A group of mixed photography, early 20th century, comprising:two photographic prints attributed to Alphonse Mucha, depicting two women,largest 18 x 24cm,two female studies, c.1875, by Dr Hermann Heid, inscribed 'Dr. H. Heid, Wien. - Vervielfält. vorbehalt.',largest 26.5 x 19.5cm,a photograph of Sir Henry Smith, 19th century, inscribed 'The Honorable Henry Smith Speaker of the Legislative Assembly of Canada', signed 'John. C. Deane',28 x 21.5cm, a collection of mixed group and art photography, 20th century, comprising mainly 1980s signed art photography, including works by Ladislav Postupa, anda group of three small Czech silhouette postcards, c.1923, inscribed verso (qty.)Condition ReportThe attributed Mucha prints in good order with minor wear and creases to the edges commensurate with use. The photograph of Henry Smith with yellowing to the paper and creases to card mount commensurate with use, the measurement including the mount is as follows 36cm x 27cm. The group photography in mostly good order with minimal signs of wear. The silhouette postcards with yellowing to the card and some surface marks and creases commensurate with use and age.
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From the esteemed Rosenthal porcelain studio, this striking bird figurine is part of the Classic Ross Collection and depicts a Great Blue Heron with its characteristic long neck, plumage, and elegantly poised stance. The detailed painting captures soft hues of blue, lavender, and rose across the tail feathers, transitioning into crisp white and mottled browns along the wings. Lifelike yellow legs rise from sculpted reeds, completing the naturalistic setting. The underside bears an impressed "M.H. Ritz" mark, attributing the design to noted porcelain sculptor Max Hermann Fritz, and a backstamp reading Classic Ross Collection, Rosenthal.Dimensions: 10.5"HCountry of Origin: GermanyCondition: Age related wear.
Bachmann, Hermann (1922 Halle - Karlsruhe 1995) "Pieta". Öl bzw. Mischtechnik auf Leinwand, re. u. monog. "HB" und dat. (19)88 sowie rückseitig sign. und dat. Ca. 200x 250 cm. Vorliegende Arbeit ist neben dem Bild "Roter Adam" Hauptwerk des Karlsruher Spätwerkes des Künstlers, abgebildete als Titelbild des Ausstellungskataloges der Staatlichen Kunsthalle Berlin 1988. Weiterhin in "Hermann Bachmann Malerei" 1992, S. 75 Nr. 200 und Dorit Litt, "Der Maler Hermann Bachmann 1922-1995", S. 102. Das Werk wurde mehrfach ausgestellt, u.a. 1992 in Halle, Karlsruhe und Berlin. Prov.: Erworben direkt von der Witwe des Künstlers für € 16.000,-.
"Zeppelin Weltfahrten Buch II." (Book 2), oversized softcover (cigarette photograph album), by H. Luschnath. Published in 1933 by Bilderstelle Lohse, Dresden. This visually rich album features 5 pages of introductory text followed by 24 pages containing photographic stamps, detailed maps, technical line drawings, and vivid imagery. Notable inclusions are a coloured profile of Zeppelin tail fins, a gilt memorial plaque, and a photograph of Hermann Göring as Reichminister. A striking and historically significant example of 1930s Zeppelin ephemera. / AN32
A VIENNA (DU PACQUIER) DODECAGONAL PLATE CIRCA 1730 Painted with an exotic bird perched on a tree with flowers issuing from stylised rockwork, enriched in gilding, the reverse with three trailing flower branches 23.5cm wideProvenance: The Counts Morzin, Schloss Hohenelbe, By descent to Count Rudolf Morzin (d. 1881), and by descent to his daughter Countess Aloisia Morzin (m. 1853 Count Hermann Czernin) By descent to The Counts Czernin, Schloss Hohenelbe, until the Second World War, when moved to Schloss Marschendorf Sotheby's, The Rudolf Just Collection, 11th December 2001, Lot 5 Henry Lawrence Collection (1925-2016) and thence by descentLiterature: J.F. Hayward, Johann Gregor Herold at Vienna, in Mitteilungsblatt der Keramikfreunde de Schweiz, 29, July 1957, fig. 1 (illustrated pl.1) Condition Report: The plate was originally painted with the marriage arms of Count Bubna-Litic andanother in violet on the rim. According to Rudolf Just's notes, a matching 29cm dish originally bore the marriage arms of Countess Morzin.A larger dish of this type is in the collection of A. Weissberger, Prague, exhibited in the 1904 exhibition 'Ausstellung von Alt-Wiener