AUBERT ET KLAFTENBERGER, GENEVE. AN UNUSUAL 19TH CENTURY GRAND SONNERIE SWISS REPEATING CARRIAGE CLOCK WITH DATE AND ALARM DIALS the reeded gilt brass case with ribbed folding handle enclosing an engraved silvered dial with roman numerals above centre alarm and side dials for days of the week and days of the month centred by a month aperture. Fronting an eight-day spring-driven movement striking the hours and quarters on two bells; with a sunken jewelled cylinder escapement and signed backplate20cm high handle up The case would benefit a clean but has the original gilt finish, the glass panel in the back door is cracked, no damage to the other panels, the silvered dial has a light scratch between 6 and 7, the movement chimes the correct hours and quarters, the original escapement ticks for a few seconds only, will require a clean and service.
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A pair of Victorian Masonic decanters and stoppers, with etched design, 1 marked HAB, the other INRI, in turned wood stands, bottle height including stopper 28cm, overall height 32cm1 decanter has a chip and a couple of cracks to the top edge of the collar with 2 cracks running into the top of neck clearly visible, other decanter both stoppers good condition, just some light surface scratches and a few minor surface chips, both stands have has some slight repair at the bottom of the bobbin collars again visible
A large Chinese famille verte baluster jar and cover, with painted and enamelled decoration, height 37cmVase is in nice overall condition, no chips cracks or signs of obvious restoration, the knop to the lid does have an overpainted chip and some slight glaze loss only and some light signs of wear
A pair of Antique Chinese blue and white vases with prunus decoration, height 11cm, and a yellow ground Chinese baluster vase and cover, by Wang Bing Rong, height 28cmPair of prunus vases are in good condition, no chips or cracks, some light signs of wear only, yellow ground vase has several hairline cracks running down through the neck shoulder and into the body, some slight glazing loss clearly visible, applied decoration, good condition just a few minor surface chips
A Chinese Qing Dynasty porcelain basin or bowl, with blue and white scrolling peony decoration, diameter 37.5cm, height 13cmBowl in good overall condition, no signs of restoration, there is a hairline crack running from the outer edge in through the neck and shoulder into the body with a chip to the edge, some minor surface glazing chips and light signs of wear only
A large Victorian Copeland blue and white circular breakfast tray "II Temples", diameter 44cm, together with a set of 5 Copeland Spode blue and white coffee cans and saucersTray is in good condition no chips or cracks, just some light wear and rubbing to the gilding, 2 of the cups have hairline cracks or chips, the other 3 good condition, 4 saucers are chipped and cracked, surface wear and rubbing to the gilding
A Royal Albert Old Country Roses tea and coffee serviceComprising a 2-tier cake stand, sandwich plate, tea pot and coffee pot, lidded sugar bowl associated, milk jug which has a hairline crack running from the spout from the top edge down, associated vase, 6 coffee cups and saucers, 6 tea cups and saucers, 6 x 16cm side plates, 6 x 18cm side plates and 1 sugar bowl, apart from the milk jug all pieces are in good condition, all first quality just some light surface wear, scratches knife marks to the plates and gilding lightly rubbed
MOORCROFT - a tube-lined Anemone decorated ginger jar and cover of large size, signed to the base, with Moorcroft paper label to the inside of the lid, height 20cmIn good overall condition, no obvious chips cracks or signs of restoration, some visible crazing to the cover and jar and some light surface crazing only
![Aldin, Cecil. Mac, first edition, London: Henry Frowde and Hodder & Stoughton, [1912]. Quarto, publisher's illustrated bo](https://cdn.globalauctionplatform.com/b44cfa1a-ef06-4c7f-aab2-af3c00c074ce/f53662b2-bb43-4af9-acdf-af57011d14cd/468x382.jpg)
Aldin, Cecil. Mac, first edition, London: Henry Frowde and Hodder & Stoughton, [1912]. Quarto, publisher's illustrated boards, complete with 24 colour lithographic plates, plus pictorial title and illustrated endpapers. The plates are well-preserved, clean, bright; text pages with some light spotting; binding with slight pulling at inner gutters, some bumping & wear to corners with slight loss to the tartan at spine; housed in a clear protective cover
A selection of cameras and lenses, to include a Fujica St705 with a Hoya 49mm Skylight lens, a Cosina Hi-Light with a Soligor wide auto lens, a Canon EOS 100, a Canon powershot G6 and an Olympus digital 600 camera, lenses to include a Canon macro FD 200mm 1:4 , Optimax auto-zoom1:4.5 80mm-250mm, Tamrom SP 24-48mm, a Cosina auto F=28 and other accessories .
