Null A lion's head sabre for officers of the cavalry, circa 1910
Property piece…

Description

A lion's head sabre for officers of the cavalry, circa 1910 Property piece. Nickel-plated single-edged blade with fullers on both sides and the maker's mark "P.O. & Co." under a wild man (Pack, Solingen). Gilt brass knuckle-bow hilt in rich relief (rubbed), black plastic grip with wire winding, lion's head with two red glass eyes, a portrait of Wilhelm II beneath an imperial crown on the outside of the grip frame, crossed sabres and lances on the obverse side of the guard. Black lacquered steel scabbard (rubbed, traces of rust), one movable suspension ring. Signs of wear and age. Length 92 cm. Condition: II

10497

A lion's head sabre for officers of the cavalry, circa 1910 Property piece. Nickel-plated single-edged blade with fullers on both sides and the maker's mark "P.O. & Co." under a wild man (Pack, Solingen). Gilt brass knuckle-bow hilt in rich relief (rubbed), black plastic grip with wire winding, lion's head with two red glass eyes, a portrait of Wilhelm II beneath an imperial crown on the outside of the grip frame, crossed sabres and lances on the obverse side of the guard. Black lacquered steel scabbard (rubbed, traces of rust), one movable suspension ring. Signs of wear and age. Length 92 cm. Condition: II

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Mise à prix 400 CHF

Bisson, EduardFeengestalt. Ca. 1900. Crystoleum auf konvexer Glasplatte. 27 x 18 cm. Signiert. Im Rahmen der Zeit gerahmt. Bisson, Eduard Feengestalt. Ca. 1900. Crystoleum auf konvexer Glasplatte. 27 x 18 cm. Signiert. Im Rahmen der Zeit gerahmt. Bei der Technik des Crystoleum wird ein Albuminabzug auf die Innenseite einer konvexen Glasplatte geklebt. Im Folgeschritt wird die Papierunterlage des Abzuges abgerieben, sodass nur die transparente Emulsion zurückbleib. Im Anschluss wurde die Arbeit rückseitig dann von Hand in Ölfarben koloriert. Crysstoleen waren zwischen den 1880er - 1910er Jahren sehr beliebt. - Edouard Bisson war ein französischer Maler des Fin de Siècle. Er ist vor allem für seine ätherischen Frauendarstellungen bekannt, bei denen er sich auf die Überhöhung einer stilisierten Form weiblicher Schönheit konzentrierte und die stillistisch stark an die Präraffaeliten erinnern. Bisson stellte merhmals im Pariser Salon aus und gewann 1900 die Bronzemedaille auf der Weltausstellung. - Auf dem Glas punktuell mit wenigen und oberflächlichen Kratzern. Insgesamt gut. Crystoleum on convex glass plate. Signed. Framed in a frame of the time. - In the Crystoleum technique, an albumen print is glued to the inside of a convex glass plate. In the following step, the paper backing of the print is rubbed off so that only the transparent emulsion remains. The work was then coloured on the reverse side by hand in oil paints. - Edouard Bisson was a French painter of the Fin de Siècle. He is best known for his ethereal depictions of women, in which he concentrated on the exaggeration of a stylised form of female beauty and which are strongly reminiscent of the Pre-Raphaelites in terms of stillness. - On the glass with few and superficial scratches in spots. Overall well preserved.

Estim. 20 - 30 EUR

The Navy Directory Officers of the United States Navy also including Officers of the U.S. Naval Reserve Force, Marine Corps, Marine Corps Reserve, Coast Guard, [...], Washington Gouvernment Printing Office, 1918/19, issues February 1918, August 1918, May 1918, October 1918, January 1919 and March 1919, in probably later identical half-leather bindings of the period with gilt-stamped spines, numbered 1-6, marbled edges, size Gr. 8°, corners and edges bumped, stamped SURPLUS - 1 Library of Congress Duplicate, one page loose, otherwise minor signs of wear.

