
Jordan, Rudolf. Untitled. (Father's joy). Oil on wood (on panel). Monogrammed (joined) lower right. Dimensions: 15 x 12 cm. Panel: 16 x 13 cm. Framed: 37 x 34 cm.
Charming interior by the Berlin-born painter Wilhelm Rudolph Jordan (1810-1887), who worked for Friedrich Wilhelm von Schadow, among others, after studying at the Düsseldorf Academy of Art and had his own studio as a genre painter in Düsseldorf from 1848. The painter, who was known for his genre paintings and was one of the co-founders of the Düsseldorf "Malkasten" in 1848, depicts a father who is literally in over his head when putting his offspring to bed. - The varnished painting on chalk-primed wood is somewhat cracked in places, it was mounted on another wooden panel and supplemented here in the edge area, this edge with small cracks and chips, the decorative frame with nameplate shows signs of wear.
Kaufmann, Karl (pseudonym: J. Rollin). October. Oil on wood panel. Signed lower right and with gallery label "Hugo Arnot, Gemälde-Salon" with artist, title and price on verso. Image size: 42 x 52 cm. Framed: 63 x 72 cm.
Painting with strong perspective and beautiful colors by the Austrian landscape and architecture painter Karl Kaufmann (1843-1905), who used numerous pseudonyms. - Some minor retouches and tiny losses of color, the frame dusty, darkened, somewhat rubbed and with a few small losses.
Kray, Wilhelm. Untitled. (Young Roman woman with child). Oil on canvas. Signed, dated and inscribed with the location "Roma". 1870. painting size: 73 x 53.5 cm.
Graceful portrait of a young mother with her child. In this painting, Wilhem Kray (1828-1889) impressively demonstrates his skill in terms of composition, materiality and choice of color. - Minimally rubbed, somewhat stronger in the corners and edges, overall in good condition.
Lutteroth, Ascan. Untitled. (Evening atmosphere with a view of the Castello Aragonese near Ischia). Oil on canvas. Signed lower right. Probably from the end of the 19th century. Image size: 40 x 60 cm. Framed: 48.5 x 69 cm.
Ascan Lutteroth (1842-1923), descendant of a wealthy and influential Hamburg family, studied at the Düsseldorf Academy of Art, was thus part of the Düsseldorf school of painting and became a successful landscape painter. His reputation was of the highest order, so much so that Crown Prince Friedrich Wilhelm and Crown Princess Viktoria took him on a trip to San Remo and Wilhelm II awarded him the title of professor. - Minimally rubbed, somewhat stronger in some of the margins, the stretcher barely visible in the lower area, the upper right section with a pinpoint print through and small retouching, foxing on the verso.
Mages, Josef. Italian veduta of a fantasy cityscape. Oil on canvas. Signed and somewhat illegibly dated in the base of the obelisk. 1765. dimensions: 67 x 158 cm. Framed (82 x 171 cm).
Magnificent fantasy cityscape with various Italian motif elements by the Tyrolean painter Josef Mages (1728-1769), who, due to his early recognition of his talent for painting, was initially trained by local painters and then continued his training in Vienna, Strasbourg, Stuttgart and Augsburg. In Augsburg, he received commissions from the well-known painter Georg Rotpletz, whose daughter Mages eventually married. As a respected fresco painter, he carried out works in Stuttgart, Colmar, Strasbourg and Augsburg in the following years. - Canvas trimmed and probably mounted on canvas and given a new varnish in the 19th century. - Margins somewhat rubbed due to the framing, with a small restored color flaw in the right area of the painting, with a few small retouches, some minor rubbing and scratches, somewhat darkened overall, but in good condition. - Provenance: Private collection Berlin. - Due to the size, transport must be organized by the buyer.
Meyerheim, Willem Alexander. Untitled. (Teetering children). Oil on canvas. Signed lower left. Probably mid-19th century. Image size: 26 x 32.5 cm. Framed: 34 x 41 cm.
Idyllic genre painting by the Berlin painter W.A. Meyerheim (1815-1882), who came from the great Danzig family of artists Meyerheim and was famous for his romantic, folk-like motifs. - Somewhat browned and with craquelure, partially dusty, rubbed overall and partially with soiling or heavier browning, the wooden frame rubbed, scratched and partially with superficial cracks.
Wolfrom, Friedrich Ernst. Bacchante. Oil on thin wooden panel, mounted on panel. Signed and dated lower left. Verso with mounted label with lacquer seal, there with artist's name, titled and dated. 1894. panel dimensions: 33 x 26 cm. In contemporary Art Nouveau frame made of wood and stucco.
