Null Mosin Nagant Mod. 1891/59
Cal. 7,62x54R, SN. 1818, matching numbers. Almos…

Description

Mosin Nagant Mod. 1891/59 Cal. 7,62x54R, SN. 1818, matching numbers. Almost bright bore, length 52 cm. Five-shot. German proof mark 1985, sights scaled 1 - 10, on left side of barrel receiver "Frankonia" importer's stamp, on top two times "1891/59". Completely refinished, bolt bright. Light wooden stock. Woven sling. Cleaning rod. Total length 103 cm. 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: II

12517

Mosin Nagant Mod. 1891/59 Cal. 7,62x54R, SN. 1818, matching numbers. Almost bright bore, length 52 cm. Five-shot. German proof mark 1985, sights scaled 1 - 10, on left side of barrel receiver "Frankonia" importer's stamp, on top two times "1891/59". Completely refinished, bolt bright. Light wooden stock. Woven sling. Cleaning rod. Total length 103 cm. 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: II

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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.

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Otto Laible, 1891 Karlsruhe until 1962, 2 watercolors/gouache, 2 reproductions: 1st watercolor, Russia 1943, signed, bet., PP cutout 31 x 47 cm,frame , 2nd gouache, bet. Village Istein, signed, approx. 36 x 52 cm PP cutout, frame, 3rd Place Pigalle and market scenes, reproductions, 1 x hand signed, approx. 21 x 59 and 31 x 47 cm PP cutouts, both framed

Estim. 240 - 360 EUR

Anton von Werner, Herold study Portrait of a man in medieval costume with beret, probably holding the staff of a standard in his hand, pencil drawing with red heightening on paper, titled "Herold" on the lower right and monogrammed and dated "A.v.W. 1888", sheet mounted on card, here inscribed "28 x 36" and "Rücken fehlt", light-stained, browned, framed behind glass, sheet dimensions approx. 28.5 x 22 cm. Artist information: actually Anton Alexander von Werner, important German history painter. German history painter, draughtsman and illustrator (1843 Frankfurt/Oder - 1915 Berlin), initially trained as a house painter 1857-59, studied 1859-62 at the Berlin academy under August von Kloeber, 1862 transferred to the Karlsruhe academy, where he studied under Johann Wilhelm Schirmer, Ludwig Des Coudres, Carl Friedrich Lessing and Adolph Schroedter, 1865 travelled to Paris, then visits France, Italy and Switzerland, returns to Karlsruhe in 1869, creates his first highly acclaimed illustrations and monumental history paintings on the recommendation of Grand Duchess Luise von Baden to her brother, Crown Prince Friedrich Wilhelm of Prussia, participates in the Franco-Prussian War as a war painter from 1870-71, first meeting with his brother on 4 November 1870.11.1870 first meeting with the Prussian Crown Prince Friedrich Wilhelm in Versailles, on 18 January 1871, at the Crown Prince's request, attends the imperial proclamation and the founding of the German Empire in Versailles, numerous sketches are made, which Werner uses in his famous painting "The Proclamation of the German Empire in the Hall of Mirrors at Versailles on 18 January 1871", executed several times. In 1871, he returned to Karlsruhe and moved to Berlin, where he taught intensively as a professor and worked as a freelance artist, became friends with the Prussian crown prince and princess (including giving drawing lessons to Crown Princess Victoria, who became his son's godmother), was appointed court painter and became A. v. W. became one of the busiest and most influential cultural functionaries in Germany, 1875-1915 director of the royal academy, 1891 stay on Sylt, 1875-77 and 1882-1911 member of the Prussian state art commission, 1878 and 1887 general commissioner of the German section at the world exhibitions in Paris and Melbourne, 1887-1895 and 1899-1901 chairman of the Berlin Artists' Association (member since 1871), 1899-1900 and 1902-06 Chairman of the Fine Arts Section of the Senate of the Berlin Academy, friendship with Adolph von Menzel, appointed "Wirklicher Geheimrat - Excellenz" in 1910, Werner was an honorary member of nine art academies and received numerous honours, including the Order "Pour le Mérite", Source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Mülfarth, "Anton von Werner - Geschichte in Bildern (Bartmann)", Müller-Singer, Seubert, Ries, Jansa, Feddersen "Schleswig-Holsteinisches Künstlerlexikon", Dressler and Wikipedia.

Estim. 6 000 - 8 000 EUR

LAGNIET (Jacques). Recueil des plus illustres proverbes. Divisés en trois livres. sl [Paris], sn [Jacques Lagniet], sd [1657-1663]. In-4 with [1] engraved title frontispiece (cut out and reassembled) and 48 engraved plates (of 59) for the first book "Moral Proverbs" (all ch. 1-60); [1] engraved title frontispiece (cut out and reassembled) and 60 engraved plates (of 71) for the second book "Joyful Proverbs" (all ch. 1-72); [1] engraved title frontispiece and 27 engraved plates (of 29) for the third book "Vie des Gueux" (all ch. 1-30); [1] engraved title frontispiece ("La Vie de Tiel Wlespiegle...") and 33 engraved plates for the fourth book (uncounted). A total of 172 engraved plates. Missing plates 8, 13, 15, 17, 24, 25, 33, 34, 48, 49, 57 in book one; plates 2, 9, 21, 39, 41, 48, 49, 52, 61, 62, 71 in book two; plates 17, 28 in book three. Marbled basane, ornate ribbed spine, title page, triple gilt fillet framing the boards with gilt flowers in spandrels (18th century binding). Several plates restored, several small brown spots or light marginal spotting, brown stains on 3 or 4 plates towards the end. A most curious collection of engravings, whose composition varies from copy to copy. "The works published by Lagniet are an essential source for the study of popular life in the mid-seventeenth century." (cf. R.A. Weizert, En marge des proverbes de Lagniet, in Gazette des Beaux-Arts, Sept. 1967, p. 177). "Not only do we see before us an important period of history, captured in more intimate detail than in the always somewhat pompous prints of Abraham Bosse, but we can also follow the development of the study of manners through these drolleries and facetiousness" (John Grand-Carteret, Les Mœurs et la caricature en France). Brunet, usually severe, like most of his contemporaries, with regard to seventeenth-century engraving, gave this laudatory judgment: "[the engravings] lack delicacy and finish, but a kind of brutal and caustic verve, a frank gaiety, in reproduction of the popular allures and habits of the time, such are the titles that rightly recommend the work of this artist". (Brunet III, 767.)

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