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534297 Los(e)/Seite
Los 758
Paul Stephens (20th/21st century) - 'Sea Scene, Caswell Bay, Wales Early Morning Light', signed, also extensively inscribed verso with the title, the artist's name and exhibition details, oil on board, 20" x 30" - ** The artist exhibited at The Royal West of England Academy, The Mall Galleries, London with further exhibitions in the USA, his fellow exhibitors in the UK were often Sir Peter Scott, Ken Howard and others
Los 76
Inscribed with title on old label verso, oil on canvas(61cm x 68.5cm (24in x 27in))Footnote: Exhibited: Royal Academy, London 1913, no.322. Note: Charles Oppenheimer is very much associated in many minds with his chosen home of Kirkcudbright, and the surrounding picturesque countryside of Dumfries and Galloway, which he depicted to stunning effect repeatedly over the course of his career. However, as Euan Robson so eloquently reveals, ‘Italy was as much his muse as Galloway.’ From his very first visit in 1896, funded by an artistic cash prize, he was captivated by this beautiful country – the heat, light, warmth, friendship and culture he found there. It was the start of a long-standing love affair and many decades of inspiration and subject matter. Possibly his most artistically-significant visit was the tour he undertook with William Stewart MacGeorge, an important friend and advisor to Oppenheimer, who also called Galloway home. They spent the summer of 1912 touring Northern Italy by train, dedicating particular time and attention to Venice and Verona. It would seem that both paintings offered here date from this trip – watercolour scene ‘Venice’ is explicitly dated 1912, while ‘Serenata’ was exhibited at the Royal Academy in 1913, as part of the exhibition season where both artists were showing their Italian works from the 1912 trip. One such exhibition was pivotal for Oppenheimer, placing him as a significant player in the Scottish art scene: he exhibited fifty-two of his works in Glasgow, and received a rave review in the Glasgow Herald, celebrating his ‘dignified draughtsmanship and refined sense of colour’ as well as his ‘exhilarating sparkle.’ Later in his life, Oppenheimer continued to return to Italy to find inspiration and refresh his palette and approach. In 1923 he exhibited ‘A Song of Venice’ at the R.G.I. exhibition and from Robson’s description this appears to be a re-working of the subject of ‘Serenata:’ ‘a collection of gondolas lit by lanterns float together of an evening, the gondoliers and their passengers listening to a recital by a chanteuse delivered from the prow of one of the boats.’ It is probably unsurprising that such a glamourous, dramatic and quintessentially Italian scene would captivate an artist obsessed with light and reflection, for over a decade. Looking at the two offered Venetian works by Oppenheimer truly demonstrates the range of his talent, and his ability to bring his ‘exhilarating sparkle’ to wildly differing scenes of this beloved city. We move from the watercolour depiction of the light, bright sunshine of daytime Venice, and the everyday Venetian sight of a gondolier navigating one of the myriad canals to the dramatic spectacle in oil of a singer performing from a gondola, as a crowd gathers around her – the lanterns glow, the boats bob and all the glittering lights are reflected in the darkening waters.