Porzellan', cat. No. 19. Six similarlydecorated round plates were in the possession of the Archduke Ludwig Viktor, nos. 292 and 633 the Dorotheum sale catalogue, Vienna 1921. Similar plates are also illustrated in M. Chilton/C. Lehner-Jobst (eds.), Fired by Passion (2009), cat. Nos. 193-195. Examined under UV light and in natural light and no restoration detected. Some historic surface scratches and wear. Some wear to the surface enamel decoration. Please see additional images for clarification. These are available from the Dept. upon request. Please note, it has not been possible at this time to remove the metal wall mount to examine the plate underneath. Please see additional images available from the Dept. upon request. Condition Report Disclaimer
GERMANY. FREE HANSEATIC CITY OF LüBECK. Free City, 1226-1811,1815-1937. Silver 32 Schilling, 1797 HDF. Obv: MON·NOVA·IMPER·CIVIT·LVBECAE·, crowned double headed eagle. Rev: denomination, city and date in 5 lines. Design by Hermann David Friederichsen.In secure plastic holder, graded NGC MS 62 , certification number 6646567-018.Reference: KM-199; Schön-42; J-31.Diameter: 39 mm.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
LITHUANIA. LIVONIAN ORDER. Hermann von Brüggeneye, 1535-1549. Silver 1 Schilling, 1540. Obv: MONE · RVALIE · 40 ·, cross in shield within beaded circle. Rev: MAGI - STRI - LIVO - NIE : -, long cross.Reference: Haljak.II-142; Fed-136; Neum-242; MB-30.Diameter: 18 mm.Weight: 1.02 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
LIVONIAN ORDER. Hermann von Brüggeneye, 1535-1549. Silver 1 Schilling, 1538. Riga, Latvia. Obv: HER · D - BREG - HA · M - LIVO -, lined shield having curved corners over long cross.. Rev: MONE · NO · RIGENSIS · 3 · 8 ·, crossed keys.Reference: Haljak-297.Diameter: 19 mm.Weight: 0.89 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
100 ARMS & ARMOUR AND ANTIQUITIES AUCTION CATALOGUES Reference libraryComprising approximately 100 specialist auction catalogues primarily focused on arms, armour, and militaria, including numerous issues from Thomas Del Mar Ltd., Christie’s, Czerny’s, and Hermann Historica, alongside a selection covering antiquities from Bonhams, Christie’s, and David Aaron, among others. The collection includes both single-owner sales and general auctions, spanning topics from Islamic and European weaponry to Classical antiquities and tribal art. A valuable reference archive for collectors, researchers, or dealers in the field. Qty: 100
FOLLOWER OF FRANZ VON DEFREGGER (AUSTRIAN 1835 - 1921), LITTLE BIRD oil on canvas framed image size 68cm x 53, overall size 75cm x 61cm Note: Franz Defregger was an Austrian artist known for producing genre art and history paintings set in his native country of Tyrol. Franz Defregger, the son of a Tyrolean peasant, sold his inherited homestead in 1860 to pay his sisters' dowries and emigrate to America. However, his plans were thwarted, and he instead traveled to Innsbruck to study under sculptor and professor Michael Stolz. In 1860, Defregger met Karl Theodor von Piloty in Munich, where he enrolled in the preparatory class of the Royal School of Arts and Crafts under Hermann Dyck. In 1861, he passed the entrance exam for the Munich Academy of Fine Arts and studied painting under Hermann Anschütz, a pupil of Cornelius. After Munich, Defregger spent time in Paris, where he independently studied human anatomy and immersed himself in museums, galleries, and studios. In 1865, Defregger returned to Munich and worked on sketches. From 1867 to 1870, he worked in Piloty's studio alongside Hans Makart and Gabriel Max. His works quickly gained public acclaim. From 1878 to 1910, Defregger was appointed a professor of historical painting at the Munich Academy. One of his students was Lovis Corinth. Defregger's preferred subjects were portraits, scenes of peasant life, and dramatic depictions of Tyrol's 1809 struggle for freedom. In 1883, Defregger was ennobled and received numerous awards and honours during his lifetime. Another notable student of his was Hugo Engel. Defregger shared a studio with other Munich School artists, including Rudolf Epp. Franz von Defregger died on January 2, 1921, at the age of 85. He was buried in the family vault at the Munich Nordfriedhof cemetery.