An early 20th century railway poster "No Extra Trains At Christmas" if you get left you'll have only yourself to blame, by JAS. Truscott & Son Ltd London and Tonbridge, poster size 63cm x 50cm approx, framedPoster has been folded in quarters, there are several small tears, some light foxing, corners are creased otherwise good overall condition
MOORCROFT - a small tube-lined Orchid decorated dish, diameter 12cm, and a tube-lined Anemone decorated small flower trough, length 20cm, height 6cmThe trough has been broken and re-glued at one end clearly visible to the naked eye with all over crazing and signs of wear, small dish good condition just some light crazing
ASPREY & COMPANY LTD - a George V malachite and silver-banded rectangular box, with shagreen covered base, width 77mm, hallmarks London 1920Nice overall original condition, there are a couple of cracks through the malachite lid and body clearly visible, surface scratches and marks all consistent with age and use, silver is lightly tarnished and light wear all over, and there is a slight gap all the way round when closed
Paul Zwietnig-Rotterdam (born 1939),’’nobody knows at what point in life a night bow appears’’, black ink on paper, signed and dated 2015, on the reverse description by the artist, 43,5 x 35,5 cm, Dedication from the Artist to Casper David Friedrich (1774-1840)On February 28, 1982, at the invitation of the Boston Art Society, I gave a lecture on the elements of abstract formalism in contemporary art, using as the central image, radiating the rays of the sublime, the 1810 Night Arch by C.D. Friedrich, who I claimed is a clear pictorial invention, a formal invention that exists only in the imagination and has little or nothing in common with the real of the physical phenomenal world, like the spirals in Van Gogh's sky or the red ones Trees by Mondrian etc. come from the focus on the immediacy of the pictorial object. It is amazing how directly and without hesitation Friedrich holds the edges of the picture together with the white sheet. The image hangs on the white line like a wire. All the contents of the presentation relate to the immediacy of the surface. In addition to the visual parameters that I highlighted in my lecture, it probably always came back to the fact that Friedrich invented the Nachtbogen to keep the picture in a high degree of abstraction, that painting is an art of stillness and invention is that new forms and formal contexts are involved in the development of the world. Immediately after the lecture, which ended at about 10:00 p.m., Rebecca and I got in the car and three hours later we reached our home in North Blenheim. The house stands on a wide plateau on a hill with a deep view of the valley. Left and right the hilly mountain ranges of the Adorandecks. No light far and wide, only stars, moon and everything white covered with snow. We get out of the car and stretch our feet with a few steps up the hill. And as we turn around: a great white streak rises in the firmament, a white arc appears across the valley, stretching from mountain to mountain, just as Frederick depicted in his picture. The white nightbow was there for at least a minute. We didn't know what to say - I secretly said thank you Friedrich - knowing that we received a message from the afterlife. In 1982 I made a nightbow drawing that is now in the Leopold Collection, and oddly enough it was only a year ago that I became interested in the subject again. Although repetitions in art get on my nerves, I have made 5 nightbow drawings so far because "no one knows when a nightbow will appear" and it is interesting that the drawings are different and only have in common the white line that runs above the formal one composition rises. I only told one or two friends about the nightbow event, told it two years ago to the physicist whose name is Humuk and worked for the Atomic Energy Commission, has a PhD from MIT, gave me physics classes. He understood. that the question is not how the white nightbow came about through the moon, but the question why it appeared at the very moment when I was still living in my nightbow lecture and needed the real nightbow in the middle of the snowy landscape. It now only has to be decided, said the physicist, whether this nightbow appeared in my brain or actually in the firmament. But because Rebecca admired the brilliance of the white line in the starry sky and how fantastic it is to be personally connected to the universe, I can humbly report about the nightbow. It was a wonderful event, it was a fantastic gift.