Los 77
Signed and dated 1912, watercolour(28cm x 20cm (11in x 8in))Footnote: Note: Charles Oppenheimer is very much associated in many minds with his chosen home of Kirkcudbright, and the surrounding picturesque countryside of Dumfries and Galloway, which he depicted to stunning effect repeatedly over the course of his career. However, as Euan Robson so eloquently reveals, ‘Italy was as much his muse as Galloway.’ From his very first visit in 1896, funded by an artistic cash prize, he was captivated by this beautiful country – the heat, light, warmth, friendship and culture he found there. It was the start of a long-standing love affair and many decades of inspiration and subject matter. Possibly his most artistically-significant visit was the tour he undertook with William Stewart MacGeorge, an important friend and advisor to Oppenheimer, who also called Galloway home. They spent the summer of 1912 touring Northern Italy by train, dedicating particular time and attention to Venice and Verona. It would seem that both paintings offered here date from this trip – watercolour scene ‘Venice’ is explicitly dated 1912, while ‘Serenata’ was exhibited at the Royal Academy in 1913, as part of the exhibition season where both artists were showing their Italian works from the 1912 trip. One such exhibition was pivotal for Oppenheimer, placing him as a significant player in the Scottish art scene: he exhibited fifty-two of his works in Glasgow, and received a rave review in the Glasgow Herald, celebrating his ‘dignified draughtsmanship and refined sense of colour’ as well as his ‘exhilarating sparkle.’ Later in his life, Oppenheimer continued to return to Italy to find inspiration and refresh his palette and approach. In 1923 he exhibited ‘A Song of Venice’ at the R.G.I. exhibition and from Robson’s description this appears to be a re-working of the subject of ‘Serenata:’ ‘a collection of gondolas lit by lanterns float together of an evening, the gondoliers and their passengers listening to a recital by a chanteuse delivered from the prow of one of the boats.’ It is probably unsurprising that such a glamourous, dramatic and quintessentially Italian scene would captivate an artist obsessed with light and reflection, for over a decade. Looking at the two offered Venetian works by Oppenheimer truly demonstrates the range of his talent, and his ability to bring his ‘exhilarating sparkle’ to wildly differing scenes of this beloved city. We move from the watercolour depiction of the light, bright sunshine of daytime Venice, and the everyday Venetian sight of a gondolier navigating one of the myriad canals to the dramatic spectacle in oil of a singer performing from a gondola, as a crowd gathers around her – the lanterns glow, the boats bob and all the glittering lights are reflected in the darkening waters.
Los 81
Signed with initials, oil on panel(27cm x 46cm (10.5in x 18in))Footnote: Exhibited: Aberdeen Art Gallery & Museums, 'Robert Brough' 1995, no.39 Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Los 84
Signed with initials, pastel(38cm x 38cm (15in x 15in))Footnote: Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Los 25
1963 GIBSON 335 CHERRY RED ELECTRIC GUITAR. A beautiful example of classic model, guitar of choice for some of the greatest ever. This 1963 cherry red example of the 335 is equipped with an original Bigsby whammy pedal. Serial number to sticker and headstock is: 121881. Some light marks to body but otherwise in very good condition. Sold with hard case. THIS GUITAR HAS ARTICLE 10 CERTIFICATION.
Los 306
The Complete Works Shaw (George Bernard) The Works of George Bernard Shaw (1856-1950), 31 volumes - Set "Y", Published by Constable and Co. London and Printed by R & R Clarke of Edinburgh, 1930 - 1932,. All First Edns., in orig. green cloth, lettered in gilt. One of only 1,025 copies printed. The 1,000 copies to be numbered 1 to 1,000. The other 25 numbered A to Y of which this is set Y inscribed personally by Shaw. Volume 1 of the set is inscribed by Shaw to James Morton who was responsible for the green dye used for the cover cloth of the edition. It reads "This is number Y and its dress of eternal green is the work of James Morton to whom it is gratefully inscribed by Bernard Shaw" and dated 26th July 1930. This "Y" set was presented by Shaw to James (later Sir James) Morton FRSE, LLD 1867 - 1943. He was the 2nd son of Alexander Morton, founder of "Alexander Morton & Co." weavers. He was trained as a Chemist and specialized in permanent light-fast dyes. In 1929 he was the first recipient of the Faraday Centennial Medal in recognition of his advances in making permanent fade-proof dyes. He was knighted in June 1936. He worked directly with Shaw and his publishers to achieve the "green" colour of the cover cloth which was so important to Shaw. Provenance: From the granddaughter of James Morton by decent.
Los 65
VISIONAIRE 24 LIGHT TOM FORD FOR GUCCI"Visionaire teams up with fashion luminary Tom Ford and Gucci on an issue devoted to the theme 24 LIGHT. Visionaire and Ford attempted to steer clear of fashion and to focus on what we considered to be fine art images. LIGHT introduced a new cast of contributors to the Visionaire fold: artists such as Sam Taylor-Wood, Andreas Gursky, and Christopher Bucklow, art director Peter Saville, animator Hayao Miyazaki, and architect Toyo Ito. Then there was the issue itself. We sourced state-of-the-art, paper-thin filament that would literally light up the issues. The end result: twenty-four large-format transparencies self-contained in a super-sleek, fully-functional light box – the first battery – operated publication!”Edition limited to 3,300. By Visionaire Publishers – 1998
Los 772
Rocket mail/Space - Envelope issued to commemorate the 1st Night Light with an illustrated Sugar Post Rocket from Echter - See 19.8.1961-cancelled 19.8.1961 Duren on SG1277 10pf stamp, Michel 363 red Rocket cachet stamp carved in Rocket on space Travel by Rocket Senes label showing the 1st Sugar Rocket in 1933 signed cachet
Los 10
British Delhi Durbar Police Medal Group of Three, consisting of un-named Edward VII 1902 Coronation medal, Edward VII Delhi Durbar 1903 named to “A H WILKINS DIST SUPT POLICE” and 1911 Delhi Durbar named to “A H WILKINS DIST SUPT POLICE”. Medals are generally good condition with just light edge bruises and cleaning. Mounted onto a green felt display board.