ATTRIBUTED TO WILHELM LEIBL (GERMAN 1844 - 1900), A MEDITATING SAINT oil on canvasframed image size 81cm x 97cm, overall size 95cm x 110cm Provenance: lot 109, Nineteenth Century European Paintings, Sotheby's, London, 7 October 1987. This 1987 Sotheby's catalogue, which shows a black and white photo of this picture (A Meditating Priest) catalogued as "Attributed to Wilhelm Leibl" and estimated at £2000 - 3000 is included with this lot.Note: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne, where his father was the director of the Cathedral choir. He was apprenticed to a locksmith before beginning his artistic training with the local painter Hermann Becker in 1861. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frênes. At about the same time, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. In 1869, following Courbet's suggestion, Leibl went to Paris, where he was introduced to Édouard Manet, but was forced to return to Germany in 1870, due to the outbreak of the Franco-Prussian War. In 1873 Leibl left Munich for the isolated Bavarian countryside, where he depicted the local peasants in everyday scenes devoid of sentimentality or anecdote. The sketchlike quality of his earlier paintings was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Bad Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted without preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trübner, Otto Scholderer, and Hans Thoma. During the first half of the 1870s, Leibl executed a series of 19 etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. He visited the Netherlands in 1898, and his work was included in the Berlin Secession exhibition the following year. He died in Würzburg in 1900.
German Third Reich WW2 Army / Waffen SS Tank/Panzer Assault breast badge badge by Hermann Aurich. Good die-cast silvered zinc example. Approaching Panzer within an oval oakleaf wreath surmounted by eagle and swastika. Reverse with raised maker's logo and retains vertical round pin and securing hook, with countersunk round fixings. Retains most original finish. VGC Instituted 20th December 1939. Payment by Bank Transfer ONLY
GORING HERMANN: (1893-1946) German politician and military leader, one of the most powerful figures in the Nazi Party who served as President of the Reichstag 1932-45 and as Minister President of Prussia 1933-45. T.L.S., Goring, two pages, 4to, Berlin, 19th February 1938, to the Chief of the High Command of the Wehrmacht (Wilhelm Keitel), in German. Goring states (translated) ´The development of the labour market compels me to consider the order of public construction projects according to their urgency, as suggested in your letter referred to above. A prerequisite for the decisions to be made in this regard is an overview of the scope of the planned public construction projects and the total workforce required for them. I have entrusted the President of the Reich Institute for Employment and Unemployment Insurance with the task of carrying out the necessary surveys.......I would ask you to ensure that the information he requests is provided to him as soon as possible´ and further continues ´The development of the foreign exchange situation also makes it necessary to envisage a certain reorganisation of matters. As a result of the unexpectedly high utilisation of foreign exchange reserves last year, there has been a tightening of the foreign exchange supply. It is therefore unavoidable to ensure the most rational use of foreign exchange and, above all, of raw materials that cost foreign exchange. This applies in particular to iron and base metals. In future, even more than in the past, the focus will have to be on achieving the greatest possible benefit in the shortest possible time. The management of iron and base metals is in the hands of Major General von Hanneken in the reorganised Reich Ministry of Economics. I have instructed him to contact you as soon as possible to discuss the relevant issues´. Two file holes to the left edge and with numerous official ink stamps, pencil and ink annotations and underlinings etc. Two small traces of former mounting to the upper edge of the verso, otherwise VGWilhelm Keitel (1882-1946) German Field Marshal who held office as chief of the Oberkommando der Wehrmacht (OKW), the high command of Nazi Germany's armed forces, from 1938-45.