A good two seater sofa, SOFA.COM; with deep seat and back cushions, upholstered in a light pink/ purple herringbone fabric 125cmL This sofa is being sold with TWO matching herringbone, grey backed cushions. (PLEASE NOTE the photos are for illustrative purposes only from the house. The lot just contains the item as per the actual description here, and not the cushions or items surrounding)
A charming Aubusson carpetFrench, 19th centuryWith central pink and magenta floral spray, on light green ground with curvilinear motif adorned with laurel leaves and posies, the border on light brown ground,385cm x 382cmThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Italian second half 18th century 'lacca' and parcel gilt mirrorVenetianThe later plate within a shaped, scroll, foliate and rocaille carved reverse ogee surround decorated with flowers, stylised foliage and scrolled acanthus, surmounted by a shaped cresting decorated with three reclining rustic figures within a rural landscape, 76cm high x 49cm wide.Footnotes:A harlequin set of four Venetian 18th century 'lacca' mirrors which are closely comparable to the offered lot sold Bonhams, New Bond Street, 13 July 2022, Decorative Arts: Through the Ages, lot 12.The fashion for exotic lacquer ware from China and Japan reached the Occident a long time ago and came to its apogee in Venice in the 18th Century. Venetian 'laccatori' were among the first to imitate lacquer, and their furniture and objects were much sought after as a result. Chinoiserie motifs closely imitated Oriental patterns at first, but during the second half of the 18th Century, Venetian lacquerers created different designs, loosely combining chinoiserie motifs with figures, animals, birds and landscapes. Other imitations of oriental lacquer were created in Venice, as the technique known as 'lacca povera' with printed glued vignettes. Interestingly, after the painted decoration was finished, the 'laccatori' used up to eighteen layers of a specific varnish called 'sandracca' which was applied to protect the decoration. With time, this precious varnish turned yellowish, therefore changing our perception of the initial ground colour, which most of the time was originally light blue or turquoise. Ageing 'sandracca' crackled, giving its surface a delicate fine craquelure only visible under close examination, which is a sign of an untouched decorative scheme.Related LiteratureG. Morazzoni, Il Mbile Laccato del Settecento, Vol II, 1958, Milan, tav. CDLXXX a sin.G. Mariacher, Specchiere Italiane e Cornici da Specchio, dal XV al XIX Secolo, 1963, tav. II.C. Santini, Le Lacche dei Venziani, 2003, Modena, p. 103, fig. 32.S. Levy, Lacche Veneziane Settecentesche, Vol. II, tavv. 318-319.Galleria Silva, Catalogo, No. 4, Settembre 2005, pp.'s 46-47.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
THE 1926 ASCOT GOLD CUP: an 18 carat gold cup and coverSebastian Garrard, London 1926, inscribed under handle 'Chas. Sykes Sculpt' Of ovoid form, the whole hand-raised, a pull-off part domed cover featuring an organic style cast and chased six-pointed star wrythen finial, the main body with a rolled flaring upper rim transitioning into a gently waisted wide neck adjoining the main body, from the rounded shoulders two cast lug handles project horizontally, both ergonomically curved with fluting and ornamented in a kneeling ribbed character partly clothed by leaf forms, from which two slender arm-like strands return and attach to the main body, their ends curled within applied acanthus leaves, the smooth egg-shape form powerfully gripped at its base by four embossed spined acanthus leaves, a flanged pedestal beneath flowing into four embossed matching acanthus leaves in high and low relief, on a circular spreading foot, the patina of the gold to the whole warm and vibrant, presented on the original circular wooden plinth with applied lettering for 'ASCOT 1926' to one side, to the other a plaque inscribed 'Won by Sir John Rutherford's Solario', height cup without plinth 42cm, diameter handle to handle 34cm, weight 3041gms.Footnotes:ProvenanceAwarded to Sir John Rutherford in 1926 and thence by family descent to the present owners.Lot ResearchThe Ascot Gold Cup stands proudly as the showpiece event and trophy of Royal Ascot week, and is Britain's most prestigious horse racing occasion for 'stayers' – horses which specialise in racing over long distances. It is a Group 1 flat horse race, open to horses aged four years or older, covering a distance of 2½ miles. Ascot Racecourse itself is located in Berkshire, not far from Windsor Castle, and is located on Crown Estate Land. Founded by Queen Anne in 1711, it has a symbiotic relationship with the British Royal family, resulting in the reigning Monarch appointing a representative to run the administration of the racecourse on their behalf. Traditionally the racecourse had been run by the Master of the Royal Buckhounds, but in 1901 this changed and Lord Churchill (Victor Spencer, 1st Viscount Churchill, 1863-1934) was appointed by Edward VII as his first official Representative, becoming Chairman in 1913. In 1926, when this Gold Cup was awarded, Lord Churchill was still very much at the helm and was integral to the design of the trophy on offer.The Gold Cup was first run in 1807 when it was won by Master Jackey, and the first formal Royal procession, starting from Windsor Castle, was introduced in 1825 by George IV. Throughout Royal Ascot week, each race day begins with the Royal Procession, when the reigning Monarch and accompanying