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Preisdatenbank abonnierenλ DORIS CLARE ZINKEISEN (BRITISH 1898-1991) THE STEAMBOAT Signed (lower right) 46 x 60cm (18 x 23½ in.)Provenance: The Fine Art Society, London Guy Reed, Copgrove Hall Guy Reed Will Trust Exhibited: London, The Fine Art Society, June 1952 Condition Report: There is some brown tape obscuring the tip of the upper left corner (not stuck down). No evidence of retouching visible under ultraviolet light. In good original condition. Condition Report Disclaimer
λ PIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) BEDROOM WITH PORTRAIT Collage Signed (lower right) Image 17.8 x 16cm (7 x 6¼ in.) Provenance: Freda Paolozzi and by descentLiterature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 47 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition. Condition Report Disclaimer
λ MARCEL DYF (FRENCH 1899-1985) PECHEUR SUR L'ETANG DE SAINT QUENTIN EN ILE DE FRANCE Oil on canvas Signed (lower right) 61 x 73cm (24 x 28½ in.)The work is registered in the Marcel Dyf Archive under N° ID : 3555. Provenance: Frost & Reed, London, no. 47897, titled 'Regate au bord de l'etang' Sudgrove House, GloucestershireWe are grateful to Claudine Dyf for her assistance in cataloguing this work. Condition Report: Some very fine craquelure to the thickest areas of pigment. Light surface dirt throughout. Some possible discolouration throughout due to yellowing varnish. A very small loss to the upper right quadrant to a cloud in the sky. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) JOAN GREENWOOD (CHILD) Bronze with a gold patina Height (excluding base): 36cm (14in.) Conceived in 1930.Provenance: From a Private Collection Literature: Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931, p. 190 (dates 1931) L. B. Powell, Jacob Epstein, London, 1932, ill. (dates 1930) Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 238, no. 161 Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 172, pl. 260 (dates 1930) Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 168, no. 203Joan Greenwood was a childhood friend of Peggy Jean, the first daughter of Sir Jacob Epstein. Condition Report: Very light surface dirt. With chips, marks and losses to the black base. Otherwise the bronze is in good original condition. Condition Report Disclaimer
λ CECIL BEATON (BRITISH 1904-1980) 'ASCOT COSTUMES' VIII Ink, crayon and watercolour with swatches of material (upper right) Signed twice and inscribed (to lower edge) 45 x 31cm (17½ x 12 in.)Provenance: The Redfern Gallery, London, no. 94 Private Collection, C.B. Shackleton Esq (acquired from the above 8 December 1964) Guy Reed, Copgrove Hall Guy Reed Will Trust Condition Report: Unexamined out of glazed frame. Discolouration to the sheet throughout. Would benefit from remounting. Thunderbugs scattered across the sheet trapped under the glass. Some light handling creases. 4 pinholes to the lower left corner with a small associated crease. Two further pin holes to the lower right corner. Condition Report Disclaimer
CHRISTOPHER WOOD (BRITISH 1901-1930) SITTING NUDE Pencil 32 x 24cm (12½ x 9¼ in.)Drawn in 1926. Provenance: Private Collection, Sir Rex Nan Kivell Private Collection, Dr William Mason Michael Parkin Gallery, London Private Collection, Mrs Heather Mansell Jones Exhibited: London, Michael Parkin Gallery, no. 35 Condition Report: Unexamined out of glazed frame. Discolouration to the sheet throughout. Two rectangular bleaching marks to either side of the upper edge, corresponding to the tape. Two foxing marks to the right hand side of the sheet. Light surface dirt throughout most notable to the edges of the sheet. Diagonal creases to the lower right corner. A right angled repaired tear starting at the centre of the lower edge running upwards and to the right. Condition Report Disclaimer
λ ALAN REYNOLDS (BRITISH 1926-2014) WINTER HOPGARDEN Oil on canvas-board Signed and dated 57 (lower right); titled (verso) 51.5 x 44.5cm (20¼ x 17½ in.)Provenance: Thomas Agnew & Sons Ltd., London Sale, unknown, 12 October 1973, lot 279Please note: This work is signed and dated 57 lower right Condition Report: Light surface dirt throughout. Appears to be in good original condition. Condition Report Disclaimer
λ JOHN LOWRIE MORRISON (BRITISH B.1948) AUTUMN LIGHT, OBAN Acrylic on canvas Signed (lower right); further signed, titled and dated 2006 (verso) 90 x 90cm (35¼ x 35¼ in.)Provenance: Kranenburg Fine Art, Argyll Guy Reed Will Trust Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