Los 167
4x Scottish Volunteer Battalion Headdress Badges, consisting of Victorian 5th Volunteer Battalion Glasgow Highlanders Highland Light Infantry with two lugs to the reverse; Victorian 5th Volunteer Battalion Black Watch glengarry badge with two lug fittings to the reverse; Tyneside Scottish glengarry badge with two lug fittings to the reverse and a white metal Royal Scots badge on tartan badge backing. (4 items)
Los 225
British 2nd Battalion Argyll & Sutherland Highlanders 227th Brigade 15th Scottish Division Battle Dress Combination, good uniform removed example, embroidered diced formation sign above 15th infantry division formation sign and three red felt brigade bars. All mounted onto battle dress panel. Some light moth damage and evidence of removal from uniform.
Los 254
Rare Victorian West Kent Yeomanry Officers Full Dress Sabretache, fine bullion embroidered Victorian crown above bullion embroidered rearing Kent horse with Invicta scroll and three part scroll within laurel spray having motto, “Loyalty Liberty Property”. Thick silver braid edging to the front. Red morocco leather backing and rear pouch. Some light moth tracking to the red cloth backing but overall a very good example of a scarce sabretache.
Los 260
Rare Victorian Foul Weather Officers Lance Cap, light weight black leather covered helmet having gilt metal lion head side bosses. Leather covered dome fitting to represent the rosette. Interior has the leather sweatband and crimson cloth lining with Sanderson & Sons tailors details to the crown. Sweatband with ink initials of the original owner “C L R A”. Front peak of a different finish to the body of the helmet.
Los 267
WW1 British Helmet with Kent Painted Insignia, interesting example of a 2nd pattern Brodie steel helmet with rim. Helmet has dark paint finish to the shell. Front has original painted red shield and rearing horse, normally the insignia associated with the county of Kent. Interior of the helmet retains its original oilskin liner and brown leather chinstrap. Pink Brodie stamp underside of the oilskin liner. Some light wear but generally a good example.
Los 282
Rare Royal Bulgarian Army Officers Dress Cap, fine example of a white toped peaked cap with red wool thick central band and short pattern black peak. Imperial Russian style central cockade badge. Interior with leather sweatband, blue artificial silk lining and leather tailors details and band in the colours of the Bulgarian national flag. The cap is housed in its original card storage box. Some light wear but a very interesting and hard to find item of Military headdress.
Los 294
Victorian Durham Light Infantry Officers Mess Jacket, fine scarlet cloth short pattern mess dress tunic with dark blue facings and Russian braid decoration. Officers pattern knotted shoulder boards with single bullion rank pip and Victorian white metal Durham Light Infantry buttons. Brass ball and hook with eyelets fittings to the front of the jacket. Quilted officers quality lining to the interior. Accompanied by the matching dark blue mess waistcoat. Both remain in generally good condition. (2 items)
Los 295
Queens Bodyguard of Scotland Royal Company of Archers Full Uniform, Headdress and Sword Grouping Contained in the Original Metal Storage Trunk, the grouping consists of the long pattern green cloth tunic with gauntlet cuffs and shoulder wings. Trimmed with black braid and crimson velvet, four bars of black braid across the chest, showing a light crimson velvet. Black braid and crimson velvet also to the collar. Crimson silk shoulder cords with gilt metal button. Fine quality sash with large badge in fine gilt metal to the centre and a lower sash badge in gilt and enamel retaining nearly all the original fire gilt finish; Evening dress tail coat in dark green cloth with green velvet collar. Green silk cloth lining t the interior. Three gilt metal tunic buttons to the front, waist band and tail skirt; Royal Company of Archers cape in green cloth with collar. Bands to the inside to fasten the cape down. Cape lined at the shoulders with green Italian cloth. Gilt metal special pattern cape chains and large gilt metal buttons; Trousers of green cloth with black braid and crimson velvet stripes; 2x variations of the full dress bonnets in green cloth with black braid trim. Crimson tuft to each bonnet. White and green silk cockades with fine gilt metal bonnet badges which retain nearly all of the original fire gilt wash finish. One bonnet with the original eagle feather. One bonnet is stiff type and the other is more like a beret; Black leather belt with sword frog and gilt metal Royal crest plate, the circlet inscribed “Queens Bodyguard for Scotland”; Parade pattern short sword made by Wilkinson sword, ornate gilt metal hilt, acid etched blade with EIIR cipher. Much of the original polish remains to the blade. Housed in the original leather and brass mounted scabbard. Accompanied by other items of accoutrements and housed in the original metal transit trunk with brass name plate engraved “P D GILMOUR ESQ”. A truly fantastic condition set which shows very minimal wear. Please note we are not able to offer in house post and packing on this item due to weight and size.