GORING HERMANN: (1893-1946) German politician and military leader, one of the most powerful figures in the Nazi Party who served as President of the Reichstag 1932-45 and as Minister President of Prussia 1933-45. An important World War II date T.L.S., Hermann Goring, one page, 4to, Berlin, 13th July 1940, to Benito Mussolini (´Eure Exzellenz!), on Goring´s personal printed stationery featuring a blind embossed Nazi eagle and swastika at the head, in German. Goring expresses his sincere gratitude to the Italian dictator for their ´great concession´ promised in their letter of 14th June, for the delivery of aluminium oxide (´namely a one-off delivery of 8,000 tonnes and ongoing deliveries of 2,500 tonnes per month´). Goring further states ´In the interests of the Italian Air Force, I agree to the immediate delivery of 400 tonnes of smelter aluminium and 400 tonnes of remelted aluminium per month, as agreed during the negotiations in Rome´. Several of the lines in this latter part of text have been underlined in red grease pencil by Mussolini, who has also added a note (´per Favagrossa´) to the upper left corner of the page, signed with his initial M, also in red grease pencil. A letter of excellent association and good content illustrating the close relationship that existed between the two Axis powers during World War II as they agree to help each other with supplies of materials, particularly for aircraft production. Letters exchanged between two of the most significant individuals of World War II, and signed by both of them, very rarely appear at auction. A few very light, extremely minor creases, and some light staining to the lower edge, otherwise VGBenito Mussolini (1883-1945) Italian Fascist Dictator of World War II. Carlo Favagrossa (1888-1970) Italian General and politician who served as the Italian Under-Secretary for War Production during World War II.
OPERA: Selection of signed postcard photographs (some vintage) by various male opera singers, and one conductor, comprising Placido Domingo, Giacomo Aragall (in costume as Romeo from I Capuleti e i Montecchi at Teatro Alla Scala), George London, Wolfgang Windgassen, Hermann Prey, Alfred Jerger, Laszlo Szemere, Paul Schoffler, and opera conductor Berislav Klobucar. Generally VG, 9
GORING HERMANN: (1893-1946) German politician and military leader, one of the most powerful figures in the Nazi Party who served as President of the Reichstag 1932-45 and as Minister President of Prussia 1933-45. D.S., Hermann Goring, one page, folio, Berlin, 9th October 1939, in German. The partially printed document appoints the government land surveyor Walter Bickenbach to the surveying council, and continues to state ´I make this appointment in the expectation that the appointee will faithfully fulfil his official duties and justify the trust placed in him by this appointment. At the same time, I assure him of my special protection´. Signed by Goring at the foot of the document and also bearing a blue printed facsimile signature of Adolf Hitler, both appearing alongside a blind embossed circular seal featuring the Nazi eagle and swastika. With blank integral leaf. Loosely contained within the original presentation folder featuring the gold embossed Nazi eagle and swastika to the cover. Some light creasing, age wear, and a few small stains and tears, otherwise about VG
FEGELEIN HERMANN: (1906-1945) German SS-Gruppenfuhrer and Generalleutnant der Waffen-SS during World War II, Knights Cross winner with Oak Leaves and Swords. A member of Adolf Hitler´s entourage, Fegelein was the brother-in-law of Eva Braun through his marriage to her sister Gretl. D.S., Fegelein, as Commander of the SS-Kavallerie-Division, one page, 4to, n.p., n.d. (July 1943), in German. The typescript document is a Verleihungsliste (award list) for the Eisernes Kreuz I Klasse (Iron Cross 1st Class) to be awarded to Heinz Riedger of the SS-Kavallerie-Division, and providing brief details of his date of birth etc. Signed by Fegelein at the base alongside an official circular Waffen-SS stamp featuring the Nazi eagle and swastika. Two file holes to the left edge, only very slightly affecting one word of text, but not the signature, otherwise VG
![[AVIATION PATENT]: An interesting printed small 4to Patent Specification (No. 313078) approved by the German Empire Reichspat](https://cdn.globalauctionplatform.com/5556c1a2-d360-4cf5-b2fa-b2e9011f2254/629a9f13-55f5-449f-a64e-b2e90136b5b1/468x382.jpg)
[AVIATION PATENT]: An interesting printed small 4to Patent Specification (No. 313078) approved by the German Empire Reichspatent office from 26th August 1917, two pages, with integral diagram, in German. The patent was issued for a breaking device for aircraft invented by Hermann Hartmann of Lage, Lippe, and states, in part (translated) ´Devices are known which are intended to protect the aircraft from excessive impact during landing. These include hinged surfaces provided on the underside of the wings, which are embedded in the wings when not in use. Devices are also known in which a sensing lever, when pivoted upon impact with the ground, acts on the elevator and shuts off the engine. The invention differs from these known devices in that the arresting surface, which is deployed by the rods striking the ground or is operated from the pilot´s seat, is provided at the rear of the aircraft´s fuselage.....the invention provides proper braking in the manner of a parachute, whereby the braking surface can be made considerably large due to the space available at the rear of the fuselage in order to exert a significantly greater braking effect than previously known devices. The drawing shows an embodiment of the invention.....on the rear end of the fuselage (a) an umbrella is mounted so as to be rotatable about the joint (e) in such a way that the umbrella surface either rests on the fuselage body when folded down in position 1 or folded up in position 2. This adjustment is effected by means of a two-armed lever.....