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WW2 Enlisted Mans/Nco’s Panzer Truppen (Armoured Corps) Visor Cap. Amazing condition as it was found in a German attic wrapped in tissue paper and in a box. The box was thrown as it had been nibbled by rodents. It is thought that the cap was used for their Grand Fathers wedding and had been in the box ever since

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WW2 Enlisted Mans/Nco’s Panzer Truppen (Armoured Corps) Visor Cap. Amazing condition as it was found in a German attic wrapped in tissue paper and in a box. The box was thrown as it had been nibbled by rodents. It is thought that the cap was used for their Grand Fathers wedding and had been in the box ever since

Estimate 1 200 - 1 500 GBP
Starting price 1 200 GBP

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For sale on Monday 29 Jul : 10:00 (BST)
hertfordshire, United Kingdom
Cadmore Auctions
+441992633373
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[Bibliography] Set of 4 volumes: (Photocopies, A4 format in red cloth and Skivertex bindings) William Hobart Royce, Writings relative to the Life and Works of Honoré de Balzac. The University of Chicago Press, Kraus Reprint Co. 1969. Otto Klapp, Bibliographie d'Histoire littéraire française. Frankfurt,Vittorio Klostermann. Contains all "Balzac" entries in Volumes I to XXVIII, from 1956 to 1990. Otto Klapp, Bibliographie d'Histoire littéraire française. Frankfurt,Vittorio Klostermann. Volumes XXIX and XXX (1991-1992). L. Carteret, Le Trésor du bibliophile romantique et moderne, 1801-1875. Carteret, 1927 (Pages 41 to 92 on Balzac). Le Courrier Balzacien. Paris, 1948-1949, In-8. Set of the first 6 issues, December 1948 to December 1949, deluxe edition of 120 copies on vellum pur fil from Papeteries Johannot (N° XXII), N°6 is one of 10 H. C. copies (N°9). In sheets, printed cover, first cover with portraits of Balzac at different periods of his life on volumes 1 to 5. Good condition. Courrier Balzacien: Lot of approx. 120 issues from 1980 to 2022, some duplicates, series missing, some older issues photocopied. Anonymous [Harel, Alhoy and Jal], Dictionnaire théâtral ou douze cent trente-trois vérités sur les directeurs, Régisseurs, acteurs (etc.) des divers théâtres. 2nd edition with a supplement. Paris, Barba, 1825, in-12, 318p. The original edition is dated 1824. As a man of the theater, Harel can claim to have an inside view of the theatrical scene. At the time of publication of his dictionary, whose preface to the second edition testifies to its tumultuous reception, he was not yet director of the Odéon, and he had enlisted the help of two other authors, experienced in major publishing ventures but not at all theatrical specialists: Maurice Alhoy, a successful author, and Auguste Jal, a specialist in maritime literature. Salvador H." bookplate on title page. Bound in red half-basane, smooth spine with 5 false nerves of 3 gilt fillets, 3 cold fleurons and 2 gilt fleurons between the nerves, head and tail castors, spine slightly faded; marbled edges. A good copy.

Italian school; mid-17th century. "Venus and Mars". Oil on canvas. Re-coloured. It has repainting and restorations. It presents the reentelado detached in the exterior perimeter. Measurements: 98 x 110 cm. The voluptuousness of the forms of the protagonist, and the sensuality of them indicate that it is the representation of the goddess Venus. Situated in the centre of the composition, she is surrounded by a whole retinue of little lovers who surround her and entertain her. The goddess, who is looking at one of the little lovers holding an arrow, points with her hand towards an area of the composition where part of the body of a male figure can be seen, and in the lower area the glittering glints of a suit of armour can be seen. This feature indicates that the man may be Mars. Although Venus was married to the god Hephaestus, she began a relationship with the god Mars, who had fallen in love when he saw her. Thus beginning a courtship. Every night while Hephaestus worked, the two lovers would meet. This story is told by the aedo Demodocus in Homer's "Odyssey", who recounts that it was the sun god, Helios, who discovered the lovers one night when they lingered too long. The god then alerted Hephaistos, who was enraged and arranged over the bed a subtle invisible metal net, which only he himself could operate, and which had the power to immobilise even the gods. Thus he trapped the lovers on the next occasion, and then called the rest of the gods to witness the adultery, planning to humiliate them. Some commented on Aphrodite's beauty, others that they would have gladly exchanged themselves for Ares, but all mocked them. When the couple was released, Ares fled to his native Thrace and Aphrodite went to Cyprus. Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly baroque, is also typical of 17th-century Italian classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, toned and balanced, centred on basic shades of red, ochre and blue. Also typical of this school of Baroque classicism is the way the scene is composed, with a circular, closed rhythm on one side while opening up to the landscape on the other. However, despite the dominance of the classical, there is a certain influence of naturalism, especially in the lighting. Thus, although the light is natural, it is directed, focusing on the main scene and leaving the rest in semi-darkness, thus differentiating the different planes of space and focusing the viewer's attention on the scene.