λ DAVID HOCKNEY (BRITISH B. 1937) COLOURED CURTAIN STUDY Pencil and coloured crayon Signed with initials, titled and dated 63 (lower right) 43 x 31.1cm (16¾ x 12 in.)Provenance: Paul Kasmin, London Ronald B. Alley, London Private Collection Sale, Christie's, London, 20th Century British Art, 9 June 2006, lot 18 Jack Kirkland, London Acquired from the above by the present owner in 2013 Exhibited: London, The Whitechapel Art Gallery, & travelling, David Hockney: Paintings, Prints & Drawings 1960-1970, 1970, no. D9Literature: David Hockney, David Hockney, London, 1976, p.80, illus. Condition Report: Examined out of glazed frame. Light discolouration to the sheet, most notable at the upper edge and lower left corner. The sheet is stuck down at two points along the upper edge, far right and left with mounting tape. Some mounting tape also stuck to the underside of the lower edge at two points, far right and left. Very light handling creases and undulation scattered throughout the sheet. There is a horizontal crease approx. 4cm up from the lower edge running across the sheet. There is a very small vertical tear approx. 0.5cm to the right side of the lower edge. There is an indistinct inscription verso but does not appear to be in the artist's hand. The lower edge is not cut straight, consistent with the original condition. Condition Report Disclaimer
λ RENÉ GRUAU (ITALIAN 1909-2004) CHAT SUR FOND ROUGE Oil on board Signed with monogram (upper right); further signed with monogram (verso) 61 x 43.5cm (24 x 17 in.) Condition Report: Oil on artist prepared board. Light surface dirt throughout. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ GLUCK (BRITISH 1895-1976) SULKY SPRING, SOUTHEASE Oil on board Signed (lower left) 26 x 36.5cm (10 x 14¼ in.) Presented in artist's three tier painted frame. Provenance: The Fine Art Society Ltd., London (by December 1937) Exhibited: London, The Fine Art Society Ltd., 1937, no. 23 London, The Fine Art Society Ltd., Memorial Exhibition, 1980-81, no. 33Literature: Diana Souhami, Gluck, Her Biography, London,1988, p.175 In February 1937 Gluck and Nesta Obermer visited Southease, a village in East Sussex in the valley of the river Ouse. The pair had a picnic from the car as Gluck began painting the vast landscape. Gluck captured the point at which the river changes its course and flows onwards to the sea. Gluck designed and painted many of her frames including the one used in the present lot. Gluck's distinctive 3 stepped symmetrical painted panels were designed to match the colour of the wall on which they were hung. It was also encouraged that the outer step could be covered in the same wallpaper to match the walls. This effect was patented in 1932 and used in all of her subsequent exhibitions. The concept became known as 'The Gluck Room'. Condition Report: There is a light surface scuff to the upper edge at the left hand side and a small spot of paint loss to the extreme edge at the centre of the lower edge. Otherwise the work appears to be in good original condition. No evidence of retouching visible under ultraviolet light. There are some dirt marks, small losses and fine cracks to the artist's painted frame. Condition Report Disclaimer
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) STUDIES FOR INTERLOCKING HILLS Oil pastel, ink and pencil Signed (upper right); titled and dated 1943 (lower right) 20.2 x 15.5cm (7¾ x 6 in.) Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descentLiterature:D. Cooper, The Work of Graham Sutherland, London, 1961, no. IV (illustrated in colour) Condition Report: Light surface dirt throughout some staining visible to the edges and lower left corner. Slightly rounded corners and right edge is not straight, but this would have been artist's intention. A small diagonal crease to the lower right corner and a number of other very mild handling creases. Condition Report Disclaimer
λ DENIS BOWEN (BRITISH 1926-2006) EXPLODED STRUCTURE Acrylic, sand and Ripolin on canvas 71 x 91.5cm (27 x 35 in.)Painted in 1958. Provenance: Redfern Gallery, London Private Collection, P. Dallas Smith (acquired from the above in July 1958) Condition Report: There is some cracking to certain areas of black pigment, notably the patch at the centre of the right edge. Some 'spotting' to the paint surface which appears to be consistent with the artist's intention (see lower right corner). Ultraviolet light reveals one small patch of retouching just off the lower edge in the lower right quadrant. Some surface dirt, but otherwise, in generally good original condition.Condition Report Disclaimer