Charming painting by the history painter and etcher Friedrich Ernst Wolfrom (1857-1923), who is known for his mythological and allegorical scenes, heroic landscapes and scenes from Berlin social life. - Painting with recent varnish, frame with restored breaks.
Zimmermann, Albert. Untitled. (Landscape with deer.) Oil on wood panel. Signed lower right, verso with inscription by another hand on mounted sheet. Image size: 49 x 58 cm. Framed: 64.5 x 74.5 cm.
Albert Zimmermann (1809-1888), German landscape painter, was a professor at the Milan Academy of Fine Arts and at the Vienna Academy of Fine Arts. His paintings can be found in the Neue Pinakothek in Munich, the Städel Museum in Frankfurt and the Austrian Gallery of the Belvedere in Vienna, among others. - Some yellowing, slightly rubbed and partially stained.
Rare manuscript relief globe for the blind. Berlin, around 1920, inscribed "Relief-Erdglobus für Blinde, D. Reimer Berlin" under the wooden base with a handwritten paper label, the globe made as a heavy plaster globe, the relief raised, the map image executed by hand in oil colors, the cities, rivers and the equator modeled in relief, the names of larger cities and rivers provided with printed paper labels, turned wooden base in walnut. Diameter: approx. 34 cm. Height: approx. 52 cm.
This globe, designed for teaching the blind, is probably a prototype that was intended to serve as a model or design for a possible series production by Dietrich Reimer Verlag. Reimer publishing lists show that a relief globe with the same diameter was offered around 1900, but not specifically for teaching the blind. The model offered here, which is probably unique, cannot be found in the relevant specialist literature or in public collections.
A rare manuscript relief globe for the blind. Berlin c. 1920, signed by hand below the wooden stand "Relief-Erdglobus für Blinde, D. Reimer Berlin", the globe made of plaster, the map painted by hand, turned walnut stand. Diameter c. 34 cm, height c. 52 cm.
Rare horizontal sundial. Germany, 17th/18th century, unmarked, painted wood, forged iron, the scales with month and hour divisions applied in oil paint, gnomon. Dimensions: approx. 19.5 x 14 cm.
A rare horizontal sundial. Germany 17th/18th, not signed, wood painted by hand, iron, gnomon. Dimension c. 19,5 x 14 cm.
Advertising sign for the Scandinavia-America Line. Scandinavia, around 1900, inscribed "Skandinavien-Amerika Linie, Danmark, Sverige & Norge - New York", embossed and lithographed sheet metal. Traces of age. Dimensions: approx. 103 x 78 cm.
The Frederik VIII was a transatlantic passenger ship commissioned in 1914 by the Danish shipping company Scandinavian American Line, which primarily transported passengers, freight and mail from Scandinavia to New York. She could carry 121 passengers in first class, 259 in second class and 881 in third class, with a crew of 245. The SAL's transatlantic passenger service ended with its last voyage in 1935 and its scrapping in 1936.
A Skandinavia-America advertising sign. Skandnavia c. 1900, tin embossed and lithographed, signs of age. Dimensions c. 103 x 78 cm.
Captain's picture. England, c. 1840, unsigned, oil on canvas, doubled, English two-master off the coast, in the background a paddle steamer and other ships, the flag of the merchant ship with Union Jack, a shipping company flag "T" and the ship's name "CORONET", gilded frame. Traces of age. Image dimensions: approx. 77 x 56 cm. With frame: approx. 89 x 69 cm.
The CORONET under full sail. England c. 1840, not signed. Oil on canvas, framed. Dimensions with frame c. 89 x 69 cm.
Wax moulage. Germany, around 1900, marked "Primäraffekt" (first sign of syphilis), wax painted in colour, glass eyes and textile, mounted on ebonized wooden panel, traces of age. Dimensions: approx. 29 x 20 x 13 cm.
A wax moulage. Germany c. 1900, signed "Primäraffekt", coloured wax, glass eyes and textile, mounted on ebonized wooden base, Signs of age. Dimension c. 29 x 20 x 13 cm.