Los 296
WW1 British Officers Shoulder Rank Tunic Attributed to Lieutenant V H Galbraith Queens Royal West Surrey Regiment, fine quality light weight private purchase tropical style cloth four pocket officers tunic with brass officers regimental tunic buttons to the front, shoulders and pockets. Brass Queens regiment shoulder titles and two bronze rank pips. Tunic does not appear to have ever had collar badges fitted. Cloth lined interior with inked label to the inside with name and date “15-5-15”. This tunic was on display at the Remembering 1916 Life on the Western Front exhibition at the Whitgift Exhibition Centre in Croydon and is featured on page 23 of the guide book for the exhibition. Vivian Hunter Galbraith was a Oxford University student, he was commissioned into the 5th Territorial Battalion of the Queens Royal West Surrey regiment. He served with the regiment in Palestine and France. He was wounded in action in France and returned to the UK. He was awarded the French Croix de Guerre.
Los 299
Scarce Pair of British Other Ranks 02 Pattern Trousers, light khaki wool button fly trousers with zinc waist buttons and high back. White lined interior with War Department issue stamp. Correct double stitch mark by the trousers pocket. Some moth nips and a couple of period repairs but generally a good condition pair.
Los 304
WW2 British Battle Dress Uniform Group of an Officer in the 10th Hussars 6th (Airborne) Reconnaissance Regiment, fine war aid made battle dress blouse which is tailored to open collar for walking out. Brass XRH shoulder titles and brass pips for the rank of Lieutenant. To the arms are embroidered Pegasus formation signs and one arm has parachute qualification jump wing. Battle dress has been tailored with officers leather football buttons along with plastic examples. Size label to the inside with 1943 date. Accompanied by the matched pair of battle dress trousers, also being US war aid examples dated 1943. The set remains in excellent overall condition showing just light service wear. This unit was heavily involved in the early fighting by the Airborne forces during D-Day on the 6th June 1944, they also were engaged in the Ardennes and the Rhine Crossing operations. (2 items)
Los 305
WW2 British Airborne Forces Denison Smock, fine example with half zip to the front. Brass press stud fittings to the pocket and original crutch strap still present. Interior retains the original Size 4 label which has 1945 date. One rank chevron to one arm and evidence of another item of insignia being present at one time. Camouflage remains bright and generally showing just light service wear.
Los 311
British Rifle Brigade / Artists Rifles (21st Special Air Service) S.A.S Battle Dress Blouse 1947-56, good untouched example of a 1940 pattern battle dress blouse with embroidered 21st SAS (ARTISTS) shoulder titles to both arms, SAS embroidered parachute jump wing and embroidered winged dagger formation sign only on one arm. Black Rifle Brigade regimental buttons and Rifle Brigade regimental lanyard. Blouse is tailored with open collar. Interior has original 1946 dated size label and inked to the lining is original owners details, “22381682 McINTOSH”. The battle dress shows light service wear but generally very good condition. The winged dagger SAS formation sign only worn between 1947 and 1956.