λ  PIETRO ANNIGONI (ITALIAN 1910-1988) PAESAGGIO FANTASTICO Tempera grassa on board Signed with monogram and dated LII (lower right) 54 x 64cm (21¼ x 25 in.)Painted in 1952.Provenance: Juanita Forbes and thence by descentExhibited:London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954 New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969 Literature:D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971, Rome, 1991, p.183, no.140, fig. 235 Please note: this work is tempera grass on board and not as previously catalogued. Condition Report: Tempera grassa on board. Light surface dirt throughout. Yellowing varnish possibly causing some discolouration. There are a number of horizontal lines and diagonal lines created by build up of tempera to the lower half of the work, likely created at point of conception. There is a small hole to the centre of the work approx. 1cm. Condition Report Disclaimer
λ WALTER STEGGLES (BRITISH 1908-1997) ESSEX LANDSCAPE WITH POLLARDS Oil on board Signed (lower right); further signed and titled (verso) 18.5 x 23cm (7¼ x 9 in.)Painted in 1932.Provenance: Alex. Reid & Lefevre Ltd., London Mary Cburchill (acquired from the above in 1932 as a Christmas present from her nanny, Maryott Whyte) Sale: Sotheby's, London, Daughter of History: Mary Soames and the Legacy of Churchill, 17 December 2014, lot 219 Private Collection, UKExhibited: London, Alex. Reid & Lefevre Ltd, New Paintings by the East London Group, 1932, no. 85 Southend-on-Sea, Beecroft Gallery, Brothers in Art: Walter & Harold Steggles & the East London Group, September 2021-April 2022 Southend-on-Sea, Beecroft Gallery, Out of the City, 2016 Condition Report: Very fine crazing throughout the panel. Rubbing to the framing edges with some associated loss, most notable to the lower edge and left side of upper edge. Light surface dirt throughout with some possible discolouration caused by yellowing varnish. One very small circa. 2mm loss to the centre of the left edge which has been retouched and natural in visible light. A light diagonal scuff circa. 4cm to the upper left corner but no damage to the paint work. Inspection under UV reveals scattered retouching to the edges. Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) RISEN CHRIST (HANDS ONLY) Bronze with a dark brown patina 43 x 39cm (16¾ x 15¼ in.) (including base) Conceived 1917-1919. Provenance: Sale, Sotheby's, London, 9 July 1969, lot 101 Agnew's Gallery, London From a Private Collection Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, relating to no. 97 The other version of this work is held in Walsall, Garman-Ryan Collection.The present lot was part of a study intended for a large scale sculpture measuring 218cm tall depicting the sick Bernard van Dieren during 1917. Artists Jacob Kramer and Cecil Gray, the musician posed for the unfinished sections when Epstein returned to the work in 1918/1919. Condition Report: The black base may benefit from a clean and there is evidence of surface scratches most notable around the base of the largest hand. There is a light overall layer of surface dirt that is most notable in the crevasses of the work. Overall in good original condition. Condition Report Disclaimer
A Grecian style painted metal two light Lamp, of assimilated green marble design with matching oval shade, decorated with triumphant garlands, on adjustable upright, together with an Edwardian Gas Light, with circular ebonised base, brass pillar and embossed milk glass reservoir, etched domed shade, as a lot. (2)
20th Century. Two similar George III style inverted bell-shaped glass hall lanterns. Each with dish-shaped glass smoke shades and metal-mounted rims, each on three suspension chains with later three-light fittings, adapted for electricity, plus another inverted bell lamp. Dimensions: Approximately 25 in. (H) each
Viv Richards with Sachin Tendulkar Sehwag signed limited edition print with signing photo Could there be more of a mouth-watering line up of extraordinarily talented batsmen?Viv Richards, arguably one of West Indies' finest batsman, Sachin Tendulkar, the world's leading batsman, and Virender Sehwag, India's free scoring opening batsman. All captured in a light-hearted moment at the slower paced game of chess! A very personal picture and never to be available again.Viv Richards has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
United Kingdom. A cased set of ten sovereigns comprising Victoria 1872, Victoria 1873, Victoria 1886, Victoria 1891, Victoria 1896 Sydney mint, Victoria 1900, Edward VII 1906 Melbourne Mint, George V 1924 Melbourne Mint, Elizabeth II 1958 and Elizabeth II 1974, contained in a fitted case, each diameter 22 mm., total weight approx. 79.9gCondition: Good condition. Old coins with some light wear and occasional impact marks
Victorian Scottish 71st Highlanders Officers Shoulder Belt Plate Pre-1881, gilt rectangular plate mounted with silver French horn with ‘71’ to the centre. Reverse retains original two hooks and two studs fittings. Remains in very good overall condition. 71st Highlanders later became 1st Battalion Highland Light Infantry on 1st July 1881.
