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534325 Los(e)/Seite
Los 1040
A Chinese ginger jar and cover, enamelled decoration of fish and flowers on a lime ground, seal mark under base, (cover restored), 14cm high Condition Report: Cover has been extensively broken and restored, wear to rims and light scratching throughout, otherwise body appears in good condition.
Los 1046
A quantity of Oriental and other tea bowls and other china Condition Report: Famille rose saucer- v slight Frits to rim, some abrasions to surface. Pair saucers - One has firing crack to foot, faint hair crack to rim and flake to glaze below rim to interior, other good. Blue and white saucer - Star crack to centre, visible top and bottom. Two hair cracks to rim and some chips to rim. Pair tea bowls - One has a single tiny rim chip, the other has a few small rim chips and hair cracks. Similar tea bowl to above - Tiny firing flaw to rim. Small pair enamelled tea bowls - Triangular chip to rim which issues a hair crack. Otherwise a few ting rim Frits. Famille rose cups - Tiny rim chip to one, light wear to enamels, a few surface firing blemishes. Blue and white cup (English) - Some light staining to foot rim.
Los 333
Alfred Emile Leopold Stevens (Belgian 1823-1906)/Royan/coastal path with elegant ladies/signed and inscribed lower right A Stevens - Royan /oil on panel, 31.5cm x 24cm/Provenance: invoice from Baker Baker & Co, Bristol, 1968; also bears partial Agnews label to the reverse/the painting accompanied by a book Alfred Emile Leopold Stevens by Peter Mitchell, 1973 Condition Report: Overall appears in good condition. Book with some light water damage to first few pages.
Los 446
Three modern silver wine coasters, each circular with a turned wood base Condition Report: 446: Pierced coaster - Wood needs a clean and polish. Pad beneath worn, discoloured and dirty. 12cm diameter. Plain coaster - Wood needs a clean and polish. Some dirt to baize. 12.5cm diameter. Stepped foot coaster - Needs a general light clean. 12cm diameter.
Los 531
A five-stone diamond ring, the gypsy set stones to an 18ct gold band, ring size O, a ruby and diamond five-stone ring set in 18ct gold, a 19th Century carnelian set ring and a 22ct gold wedding band Condition Report: 5 stone diamond - Early 20th Century. 3gm. Marked 18ct. No hallmarks but numbered 3076 and 92 to inner shank. Overall condition good, some light wear/scratches. Ring size O. Largest diamond 2mm diameter. Ruby & diamond - Early 20th Century. 2.6gm. Hallmarked, the marks very slightly rubbed. Condition overall good. Ring size O. Central ruby 3.7mm diameter. Carnelian ring - 19th Century. 1.7gm. Unmarked. Some wear to engraving at shoulders, shank a little thin at base, cabochon somewhat abraded. Ring size K. Band - Mid 20th Century. 3.3gm. Hallmarked 22ct. Slight wear and scratches. Ring size N 1/2.
Los 606
A Dunhill "Captive" Art Déco sterling silver and Japanese lacquer travel watch, the dial signed "Dunhill, La Captive Tavannes Swiss Made", case stamped 925, 4.5cm wide Condition Report: Lot 606: Hinged doors have slight losses to lacquer at edges and a flake near one hinge. There is other wear and losses to enamel at corners of piece. Generally the lacquer is fairly intact but has light wear / scratches throughout.
Los 666
A Continental console table, the green variegated marble top with moulded border and serpentine ends, fitted three frieze drawers, and with carved scrolling apron to the centre, on four acanthus clad front legs and shaped plinth beneath, 213cm wide Condition Report: Condition in line with age and usage, some surface dirt and light scratches, depth 59cm
Los 111
A replica German Maschinengewehr 34 (MG34) light machine gun *The versatile MG 34 was arguably the most advanced machine gun in the world at the time of its deployment. Its combination of exceptional mobility - being light enough to be carried by one man - and high rate of fire (of up to 900 rounds per minute) was unmatched. It entered service in great numbers following Hitler's repudiation of the Versailles Treaty in 1936, and was first combat tested by German troops aiding Franco's Nationalists in the Spanish Civil War. This lot can only be sold for: the purposes of a museum or gallery the purposes or theatrical performances and rehearsals the purposes of film and TV production the organisation and holding of historical re-enactments, where the organiser holds public liability insurance for such events the organisation and holding of the acting out of military or law enforcement scenarios for the purpose of recreation, where the organiser holds public liability insurance for such events. This includes Airsoft skirmishing. Crown servants a commercial event at which firearms or realistic imitation firearms are offered for sale or are displayed i.e. at an arms fair. Relevant identification will be required.