members of the Royal family arrive in horse-drawn carriages. While the Royal Standard is being raised, they are driven slowly along the track in full view of the expectant crowds. The Royals and invited guests then spend the day watching the races from the Royal Enclosure. The magnificent Ascot Gold Cup is the prize awarded to the owner of the winning horse by the reigning Monarch, and the cup design has to be approved by the Sovereign each year. It is one of only three perpetual trophies at the Royal meeting that are able to be kept on a permanent basis by the winners, the other two being the Royal Hunt Cup and the King's (or Queen's) Vase. As such, all three trophies are re-made every year, to a different design.Gold Cup Day is traditionally held on the third day of the Royal Ascot meeting held in June, which is known colloquially (but not officially) as 'Ladies' Day'; a day to see and be seen. The term seems to have been coined in 1823, when an anonymous poet described the Thursday of the Royal Meeting as 'Ladies' Day ... when the women, like angels, look sweetly divine.' A strict dress code underpins the spectacle, attracting the very best in fashion, horses, trainers and quality of racegoers alike. Lord Churchill is reputed to have taken personal charge of vetting applications for entrance into the Royal Enclosure, sorting letters into three baskets marked 'Certainly' 'Perhaps' and 'Certainly Not.'On Thursday June 17th, 1926, the Gold Cup on offer was won by 'Solario' (1922-45), a four-year-old thoroughbred, ridden by the jockey Joe Childs (1884-1958) and owned by Blackburn's phenomenally wealthy Sir John Rutherford (1854-1932). George V, accompanied by his wife Queen Mary, awarded Sir John the trophy on offer in the presence of a huge cheering crowd – a design chosen by George V after much deliberation and angst, causing much controversy behind the scenes. This tension over the cup design has come to light since letters held in The Goldsmiths' Company archives, specifically on the design process behind the 1926 Gold Cup, were carefully perused.However, the drama that had played out behind closed doors was not in evidence on that sunny day in June, when 'Solario' reigned triumphant. Originally bred in Ireland by the 4th Earl of Dunraven, 'Solario' was the son of the Triple Crown winner, 'Gainsborough'. In 1923 he was bought as a yearling by Sir John for £3,675 at the Doncaster blood sales, as a handsome horse of elegant build in unmarked brown, with high withers, long legs and a short back – the perfect 'stayer' in form. Under the guidance of his trainer Reginald Day, 'Solario' went on to become one of the most famous racehorses of his day, undoubtedly the best Sir John Rutherford had ever owned, winning numerous prestigious races such as the Exeter Stakes in 1924, the St Leger Stakes in 1925 alongside the Ascot Derby and the Princess of Wales Stakes, and in 1926 the Ascot Gold Cup and the Coronation Cup. He retired to Terrace House Stud in Newmarket, commanding the highest stud fee in the land of 500 guineas a mare and winning the 'Leading Sire of Great Britain & Ireland' award in 1937. Indeed, he was immortalised in oils after his monumental win at Ascot in 1926 by Sir Alfred James Munnings (1878-1959), and in 1932 the painting was bequeathed to Blackburn Museum and Art Gallery by Sir John Rutherford, where it still resides today. His owner, Sir John Rutherford, died in 1932 and 'Solario' was offered in his dispersal at the Newmarket July sale that year. Amidst fear that he would be snatched up by a wealthy American syndicate, bidding was contentious, and a British syndicate headed by Lord Glanely won him at 47,000 guineas, a new record price for a horse at auction. He was returned to stud at Terrace House, where he died in 1945.Solario's owner Sir John Rutherford, 1st Baronet (1854-1936) was originally born in Annan Dumfriesshire, the only son of Mr John Rutherford J.P. of Blackburn, a town which he had a lifelong association with. Sir John was a man with true Northern grit, a multi-faceted character who had been one of Blackburn Rovers first-ever football players, later inheriting his father's partnership in Shaw's Brewery in Blackburn town centre. He gained a Commission into the Duke of Lancaster's Own Yeomanry regiment in 1881, which he commanded for six years, found time to serve as a Conservative Member of Parliament for Darwen, a seat he held for a total of twenty-seven years, and was appointed the Mayor of Blackburn in 1898. His elevation in social standing was cemented by being granted a baronetcy on 27 January 1916, owning the archetypal country estate in Scotland, as well as a now-vanished mansion at Beardwood in Blackburn. As a brewing tycoon, he was wealthy enough to afford to turn down the Aga Khan's offer of £100,000 - equal to more than £3.2 million today - for his colt 'Solario' after it won its first classic, the St Leger in 1925. His interest in horses had begun in 1880, when he originally showed an interest in show jumping and steeplechasing, but his true passion lay with ownership of thoroughbred... For further information on this lot please visit Bonhams.com
Selection of Georgian and Victorian Military Accoutrements, including the centre of a 14th Light Dragoons pre 1830 sabretache mounted onto a modern sabretache back; officers full dress cross belts (missing parts); centre for an officers full dress pouch mounted onto a modern made pouch; copy of a Irish Hussars officers pouch; various leather belts and slings etc. Mixed lot.