´, further concluding that the ´expanded canopy surface tne serves as a braking means and reduces the forward movement of the aircraft, thus shortening the run-out distance during landing and also preventing the aircraft from rolling over´. With several official rubber stamps to the head of the first page, including one of the group collection of Professor [Hugo] Junkers (1859-1935) German aircraft engineer and designer. Four file holes to the left edge and with some light water staining to several corners, G
PAVLOV IVAN: (1849-1936) Russian experimental neurologist and physiologist, known for his discovery of classical conditioning through his experiments with dogs. Nobel Prize winner in Physiology or Medicine, 1904. A printed 8vo copy of Naturwissenschaft und Gehirn (´Natural Science and the Brain´), being the text of the lecture Pavlov gave at the General Assembly of the XII Congress of Russian Natural Scientists and Physicians in Moscow on 28th December 1909, the authorised translation into German by Dr. G. W. Volbroth, and published by J. F. Bergmann of Wiesbaden, 1910. Inscribed by Pavlov in black ink to the head of the printed paper wrapper, ´Hommage de l´auteur´. Also bearing an ink annotation and ownsership signature of G. H. Parker, alongside a Harvard University biological laboratories library centre stamp. Rare. Some light age wear and with a vertical central fold, otherwise about VGIn 1910 Pavlov´s lecture was also published in In Memory of Darwin, a collection of essays honouring the 100th anniversary of Darwin´s birth and the 50th anniversary of the publication of his On the Origin of Species. Although not mentioning Darwin or his theory of evolution by name, Pavlov claims that only an experimental study of animal adaptation to the external environment can produce scientific knowledge on the elementary modes of behaviour. Pavlov states that ´psychology up to now still is the realisation of the inner world of humans in search of their own, real methods. And the physiologist undertook the ungrateful task to guess the inner world of the animals. From this it is not difficult to understand that the study of the most complicated part of central nervous system of the higher animals is up to now still not regularly and continously progressing. This research is approximatly one hundred years old´.Pavlov also writes on the conditional reflex which German physiologist Hermann von Helmholz (1821-1894) had referred to in his writings as ´unconscious conclusion´, stating, in part, ´evidently what the genius Helmholtz referred to as ´unconscious conclusion´ corresponds to the mechanisms of the conditioned reflex. When, for example, the physiologist says that for the formation of the conception of the actual size of an object there is necessary a certain length of the image on the retina and a certain action of the internal and external muscle of the eye, he is stating the mechanism of the conditioned reflex. When a certain combination of stimuli, arising from the retina and ocular muscles, coincides several times with the tactile stimulus of a body of certain size, this combination comes to play the role of a signal, and becomes the conditioned stimulation for the real size of the object. From this hardly contestable point of view, the fundamental facts of the psychological part of the physiological optics is physiologically nothing else than a series of conditioned reflexes, i.e. a series of elementary facts concerning the complicated activity of the eye analyser´
CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. A.L., unsigned, two pages, 4to, Collingham Gardens, London, 20th June 1930, to Count Eric von Rosen. The letter, seemingly complete, is Carter´s retained draft copy of his correspondence, thanking Rosen for their kindness in sending ´those extremely interesting volumes and pamphlets´ and remarking ´I now see that we are much of the same thinking with regard to origin of the peoples and civilization of the Nile valley. That they were originally a marsh dwelling people becomes evident. I think, from the permanent buildings along the Nile - at least in Egypt, Nubia and parts of the Sudan. For putting aside what might be termed auxiliary ornament (also of marsh type) the whole of the detail of those buildings present in imitation features of temporary nature such as would pertain to a marsh dwelling people. Again, although the so called lotus columns of Egyptian architecture is a misnomer, the principal emblems of the Two Kingdoms (Upper & Lower Egypt) are the lotus and papyrus´, further adding ´I am, personally, of the opinion that the common origins of that civilization come from a region somewhere near Eastern Equatorial Africa. The materials of the earliest objects found in Egypt, the flora and fauna depicted upon them, all points towards that possibility. That the people who made those objects....were brown coloured, thin lipped, and always at war with Negroid, Libyan and Asiatic peoples becomes evident from the monuments´. An interesting text. VGCount Eric von Rosen (1879-1948) Swedish nobleman, patron, explorer, and ethnographer, who was also a leading figure in Sweden´s own Nazi movement during the 1930s. Rosen was the brother-in-law of Hermann Goring from 1923-31.