Los 325
WW1 British Tank Crew Face Mask Worn by Lance Corporal Francis J Barker, 15th Battalion Tank Corps, Awarded the Military Medal for Bravery During the Attack on Flesquieres 27th September 1918, Leather covered steel face section with slotted eye section. Chamois covered reverse. Complete with chainmail linked bottom. Complete with the original cloth tape ties. Some light scuffs to the brown leather but generally a very good example. Accompanied by a small brass framed photograph of Barker in uniform wearing his MM medal ribbon. The Military Medal appeared in the London Gazette: 14th May 1919, the citation for the award in the roll of honour is as follows, “304657 L/Cpl Berker, Francis J. 15th Battn. Awarded MM. For conspicuous gallantry and devotion to duty in action on the occasion of the attack on Flesquieres on September 27, 1918. He was wounded in the face whilst placing unditching gear in position under shell fire. In spite of his wound he remained at his task until he was again wounded in the neck. He volunteered to remain with the tank, but his officer handed him over to infantry stretcher-bearers.” Francis John Barker who was a local of Camberwell, London, originally enlisted into the 1/24 (County of London) Battalion London Regiment, serving with them after the 1 January 1916. He was wounded in action on the 24 September 1916, whilst serving near High Wood. In 1917 he transferred to the 15th Battalion, Tank Corps, and served with them until the end of the war, where on the 27 September 1918, he displayed gallantry of a notable kind during his battalion’s advance in conjunction with the Grenadier Guards on the Hindenburg Line and the town of Flesquires. The Battalion advanced gallantly with all of their 26 Tanks. By the ned of the action, there was only 8 tanks that answered the roll call, with many gallantry awards being given for this action. This item was originally sold by the grandson of Barker by C&T Auctioneers and Valuers Ltd on 6th November 2018.
Los 327
WW1 American 1917 Dated Colt Pistol Holster, light brown leather example with impressed US in oval to the centre. Complete with brass securing stud and brass belt mounts. Reverse of the holster is stamped “G&K 1917 J.A.O”; 2x .455 calibre Colt pistol magazines, one stamped “ELEY” to the bottom; Pair of Anti-Gas Mk II eye shields in card covers; Stag horn handled bowie style knife in a brown 1914 pattern leather style scabbard with decoration in the form of badge and buttons of the Queens Regiment. Blade marked “THOMAS WILSON SHEFFIELD 1915”. (6 items) Please note we are not able to send this lot in full outside of the UK.
Los 346
19th / 20th Century French Light Cavalry Sword, with brass pierced knuckle guard leading to steeped pommel. Original grip retaining wire binding. Housed in an officially repaired steel scabbard. Slightly curved single edged blade with fuller to three quarters of back edge. Some surface staining to the blade. No markings or stamps visible. Blade 80 cms, overall 101 cms.
Los 347
Belgium M-1889 Infantry Officers Sword, good untouched example with fine floral relief to the pierced brass guard, steeped pommel with partial relief. Original grip without wire binding. Housed in steel scabbard with single hanging ring. Single edged blade with “FONSON & CO FABRICANTS BRUXELLES” makers mark. Some light staining to the blade but otherwise generally good condition. Blade measures 91 ½ cms, overall 109 cms.
Los 70
Victorian Prince Alberts Somersetshire Light Infantry Officers Home Service Helmet Plate, fine example of a gilt eight pointed star plate with Victorian crown replacing the top point, laurel spray with garter strap enclosing velvet centre with silvered regimental insignia, silvered lower scroll with regimental details within. Three lug fittings to the reverse of the plate. Much of the original gilt wash finish remains to the helmet plate.
Los 78
Scarce Victorian Irish Militia Queens County Rifles Glengarry Badge 1874-81, fine example being bronzed crowned light infantry bugle sitting on scroll with “QUEENS COUNTY RIFLES” within. Three lug fittings to the reverse. Raised 1793 at Montrath, became the 4th Battalion of the Leinster regiment, July 1881.
Los 93
Rare Victorian Royal Jersey Light Infantry 2nd (East) Militia Officers Home Service Helmet Plate, gilt crowned officers universal pattern helmet plate with laurel spray, circlet with regimental details and centre a strung bugle with 2 to centre on red felt backing. Three lug fittings to the reverse. Accompanied by an original cabinet photograph of the original owner, clearly wearing the helmet plate. Damage to the corner of the photograph.
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534297 Los(e)/Seite