WW1 British Memorial Plaque to Fred Hedges, bronze memorial plaque which has been fitted with clips and a chain, awarded to Fred Hedges. Mounted onto a display board with the details of a Private Fred Hedges who served with the 2/4th Oxford and Buckinghamshire Light Infantry and was killed on 25th August 1918.
Imperial German Bavarian Court Sword, fine example of an Imperial German court sword with gilt lion head pommel, mother of pearl grips with gilt brass crowned monogram to centre, knuckle guard with fine relief and dish guard with lying Bavarian lion. Housed in its original leather scabbard with brass mounts. Fine quality slender blade with blue and gilt decoration including foliage and trophy of arms. Some light surface staining to the blade but generally a good example.
Third Reich S.A. (Sturmabteilung) Dress Dagger by Carl Tillmanns Sohne Solingen, good example of an early SA dress dagger with its original grip retaining the eagle emblem and SA device. Housed in its original anodised scabbard with single hanging ring. Blade with standard motto “Alles fur Deutschland” and makers trade mark to the base. Some light wear but generally a good example.
Third Reich S.A. (Sturmabteilung) Dress Dagger by Tiger, good example with the original grip retaining the eagle and enamel SA devices. Un-marked lower cross guard. Housed in its original scabbard with both top and bottom fittings. Attached to the scabbard is a RZM marked brown leather two piece hanger. Fine blade with much of the cross graining still visible. Standard ‘Alles fur Deutschland’ motto. Reverse of the blade with RZM logo and code M7/68 1941 for the maker Tiger. Some light surface staining to the blade but otherwise a good example.
WW2 German Army Officers Sword by Clemen & Jung, fine example of an aluminium hilted lion head army officers sword with much of the light gilded finish remaining to the guard. Celluloid grip retains the wire binding. Jewelled eyes to the lion head pommel. Army eagle to the cross guard. Housed in the original scabbard with single hanging ring. Polished slightly curved blade with fuller to the back edge. Clemen & Jung makers mark to the underside of the langet. Some wear to the gilding on the hilt and some wear to the scabbard but otherwise a good example.
WW2 German Luftwaffe Officers Sword by SMF Solingen, good example of a Luftwaffe officers dress sword with later aluminium fittings. Sword has top pommel with sun dial swastika and sun dial swastika to the centre cross guard. Blue leather covered grip with the original wire binding. Housed in its blue leather covered scabbard with aluminium top and lower mounts. Original blue leather sword hanger attached to the scabbard. Double edged straight blade with central fuller to the top section. SMF makers trade mark and acceptance stamp clear to the reverse side. Some light staining to the blade and some scuffs to the leather work but otherwise a good example.
WW2 German Kriegsmarine (Navy) Officers Dress Sword by WKC with Etched Blade, very good untouched example of a WW2 German naval officers dress sword with white ivorine grip retaining the original wire binding, gilt folding guard with anchor to the central cartouche. Oakleaves relief to the knuckle guard, leading to the lion head pommel with green and red glass eyes for Port and Starboard. Original wire binding to the grip which is loose in some places. Attached to the grip is the original Kriegsmarine issue officers dress portepee. Housed in its leather scabbard with brass mounts. Rear fixing locket catch. Very good condition slightly curved blade which has the WKC trade mark and also etched with oakleaves, battleships, sea plane, Kriegsmarine eagle over anchor to one side and the other side etched with oakleaves, battleship and the Kiel naval memorial. Some light surface spotting to the blade but generally a good condition example.