Estim. 1 200 - 1 500 EUR

[South America]. The Costume of the inhabitants of Peru. London, Edington, sd [c. 1805]. In-4 with [1] f. engraved title and 19 plates of costumes stippled and carefully watercolored at the time. Contemporary vellum-style ivory paper spine boards, engraved title label glued to front board. A few minor flaws to the boards, a few small freckles. Some plates show a very slight trace of numbering. Indian representation of the costumes of the Ynca and his Queen ; A Lady of Lima in fer full dress ; Male inhabitant of Lima in the middle class of society ; A Female of Lima of the middle class of society ; Indians Male and Female in Costumes of Festivity ; Female Domestic of Lima of the Class of Quarterons ; Two Female Domestics of Lima, Natives,who have adopted the Spanish dress ; Civilized Indian wearing the Poncho ; Virgin of the Sun ; A Mestizo of Quito professing a liberal art accompanied by his pupil ; Mulattoes of Quito ; Female Indian, habited as the Minerva of Peru ; Female warrior of the Yurimagua Tribe ; Indian Warrior belonging to a barbarous Tribe ; Fighter at a Bull Feast ; Bozal, or Raw-Negro, residing in the district of Lima ; Indian woman of a village, near Lima ; Overseer of a Royal Peruvian Mine ; Llamas or Peruvian sheep. Very rare suite of plates of Peruvian costumes, reprinted from Joseph Skinner's "The present state of Peru...", London, Richard Philipps, 1805. An identical suite was published for Wallis and Edington, dated 1816 (6 copies in public collections, mainly in the United States). (Colas 2751.)

Estim. 2 000 - 4 000 EUR

An Isoko Mask Mask Isoko, Nigeria Mit Sockel / with base Wood, rattan. H 38 cm. Provenance: - Thierry Santos, Paris. - Galerie Alain & Abla Lecomte, Paris. - 2006: Private collection in French-speaking Switzerland. A certificate from the Galerie Lecomte (2006) will be given to the buyer. Unsold at Sotheby's Paris (09.04.2022, "Living Contemporary", lot 14) with an estimate of € 5'000-7'000. An identical (?) mask is described by Philip M. Peek in "For Spirits and Kings - African art from the Paul and Ruth Tishman Collection" as follows: 82. MASK FOR ERESE FESTIVAL Nigeria, Igbo-Isoko, Bendel State, Ase village Wood, raffa, cowrie sbells, brass tacks, H. 11¾ in. (29.8 cm.) 1940-60? This mask is virtually identical to one of three headdresses recorded in Ase, Bendel State, Nigeria, in 1971 (see fig. 30). The three are owned by Odiri, priest of Onye-uku-Ekukeni, the major clan deity for warfare. Fach mask is topped by a joined pair of unidentified animals further honoring the deity. Worn by masqueraders covered with feathers and colorful head scarves, such headdresses are the focus of the Erese festival celebrated each March to cleanse the town before other festivals can be held. This ceremony is properly known as Erese Okpokponso (from the Isoko kpo, "go," and Igbo nso, "forbidden," or "to move/drive away forbidden things"). The combination of Isoko and Igbo terms reflects Ase's complex history. The ancestors of Ase's founders left Benin centuries ago and gradually, over many generations, moved down the Niger River. Reaching the junction of the Niger and Ase rivers, two brothers went up the Ase and settled. The senior brother soon left to find what was to become the Isoko town of Aviara. For years Ase remained "junior" to Aviara, but later became affiliated with the powerful Ndosimili Igbo town of Abo. Ase now considers itself completely Igbo. A further reflection of the difficulty in tracing the origins of Niger delta and riverain communities is that Ekukeni quarter, where the creators of the Erese festival live, was settled by migrants from Erohwa, an ancient clan now linked to the Isoko but predating even the Ijo in the western Niger delta. Further reading: Vogel, Susan / Translations and additional research by Kate EZRA (1981). For Spirits and Kings. African art from the Paul and Ruth Tishman Collection. New York: The Metropolitan Museum of Art. Page 143 CHF 2 000 / 4 000 Weight in grams: 1884 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

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