WW2 Third Reich Waffen SS Killed in Action Documents: One to SS Scharfuhrer Hermann Hofman while serving with 5th SS Panzer Division "Wiking" KIA 08/12/44 in the Battle for Budapest. Signed by SS Sturmbannfuhrer Adolf Maier. : Another to SS Obergrenadier Harald Vorbach, KIA 24/7/44, letter to his father from SS Hauptscharfuhrer Heinrich Ebenhoh, feldpost numbered 22135A (3rd SS Panzer Division "Totenkopf") Transcript and original.
Hermann Teddy Bear - A collection to include 4 figures, 1 figure is ceramic. They appear Good to Excellent. (This does not constitute a guarantee). (JF).These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.
Collection of stuffed toy bears, including Herman 'Sonneberg Dumpling Bear' limited edition No. 83/500 mohair bear with growler, 37cm; Dean's Rag Book Company Ltd 'Boy Blue' bear Limited Edition 41/150; Dean's Rag Book 'Old Blue' No. 98/1000 blue bear; Geraldine's of Edinburgh 'Colonel Pinkie' mohair bear; and a pink Big Softies bear; together with a Hermann mohair 'Rabbit Long Ear', Limited Edition No. 263/1000 rabbit (6)
Pechstein, Hermann Max (Zwickau 1881 - 1955 Berlin, Studium an der Kunstgewerbeschule in Zwickau und der KA Dresden bei Otto Gußmann, Mitglied der Künstlervereinigung "Berliner Secession" und "Brücke", bedeutender Vertreter des deutschen Expressionismus), "Fischer", Lithografie auf Papier, signiert unten rechts H. M. Pechstein, 28 x 20 cm (PA), unter Glas gerahmt
Teuber, Hermann (1894 Dresden - 1985 München, deutscher Maler und Grafiker, Unterricht an der Königlich Sächsischen Kunstgewerbeschule, Ausbildung an der Kunsthochschule Berlin-Charlottenburg, Mitschüler des Ernst Wilhelm Nay),"Rosen und Maiglöckchen", Öl auf Leinwand auf Karton, signiert unten datiert unten rechts H. Teuber (19)71, rückseitig bezeichnet H Teuber Rosen u. Maiglöckchen 1971, 48 x 36.5 cm (RA)
Pechstein, Hermann Max (Zwickau 1881 - 1955 Berlin, Studium an der Kunstgewerbeschule in Zwickau und der KA Dresden bei Otto Gußmann, Mitglied der Künstlervereinigung "Berliner Secession" und "Brücke", bedeutender Vertreter des deutschen Expressionismus),"Yali VII (Gewitter)", Radierung auf Papier, signiert unten rechts H M Pechstein, 26 x 20 cm (PA), unter Glas gerahmt
Pechstein, Hermann Max (Zwickau 1881 - 1955 Berlin, Studium an der Kunstgewerbeschule in Zwickau und der KA Dresden bei Otto Gußmann, Mitglied der Künstlervereinigung "Berliner Secession" und "Brücke", bedeutender Vertreter des deutschen Expressionismus),Zwei Lithografien, "Einlaufende Boote" und "Im Boot", aus der Serie „Reisebilder Italien-Südsee“, je signiert und datiert HM Pechstein 1919, restauriert, 26 x 30.5 cm (PA) und 25 x 32.5 cm, unter Glas gerahmt