Collection of 17 anatomical school wall charts on human medicine. Germany, around 1900 to 1930, various publishers, Frohse's Anatomische Wandtafeln, Hygiene Museum Dresden and others, 17 anatomical teaching plates (chest and abdomen, blood vessels, the inner ear, Homo Sapiens muscles, the nervous system, musculature, respiratory organs, Homo Sapiens skeleton, mouth and esophagus, heart, muscle man, pelvic organs, skin, bandage bandages I, bandage bandages II, emergency bandages, contact infection. Oesophagus, Heart, Muscular man, Pelvic organs, Skin, Bandages I, Bandages II, Emergency bandages, Contact infection), chromolithography, paper on cardboard or on linen, mounted on wooden poles, various formats. Severe damage in places. 4 enclosures (map of Germany, German medicinal plants, birds, German history).
A collection of 17 anatomical teaching wall charts.Germany c. 1900 to 1930, published by Frohse's Anatomische Wandtafeln, Hygiene Museum Dresden and others, printed paper on cardboard or on linen, different sizes, damages.
Collection of 26 botanical and zoological school wall charts. Germany, c. 1900 to 1960, published by Hagemann Düsseldorf, Jung-Koch-Quentell and others, 10 botanical educational boards (primrose, pear tree, common head mold, vine, dog rose, yellow sedge, pansy, Norway maple, yellow wall lichen, hair moss). (cowslip, pear tree, common head mold, vine, dog rose, yellow sedge, pansy, Norway maple, yellow wall lichen, hair moss) and 16 zoological plates (polar bear, cabbage white butterfly, domestic cat, grass snake, stone coral, domestic horse, carp, songbirds, golden eagle, partridge, pelican, finches, birds of prey, beaver, great crested grebe, hedgehog), paper mounted on linen on wooden poles, various formats. Damage.
A collection of 26 teaching wall charts. Germany c. 1900 to 1960, printed paper on linen, different sizes, damages.
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Fine oil painting depicting mushrooms. 20th century in 19th century style, still life with porcini mushrooms (lat. Boletus), a great tit, a salamander and various insects, monogrammed lower right with JH, oil on canvas, framed. Dimensions with frame: approx. 52 x 46 cm. Dimensions oil painting: approx. 41 x 34 cm.
A fine oil painting with mushrooms. 20th century in the style of the 19th century, a still life with mushrooms (lat Boletus), a Great tit, a Salamander and various insects, oil on canvas, framed. Size c. 41 x 34 cm, with frame c. 52 x 46 cm.
Portrait of a zoologist. Germany, 19th/20th century, depiction of a man with a dragonfly sitting on his hand, illegibly monogrammed and dated 1849, oil on canvas with later overpainting and new varnish. Dimensions: approx. 74 x 61 cm.
A portrait of a zoologist. Germany 19th/20th century, the portrait showing a man with a dragon-fly sitting on his hand, indistinctly monogrammed and dated 1849, oil on canvas with later overpaintings and new varnish. Size c. 74 x 61 cm.
Leone Frollo
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Mona Street - Enter Mona Street, 1988
pencil and ink on cardboard
35 x 50 cm
Original comic art created by Frollo for "Enter Mona Street," the first erotic adventure of his Mona published on page 1 in the volume Mona Street 1: The Secret Books of Glamor by Glamor International in 1988. Published in France in the same year with the title "L'entrée en scène de Mona Street," it marks the consecration of Frollo in the Olympus of erotic comics world-class author. We are in Boston in the 1920s, Mona Street is a shrewd girl recently out of college, soft curves candidly flaunted, an innocent face with an ironic look and a faint smile on her lips. Mona Street is a normal English name, but if you think that Leone Frollo is Venetian then the playful verbal misunderstanding becomes intuitive. The mischievous wink is already there in the name, therefore, but all the stories of Mona Street are underpinned by enveloping eroticism, ingeniously narrated by the author who, with a soft and voluptuous line in pencil or ink, has traced a very different character from the other "comic book heroines" who are almost always under the thumb of men: Mona has a false naive personality who makes fun of everyone, sometimes becoming a vindicator of her own sex. On two panels. Signed.
Leone Frollo
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Mona Street - Enter Mona Street, 1988
pencil and ink on thin cardboard
35 x 50 cm
Original comic art created by Frollo for "Enter Mona Street," the first erotic adventure of his Mona published on page 3 in the volume Mona Street 1: The Secret Books of Glamor by Glamor International in 1988. Published in France in the same year with the title "L'entrée en scène de Mona Street," it marks the consecration of Frollo in the Olympus of erotic comics world-class author. We are in Boston in the 1920s, Mona Street is a shrewd girl recently out of college, soft curves candidly flaunted, an innocent face with an ironic look and a faint smile on her lips. Mona Street is a normal English name, but if you think that Leone Frollo is Venetian then the playful verbal misunderstanding becomes intuitive. The mischievous wink is already there in the name, therefore, but all the stories of Mona Street are underpinned by enveloping eroticism, ingeniously narrated by the author who, with a soft and voluptuous line in pencil or ink, has traced a very different character from the other "comic book heroines" who are almost always under the thumb of men: Mona has a false naive personality who makes fun of everyone, sometimes becoming a vindicator of her own sex. On two panels. Signed.