Los 112
A replica light machine gun This lot can only be sold for: the purposes of a museum or gallery the purposes or theatrical performances and rehearsals the purposes of film and TV production the organisation and holding of historical re-enactments, where the organiser holds public liability insurance for such events the organisation and holding of the acting out of military or law enforcement scenarios for the purpose of recreation, where the organiser holds public liability insurance for such events. This includes Airsoft skirmishing. Crown servants a commercial event at which firearms or realistic imitation firearms are offered for sale or are displayed i.e. at an arms fair. Relevant identification will be required.
Los 13
A WWII Alco featherweight stationary engine (JAP 3), number 425/677 by Arthur Lyon & Co engineers with attached generator in a tubular frame and canvas cover titled 360 watt charging set, along with two cased batteries, the engine marked serial number 6024 *These engines were coupled with various items of equipment as power units for use by British forces - principally battery chargers and fuel pumps. The Alco Featherweight was manufactured for Arthur Lyon by JAP (J.A.Prestwich) and was simply a rebranded JAP Model 3, with all parts interchangeable. The JAP Model 3 was clearly a wartime concept, designed down to a very simple spec and budget, using light alloy wherever possible for low weight and portability, but also capable of being manufactured from whatever metal was available at different times during the war. Hence you will find these JAP/Alcos with a wide variety of cast iron and alloy parts, depending on the period of manufacture. In wartime Air Ministry documents, the Alco Featherweight engine is referred to as a 'J.A.P. engine, Type ALCO'. Notice also the captive, folding starting handle - so it won't get lost when the unit is moved around a site or thrown in the back of a truck.
Los 138
Three 84 mm Anti-tank Cartridge cases for the Carl Gustav recoilless rifles, black light alloy cases with green plastic projectile covers, cases stencilled (white), various markings including war department arrow, circa 1976, together with two 84 mm Anti-Tank Round, high-explosive, anti-tank (HEAT) round for use in 84mm Carl Gustav recoilless rifle, blue inert projectile in black light alloy cartridge case, the projectile stencilled (white): "84mm INF" "PRAC ATK"; "SX 404 GF"; "HE SUB"; "T", Case stencilled (white): "LOT 14 RLB.1976"; "55a"; "CY 8/77" "PRAC ATK L41A3" (5)
Los 155
Two 25lb US practice bombs, Mk. 76, emitting smoke and/or flash on impact, these bombs are used training in dropping bomb 500lb, Mk. 82, the cast steel bodies painted light blue, complete with suspension lugs, tail cone stencilled (white): "BOMB PRAC 25B MK760"; "MOD 5 LD 426868 DELL IND"; "1325-806-3409-E973"; "N00104-72-C-B023"; "LOT NO99 DIW-1-0572", the second marked "LOT NO 187", with a British aircraft dropped retarded smoke and flash 4lb. No. 1 Mk. 1 practice bomb used for both day and night operations, the blue painted fibreglass body and fins with aluminium nose assembly, rear drag plate missing, 20mm brown band to nose, the body of bomb stencilled (brown) "PRAC RET"; "4LB No 1 MK 1" "SMK & FLASH;" "SR223E"; "LOT 085 CY 10/77"; "12B/9624890" "1325/99/962/4890"; body stencilled between fins (white): "TRANSIT" "REMOVE", and another British practice bomb, 3kg, No. 2 Mk. 1 (4)
Los 160
A mixed collection of ordnance to include three 27 mm rounds for use in the Mauser cannon, in disintegrating steel link with steel cases, fired primers, and replica resin projectiles. The base of the cases stamped "27 x 147 DM 1001"; "LOS DN-1-16-X"; "27 x 147 DM 1001"; "LOS DN-1-6-X" "27 x 147 DM 1001"; "LOS DN-1-D38-X", with a 27 x 145b mm Mauser Cannon projectile, German, an inert practice projectile for the 27mm Mauser cannon, unfired and blue painted, the projectile stencilled (white) “27K”; “UEB”; DM 28” “LOS MW. 50.17.X”, projectile stamped “27 x DM28 LOS RG-50-007”; “DM1315”, two British Radasound hand fired chaff launchers, green cylindrical launcher with white plastic initiating trigger mechanism and a black cap to the launching end, ¼” brown band to the top (launching) end, an 10mm brass cartridge case for a Light gun, a German WW1 Howitzer cartridge case converted for use as a bucket, dated 1917 (qty)