Hermann Max Pechstein 1881 Zwickau - 1955 Berlin Große Mühlengraben-Brücke (Leba). 1921. Gouache, Aquarell, Buntstift und Kreide. Rechts unten signiert (teils in Ligatur) und datiert. 48 x 58 cm (18,8 x 22,8 in), blattgroß. [CH]. • Im Entstehungsjahr 1921 entdeckt Pechstein Leba an der Ostsee-Küste als neuen künstlerischen Sehnsuchtsort, der bis 1945 zu seinem zweiten Zuhause wird. • In Leba lernt der Künstler in diesem für ihn so bedeutenden Jahr seine spätere Ehefrau Marta Möller kennen. • In dieser Zeichnung verbindet Pechstein die dortige, idyllische Szenerie mit kräftigen Farbakzenten, spannungsvoller Tiefenwirkung und erzählerischer Ebene zu einer detailreich ausgearbeiteten Komposition. • Im Entstehungsjahr und auch im darauffolgenden Jahr widmet sich der Künstler dem Motiv der Mühlengraben-Brücke auch in seinen Gemälden, darunter 'Sonnenuntergang' (Nationalgalerie, Staatliche Museen zu Berlin) 'Brücke in Leba' (Nationalgalerie, Prag). PROVENIENZ: Privatsammlung Israel. Galerie Michael Hasenclever, München. Sammlung Deutsche Bank (1991 vom Vorgenannten erworben). Privatsammlung Süddeuschland (vom Vorgenannten erworben). AUSSTELLUNG: Auf Papier. Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt a. Main, 3.3.-30.4.1995; Berlinische Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur, Berlin, 18.5.-2.7.1995; Museum der bildenden Künste, Leipzig, 10.8.-24.9.1995, S. 242, Kat.-Nr. 141 (m. Abb., S. 243). LITERATUR: Ariane Grigoteit, Landschaften eines Jahrhunderts. Aus der Sammlung Deutsche Bank, Frankfurt a. Main 1999, S. 161 (m. Abb.). Aufrufzeit: 07.06.2025 - ca. 16.02 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONHermann Max Pechstein 1881 Zwickau - 1955 Berlin Große Mühlengraben-Brücke (Leba). 1921. Gouache, watercolor, color pen and chalks. Signed (partly in ligature) and dated in the lower right. 48 x 58 cm (18.8 x 22.8 in), the full sheet. [CH]. In 1921, the year this painting was created, Pechstein discovered Leba on the Baltic Sea as his new artistic retreat. The town became his second home until 1945. • During this critical year, the artist met his future wife, Marta Möller, in Leba. • In this drawing, Pechstein combines the idyllic scenery with bold color accents, a dramatic sense of depth, and a narrative layer to create a richly detailed composition. • In the year it was created, and the following year, the artist also used this motif in his paintings, among them 'Sonnenuntergang' (Sunset, Nationalgalerie, Berlin) and 'Brücke in Leba' (Narodni Galerie, Prague). PROVENANCE: Private collection, Israel. Galerie Michael Hasenclever, Munich. Deutsche Bank Collection (acquired from the above in 1991). Private collection, South Germany (acquired from the above). EXHIBITION: Auf Papier. Kunst des 20. Jahrhunderts aus der Deutschen Bank, Schirn Kunsthalle, Frankfurt am Main, March 3–April 30, 1995; Berlinische Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur, Berlin, May 18–July 2, 1995; Museum der bildenden Künste, Leipzig, August 10–September 24, 1995, p. 242, cat. no. 141 (illustrated on p. 243). LITERATURE: Ariane Grigoteit, Landschaften eines Jahrhunderts. From the Deutsche Bank Collection, Frankfurt am Main 1999, p. 161 (illustrated). Called up: June 7, 2025 - ca. 16.02 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.
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