WW2 German Red Cross Enlisted Mans Hewer Dagger, with black chequered grip to one side and the other smooth grip, plated pommel and cross guard with DRK emblem to the centre. Housed in the original scabbard with plated mounts and frog stud fitting. Sawback blade with fuller to the back edge and marked under the cross guard ‘GES GESCHUTZ’. The blade measures 26 ½ cms, overall 41cms. Some light wear to the exterior plating in places and age consistent staining to the blade, but generally a good example.
American Gunners Quadrant for 75mm PAK Howitzer, mint condition artillery gunners quadrant / field clinometer. Housed in wooden storage box with metal clips, inside of lid is inked ‘FIELD CLINOMETER GUN 75mm PACK HOW. OF 1 A/B LIGHT REGT RA. USED ‘ARNHEM’ 1944 FOUND NR GUN PSN IN HOUSE, OOSTERBEEK 1977’. Also a pencil written note paper stating similar story but that it was found in a cellar of a house in 1945. Sold as seen.
Queens South Africa Medal to Recipient in the Royal Army Medical Corps who also Served in the Imperial Light Horse, Queens South Africa medal with 3 clasps, Cape Colony, Orange Free State and Transvaal, impressed naming, “14200 PTE. S.H. ROWSON, R.A.M.C.”, some edge knocks to initials of name. Samuel Hammond Rowson was a 21-year-old Chemist from Campbeltown, Argyllshire when he attested on 25th May 1900, he was specifically enlisted as a compounder of medicines. He only served for a total of 1 year and 253 days ending on 1st February 1902 on termination of his period of engagement. The medal and 3 clasps are confirmed on the medal roll. On 20th May 1902 he commenced his service in The Imperial Light Horse (#3302) which ended 11 days later on 31st May 1902 during this time he qualified for the Kings South Africa medal with a single clasp, South Africa 1902.
Rare Third Reich D.L.V (Deutsche Luftsportverband) Peaked Cap, superb example of an enlisted ranks cap for the German air sports association (Deutsche Luftsportverband) known as the D.L.V, pre-runner to the German Luftwaffe. The cap is of blue grey wool with light blue piping to the crown and bordering the ribbed black central band. Cap has early pattern short winged cap eagle and enamelled winged propeller emblem of the organization below. Cap with its original patent chinstrap and plain domed buttons. Near mint condition interior of the cap with orange cloth lining with un-marked celluloid diamond. Stamped to the interior is unit marking, “Eigentum DLV Landesgruppe 4”. Tan leather sweatband to the interior of the cap. Overall an excellent example of a very rare to find peaked cap.
1939 Iron Cross 1st Class by Friedrich Orth with Case of Issue, three piece construction with magnetic iron core. Maker marked with the Orth marking on the pin. Good, light worn condition with majority of the black core paint intact. The cross comes in its original and matching case of issue with EK silhouette on the lid.
WW2 Japanese Type 30 Arisaka Bayonet, with Tokyo arsenal stamp, the blade shows some light areas of sharpening and wear, the hilt is nice overall, the metal scabbard is 80% covered in a burlap covering painted in a dark green camouflage, perhaps used by a sniper. Blade 39 ½ cms, overall 52 ½ cms.
Third Reich NSKK (Nationalsozialistisches Kraftfahrkorps) Dress Dagger by Emil Voos, Solingen, good example with light brown wooden grip having nickel eagle and enamel SA device inserted. Lower cross guard stamped with district mark ‘P’. Housed in its scabbard with single hanging ring. Fine double edged blade with motto ‘Alles fur Deutschland’ and reverse side with makers trade mark. The blade measures 22cms, overall 37 cms. Some wear to the scabbard finish and bottom ball is dented but still generally a good example by a more uncommon maker.