Third Reich Police Bayonet by Alexander Coppel Solingen, good example with finely detailed top pommel in the form of the eagles head. Two piece stag horn grips with aluminium police eagle emblem to the centre. Cross guard with oakleaves relief to the obverse, the reverse only has partial oakleaves with stamped details “S. Op. I. 424”, same stamping to the reverse of the top dagger chape. Housed in its original leather scabbard with nickel plated fittings. Plain straight blade with fuller to the back edge. Alexander Coppel Solingen scales makers stamp to the obverse of the blade and full makers trade mark to the reverse. Some light scuffing to the leather work but otherwise a good example.
Third Reich Police Bayonet by Alexander Coppel Solingen, good example with finely detailed top pommel in the form of the eagles head. Two piece stag horn grips with aluminium police eagle emblem to the centre. Cross guard with oakleaves relief to the obverse, the reverse only has partial oakleaves with stamped details “S. St, 1093”, same stamping to the reverse of the top dagger chape. Housed in its original leather scabbard with nickel plated fittings. Plain straight blade with fuller to the back edge. Alexander Coppel Solingen scales makers stamp to the obverse of the blade and full makers trade mark to the reverse. Some light scuffing to the leather work but otherwise a good example.
Finnish Puukko Knife Belonging to a German Army Doctor Hans Schurig, superbly detailed example of the traditional knife of the Finnish people known as a Puukko knife, this example with its ebony handle has been finely etched in silver with the rampant lion and shield insignia of the Finns and swastika below in circle, the reverse side with similar etching “An Dr med HANS SCHURIG Zur Errinerung von H&A KOSKENHOVI”, Very top of the dagger handle appears to have the date 1933. Dagger housed in traditional leather scabbard with motifs. Blade with lightly etched decoration and fuller to the back edge. Slightly curved blade. Some staining to the blade and some light areas of loss to the finish but generally a good example. It would appear that Koskenhovi is a small region of Finland, can only assume that Shurig was a doctor in this area. Worthy of further research.
WW2 German Infantry Regiment Nr 41 Engraved Parade Dress Bayonet by WKC, good example of a standard WW2 German army parade bayonet with two piece chequered grips. Housed in its original scabbard with leather bayonet frog attached. Blade with etching to one side, having foliage and gothic script “Fur Erinnerung an meine Dienstzeit beim Inftr-Regt 41 Bayr-Ostmark”, WKC trade mark to the base. Some light areas of plating lifting but otherwise good condition.
WW2 German Luftwaffe Belt Buckle by H Aurich Dresden, near mint condition example of a standard WW2 German Luftwaffe other ranks belt buckle which retains nearly all of its original Luftwaffe blue paint finish to both the obverse and reverse. Buckle is complete with the light tan leather tab which is stamped with the makers details of H Aurich Dresden and dated 1940. Excellent example overall.
WW2 German Army Grossdeutschland Officers Overcoat, fine quality officers overcoat / greatcoat produced in a fine Italian gabardine cloth with dark green collar. To the cuff is a beautifully silver wire embroidered Grossdeutschland cuff title in gothic script. Shoulder boards with GD ciphers to the centre. Fine quality officers cloth lining to the interior. Shows light service wear but generally a good example.
Large WW2 German Battle Flag (Reichskriegsflagge), very large example of the standard WW2 German battle flag with central swastika and Iron Cross to corner. Roped edge stamped with Marine acceptance stamp and ‘Kr. Fl 200 x 335’. Unclear Berlin makers stamp. Remains in very good condition with colours remaining bright and just light service wear.
Large WW2 German Battle Flag (Reichskriegsflagge), very good example of a large WW2 German battle flag with central swastika and Iron Cross to the corner. Roped edge stamped with Marine acceptance stamp and ‘Reichskriegsflg 1.5 x 2.5’. Remains in very good overall condition with all the colours remaining bright and just light service wear.
Scottish Regimental Dirk of the Argyll & Sutherland Highlanders, fine example of an officers dirk with baluster rootwood grip with silver plated mounts and carved with a basket weave style set with white metal studs. Facetted cut glass amber coloured top pommel. Housed in its leather covered scabbard with silver plated mounts. With the scabbard are the original knife and fork set which again have the cut glass tops. Blade of standard form with finely etched details of foliage and one side having the Argyll boars head and the other side the Sutherland crest. Some surface staining to the blade and light wear to the exterior but generally a good example of a regimental dirk. Probably of Victorian or early Edwardian vintage.