Leone Frollo
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Mona Street - Enter Mona Street, 1988
pencil and ink on thin cardboard
35 x 50 cm
Original comic art created by Frollo for "Enter Mona Street," the first erotic adventure of his Mona published on page 7 in the volume Mona Street 1: The Secret Books of Glamor by Glamor International in 1988. Published in France in the same year with the title "L'entrée en scène de Mona Street," it marks the consecration of Frollo in the Olympus of erotic comics world-class author. We are in Boston in the 1920s, Mona Street is a shrewd girl recently out of college, soft curves candidly flaunted, an innocent face with an ironic look and a faint smile on her lips. Mona Street is a normal English name, but if you think that Leone Frollo is Venetian then the playful verbal misunderstanding becomes intuitive. The mischievous wink is already there in the name, therefore, but all the stories of Mona Street are underpinned by enveloping eroticism, ingeniously narrated by the author who, with a soft and voluptuous line in pencil or ink, has traced a very different character from the other "comic book heroines" who are almost always under the thumb of men: Mona has a false naive personality who makes fun of everyone, sometimes becoming a vindicator of her own sex. On two panels. Slight crease at the top right corner. Signed.
Leone Frollo
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Lord Tiger, 1980s
pencil and ink on thin cardboard
35.5 x 25.5 cm
Original comic art created by Frollo during the '80s to present his new character to the publisher Barbieri, initially conceived with the title of Lord Flint (as can be seen from the writing on the back of this panel) the name will then change to "Lord Tiger ". The entire story, the Venetian master's personal homage to old pirate films ("The Corsair of the Green Island" in particular) remained unpublished until 1996 when it was published by ANAFI, including the table presented here.
Vittorio Accornero
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Old family papers, 1960
oil on masonite
50 x 31 cm
Original painting created by Accornero in 1960, part of a series of hyper-realistic still lifes that made him among the most famous pioneers of this newborn artistic movement. There are many of his solo shows in Italy and abroad, among which are those at the Gussoni (1959) and Bolzani (1963 and 1966) Galleries in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. In the Domenica del Corriere, the journalist, writer and painter Dino Buzzati wrote two pages on the Accornero exhibitions of 1959 and 1963. Slight abrasions on the edges and a slight dent in the lower right corner. Signed and dated on the front and signed, titled and dated (January 1960 Milan) on the back.
Vittorio Accornero
-
Old family papers, 1959
oil on masonite
50 x 31 cm
Original painting created by Accornero in 1959, part of a series of hyper-realistic still lifes that made him among the most famous pioneers of this newborn artistic movement. There are many of his solo shows in Italy and abroad, among which are those at the Gussoni (1959) and Bolzani (1963 and 1966) Galleries in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. In the Domenica del Corriere, the journalist, writer and painter Dino Buzzati wrote two pages on the Accornero exhibitions of 1959 and 1963. Slight abrasions on the edges and a slight dent in the upper right corner. Signed and dated on the front and signed, titled and dated (December 1959 Milan) on the back.
Giorgio De Gaspari
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The Madonna of Pellestrina, 1972/2007
tempera on wood
57 x 56 cm
Original painting created by De Gaspari in 1972 and completed in 2007, depicting his famous "atelier on water," his stilt house which he himself called The World of the Moon. A symbolic work of one of the most brilliant illustrators of the 20th century, of an eccentric artist who never separated art from existence, of a romantic man and an assiduous traveler. De Gaspari represents an idea of the twentieth century, also Italian, son of the European avant-garde of the beginning of the century which will end up clashing with the harshness of modernity and the pragmatism of a technique that will become an aseptic and rational language; an exile in his homeland therefore incapable of submitting to the rules of modernity. Signed and dated.
Lorenzo Mattotti
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Sprouts, 1996
acrylics or canvas
70 x 70 cm
Original painting by Mattotti entitled "Sprouts," artwork published in the volume "Acryliques, Acrylics" by the French publisher Editions Canaletto in 1999. Signed.
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