Rare 1st Regiment of Life Guards Officers Full Dress 1816 Pattern Flap Pouch, bullion crown over crossed banners with central order of the garter star and battle honours ‘PENINSULA’ and ‘WATERLOO’. Gilt lace border to the body of the pouch. Some light wear but generally a good example. Was purchased by the vendor at auction with the attribution to either Lord Charles Pelham Pelham Clinton, or his twin brother Lord Thomas Pelham Pelham Clinton, the second and third sons of the 4th Duke of Newcastle-under-Lyme.
Axis Croation Order of the Crown of King Zvonimir 1st Class Neck Order with Recipient Photograph, Tombac construction with enamelled surface. Very good condition with light signs of wear. The neck order comes with its original red/white ribbon. With the order a portrait of a German officer with the rank of Oberst, wearing this Croatian Crown order underneath the Romanian crown order. On the reverse of the photo well described in German and dated Christmas 1942.
WW2 German Luftwaffe Double Decal Steel Combat Helmet, good untouched M-40 pattern steel combat helmet which retains much of its original Luftwaffe blue paint finish to the shell. Helmet has 2nd pattern Luftwaffe eagle decal and national tri-colour shield, approx 90% present. Helmet retains its leather chinstrap and the leather liner system. Shell is stamped with makers and size mark ‘Q66’ and rear skirt stamped ‘325’. Some light surface rust to the exterior which would probably clean off and the liner has some wear and staining but generally a good example of a M-40 double decal which is not as easy to find as earlier M-35 models.
WW2 Captured Japanese National Flag and Decorated by US Navy Seabees, fine silk Japanese national flag with the centre having a painted scene of Mount Fuji and a shrine gate. Around the edge is Japanese text which has been translated by the Japanese embassy in London in 1987 to say, ‘Engineer A. Sloker’, the edge place names, ‘Yokosuka’, ‘Tennyan’, ‘Enwitark’, ‘Guam’, ‘Oahu’ and ‘Iwo Jima’, the bottom ‘U.S. Navy’ and ‘Sea Bee Troop’, bottom corner is inked in English, ‘EUGENE A SROKA M.M 3/C’. The flag measures 96 x 67cms. Some areas of shredding and light staining but still a nice displayable flag. The US Navy Seabeas were a construction force which were often brought in to help build infrastructure on captured islands in the Pacific island hoping campaign. Because they were not a front line combat force, many US marines and infantry soldiers fighting in the Pacific campaign, tell stories of men from these units trading cigarettes and food items with front line troops coming off the line for Japanese war souvenirs, many of these men would then decorate flags such as this example and sell them onto other troops to take home as souvenirs, many of these flags exist on the market which actually do not translate to anything. These Seabee decorated flags are an interesting item from the Pacific war.
WW2 German Luftwaffe 2nd Model Dress Dagger by WKC, Solingen, with white celluloid grip having the wire binding. Pommel with swastika to both sides. Luftwaffe eagle cross guard. Housed in its original scabbard with two hanging rings. Plain double edged blade with makers trademark to the base. Blade measures 25cms, overall 42 ½ cms. Some surface rusting to the rear lower section of the scabbard and some light staining to the blade.
Victorian 71st Highlanders Officers Waist Belt Clasp Pre-1881, fine gilt rectangular waist belt or dirk belt clasp with silvered French horn and ‘71’ mounted to the centre, with fixed belt loop. Good overall condition. 71st Highlanders later became 1st Battalion Highland Light Infantry on 1st July 1881.
2 shot .41 Rimfire Remington Derringer Over and Under Pistol, top flat deeply stamped REMINGTON ARMS CO. ILION NY, tip up barrels (damaged), checkered ejector rod lug, 2 piece finely checkered grips. Good working action. Overall 12cms, barrels 7mm. In need of some light restoration but still a nice pistol.
WW2 German Luftwaffe 2nd Pattern Officers Dress Dagger with Straps and Knot, good example with the top pommel having much of the gilt wash finish remaining to the swastika on both sides. Orange celluloid grip with the original wire binding in place. Luftwaffe eagle cross guard. Bullion officers dagger knot / portopee attached. Housed in the original scabbard with two hanging rings. Attached to the scabbard is an original pair of velvet backed brocade hanging straps, with deluxe fittings having oakleaves relief. Double edged plain blade without the makers trade mark to the base. The blade measures 24 ½ cms, overall 42 ½ cms. Some fraying to the portepee and some light staining to the blade.
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