Null Walther P 99
Cal. 9mmLuger, SN. 001528, matching numbers. Bright bore barr…

Description

Walther P 99 Cal. 9mmLuger, SN. 001528, matching numbers. Bright bore barrel. 16-shot. Proof mark 1996. Standard inscription. Contrast sights. Signal pin with illuminated dot. Ambidextrous magazine catch. Polymer grip. Magazine. Mint condition. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: I -

11652

Walther P 99 Cal. 9mmLuger, SN. 001528, matching numbers. Bright bore barrel. 16-shot. Proof mark 1996. Standard inscription. Contrast sights. Signal pin with illuminated dot. Ambidextrous magazine catch. Polymer grip. Magazine. Mint condition. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: I -

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Estim. 180 - 220 EUR

A SCARCE .177 WALTHER LG51 (53'Z') BREAK-BARREL MATCH AIR-RIFLE, serial no. 026654, circa 1960, with blued 17 3/4in. barrel, tunnel fore-sight with removable element, provision for rear-sight at breech (not supplied), plain air-chamber marked 'WALTHER LG CAL 4.5' over 'MOD 51' and 'WALTHER'S PATENT', no provision for telescopic sight, figured walnut half-stock, the top of wrist fitted with a Walther peep-sight with large pan-head aperture, chequered pistol-grip, deep fore-end with finger grooves, much apparent original finish.

Estim. 150 - 300 EUR

La MINERVE FRANÇAISE. Paris, Bureau de la Minerve Française, February 1818-February 1820, 9 volumes (followed by). MERCURE DE FRANCE. [Tomes 3 à 5]. Paris, Administration du Mercure, 1817-1818, 3 volumes. Comprising 2 works in 12 volumes 13 by 21.5 cm. Contemporary fawn half-basane, smooth spine, ex. untrimmed. Minor binding defects, some scattered foxing. Royal stamps on many pages of volumes 9 to 12. 1) All issues of this famous periodical. Cat. périodique B.N. III-p. 536; Yvert, Politique libérale, biblio. sélective 23; Hatin, Biblio. de la presse p. 342. "Minerve française (La), French periodical collection published from February 1818 to [February] 1820. It was founded by publicists of the liberal party to replace the Mercure de France, stripped of its privilege. It appeared in weekly installments, dealing more with politics than literature, and professing the same independent principles in both. La Minerve's main editors were Benjamin Constant, Jay, Etienne, Jouy, Tissot, Lacretelle and others. The capital piece, [apart from Benjamin Constant's articles], was the Lettres d'Etienne, who took pleasure in seeking out the news from Paris in foreign newspapers, and transcribing from English things that one would not have dared to insert at first in a French gazette. The liveliness with which La Minerve supported the struggle against the powers that be has led to it being called "the Menippean satire of the Restoration". La politique" remained, at least until his election as deputy for Sarthe on March 26, 1819, the work of Constant, who published a total of 99 articles. It includes some of his best texts, notably the "Lettres sur les Cent-Jours", published for the first time (see issue 56), and his analysis of Madame de Staël's "Considérations" (see next issue). 2) Last three volumes (out of 5 published) of the Mercure de France. These three volumes cover the period from July 5, 1817 to January 1818. At the end of the last volume, we have bound some of the issues of volume II (May 31, 1817 to June 1817). Volume V is extremely rare. The first volume appeared in January 1817. "First major liberal periodical since the Hundred Days." Its principal editor was Benjamin Constant. Following volume 9 of La Minerve, we have bound the 11th volume of Lettres Normandes, sent to subscribers of La Minerve Française to complete their subscription (cf. Hatin p. 336).

Estim. 250 - 450 EUR

[HELYOT, (Père Pierre), and BULLOT (père)]: Histoire des Ordres monastiques religieux et militaires, et des congrégations séculières de l'un & de l'autre sexe Contenant leur origine leur fondation, la décadence des uns et leur suppression, les vies de leurs fondateurs avec des figures (...). Paris, Nicolas Gosselin, 1714-1719. 8 volumes. 18 by 24 cm. XCVIII-(5)-399-(21); (8)-436-(31); XVI-(6)-456-(40); (8)-464-(42); (6)-488-(20); (8)-446-(26); (8)-493-(34); (8)-446-(36) pages. Contemporary half basane, 5 bindings. Binding solid, but worn, with numerous small defects. Mottling in two volumes on a few leaves. Volume 3 with missing title page (replaced by a handwritten page) and the last page of the table. Some scattered foxing. Volume 1: 102 plates (missing 62, 68, 75, 97). Vol. 2: 119 plates (missing 12, 14, 16, 31). Vol. 3: 120 plates (1-117, 29*, 29**, 64) (missing 61, 67, 72). Vol. 4: 111 plates (1-110, 45) (missing 55, 100, 101). Vol. 5: 87 plates (missing 1, 20, 22, 25, 35, 51, 60). Vol. 6: 100 plates (missing 2, 11, 14, 15, 19, 61, 91, 92). Vol. 7: 72 plates (1 to 71 + 99). Volume 8: 98 plates (plate 99 was bound in volume 7). 780 plates out of 809 plates. Highly contrasting engravings. "The plates are very well engraved by Cl. Duflos, P. Giffart, de Poilly and Thomassin". First edition of this work by Father Hélyot, who entered the Franciscan Third Order of Picpus, founded by his father Canon Jérôme Hélyot. From volume 6 onwards, the work was continued by Père Bullot. An extraordinary source of information on all the monastic, religious and military orders, many of which have disappeared, and all of which had their own distinctive costumes, a particular history, different practices, and often astonishingly remarkable characters. Discover a world that has partly disappeared, and is little known today. With a thought for the fashion show in Fellini's film Roma.

Estim. 15 000 - 18 000 EUR

Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

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