Books – Historical Records of the Eleventh Hussars Prince Alberts Own 1715-1908 by Captain Godfrey Trevelyan Williams, published in 1908 by George Newnes Limited. 417 printed pages. With gilt tooled red cloth board covers. Some foxing and wear. Fold out maps and coloured plates present. Accompanied by The 85th Kings Light Infantry Regimental History published by Spottiswoode & Co Ltd 1913. This copy shows some wear and the covers have become detached. (2 items)
PELE: (1940- ) Brazilian footballer, the only player to have won three FIFA World Cups (1958, 1962 & 1970). An unusual blue and white vintage Brazil football jersey, identical to those worn for away matches in the 1970 season, with the Brazilian Sports Confederation (Confederacao Brasileira de Desportos; CBD) embroidered logo to the left breast and white number 10 to the back, boldly signed and inscribed by Pele in black ink across the white numbers, 'A Stefano con affetto, do Edson Pele'. A good, scarce example of Pele's earlier full signature. Some light age wear and minor staining to the white collar, otherwise VG
MONTGOMERY B. L.: (1887-1976) British Field Marshal of World War II. Small group of one A.L.S. and three T.Ls.S., Montgomery of Alamein, four pages (total), 8vo (1) and 4to, Seine-et-Oise, France, July 1954 - October 1956, all to Paul Loosli, the president of the Gstaad Ski Club and director of tourism in Gstaad. Montgomery writes largely concerning his travel and accommodation arrangements for Switzerland, in part, 'I note that you want to have the Ski-Jumping on Sunday, January 30th, and that would be suitable for me. I will now come to Gstaad on Saturday, January 29th and I will stay there till Wednesday, 16th February, 1955' (15th July 1954), 'I have received the photograph you sent me, taken when I presented the Ski Cup to the winner last February. I have signed the photograph and have posted it back to you. I hope it will arrive safely' (also 15th July 1954), 'I note that the competition for my cup will now be held on Sunday, 6th February and that date will suit me very well. My son and his wife will be arriving in Gstaad on that morning to stay with me and it will be a great thing for them to be able to see the ski-jumping competition. Neither of them have ever seen any ski-jumping before. I would of course be delighted that you should ask General Guisan to attend the competition for my cup…..I know him well and will be very glad to see him again. Please tell him from me that I hope he will be able to come' (12th December 1954), 'I send you this copy of a letter (still present) I have sent to Mr. Reuteler, giving my dates for next January - February. I presume the 10th Feb. is O.K. for the Jumping; that is the date we agreed' (15th October 1956). Together with the letter referred to, a carbon copied T.L.S., Montgomery of Alamein, with holograph salutation and subscription, one page, 4to, Versailles, Seine et Oise, 15th October 1956, to Mr. Reuteler, marked Copy by Montgomery in red indelible pencil at the head, providing his correspondent with the dates of his visit to Gstaad from January - February 1957 and adding, 'I will have with me the same A.D.C. as last year - Captain A. W. Cheyne. I would, myself, much like to have the same rooms as last year - if this is convenient to you. I will arrange for the same telephones. Captain Cheyne can of course have any small single room you have available'. Each of the letters are accompanied by their original envelopes, hand addressed by Montgomery. Together with three unsigned carbon typed retained copies of Lossli's replies to Montgomery. Some light age wear and two letters with small staple holes to the upper left corners, G to VG, 8
MONTGOMERY B. L.: (1887-1976) British Field Marshal of World War II. Vintage signed 6 x 4photograph, the image depicting Montgomery seated outdoors in a relaxed pose accompanied by six other gentlemen and a young boy, most likely Lucien Trueb, who is seated directly next to the Field Marshal. Photograph by Villiger of Gstaad and bearing their credit stamp to the verso. Signed ('Montgomery of Alamein, Field Marshal') by Montgomery in bold blue fountain pen ink to a light area at the head of the image. A couple of very slight, minor corner creases, about VG Lucien Trueb (1934- ) Swiss science writer who, as a twelve year old boy in 1946, met Montgomery in Switzerland and went on to maintain a close relationship with the Field Marshal.
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