Los 164
A British 76 mm round, base ejection for use in Saladin or Scorpion armoured vehicles, fired brass cartridge case with fired primer and fired projectile with remains of light green paint, Projectile stamped: "D8033"; "76MM"; "SMK BE"; "SX 1057"; "LOT 206"; "RLB"; "12/87" Base of case stamped: "76MM. ARMD. C"; "RW 175"; "LOT 76"; "RLB"
Los 165
A 105mm British brass cartridge for use in the 105mm Light Gun, with fired primer, transfer of Prince of Wales feathers applied to the side of the case stamped "105 MM FD"; "RW 297"; "LOT 1"; "RLB"; "á"; "1968", together with a 47 mm cartridge case for a WW1 Hotchkiss gun, lacking primer, and a 1 1/2 Pr. British cartridge case with fired primer, base marked "1½ PR MK IV GUN"; "LOT A"; "RL"; "á", "1935", "C.F." (3)
Los 168
Two 3 in. 20. Cwt Rounds, ammunition used for QF 3 In, a gun used in World War II on the light anti-aircraft role and on submarines, brass cartridge case with fired projectiles - no driving bands, the first stamped: "1/N"; "QF"; "3" 20 CWT"; "16LB"; "P"; "C1"; "RL 8/45"; "LOT 29" Base of case stamped: "3" 20 CWT"; "V"; "LOT 897"; "á"; "ICI"; "1939", the second "1/N"; "QF"; "3" 20 CWT"; "16LB"; "P"; "C1"; "RL 7/45"; "LOT 22" Base of case stamped: "3" 20 CWT"; "II"; "LOT 41"; "K"; "á" "1917" (2)
Los 184
An 105 mm Armour piercing projectile, discarding sabot (APDS) practice round for 105 mm tank gun used in British Centurion penetrator, with nylon driving bands and alloy base, manufactured by Royal Laboratories Birtley, Co. Durham, in 1973, side of projectile stamped "105MM TK DS/T PRAC"; "RLB SX 136 GE 5-73", side of projectile stencilled (white) "LOT 674", together with another 105mm projectile, a flat head steel experimental version, painted purple, the projectile stamped "105MM FD B4/2018" "3LB.9OZ.12DR;" "PAT LOT 11-68"; "C1544 BS B4-2797", together with a 105mm smoke base eject projectile as used in the British Centurion tank, fired projectile with engraved driving band and remains of original light green paint with 1" brown band to the nose of the projectile, manufactured by Royal Laboratories, Birtley, Co. Durham in 1981 (3)
Los 186
A fired projectile for the 105mm L118 Light Gun, deep bronze green painted body with two vertical stripes to half the length of the projectile, nose fitted with plug N2, projectile stencilled (white) "105mm FD" "SX 147A"; "28-7-70"; plug engraved, "PLUG; "N2 MK 1"; "PLUG FIRING REP N97", together with a sectioned projectile for the 105mm L118 Light gun, dark bronze green painted body with 2 1/4" yellow band to centre, projectile marked with yellow adhesive lettering, "105MM FD" "HE L3A3" (2)
Los 236
A British thin-walled, cylindrical 2000lb high capacity bomb, designed for general bombardment or where maximum blast damage is required, green painted cylindrical bomb with drum type tail unit nose attachment, 1/2" red band nose and 2" light green band indicating filling type, filling bands and stencilling not original, bomb body empty and stencilled (white): "60/40": "HC 2000LB"; "III"; "23126"; "P8/43", nose of bomb stencilled (white): "No 27/42/44", tail unit stencilled (white) "No 39 Mk 1 1802 43"
Los 251
A Second World War RAF Sidcot flying suit, leather flying helmet, gloves and flying boots *In the winter of 1916 the first significant stride was made to providing effective protection for the pilot and this arrived from the brain of Sidney Cotton, an RNAS pilot with No.8 Squadron. Cotton had been working on his own aircraft when a 'scramble' was called and he flew in his dirty overalls for an hour or so and upon landing found that, unlike his fellow pilots who were shivering from the cold, he was quite unaffected. Having thought through this effect, he realised that it was the oil and grease soaked into the overalls that had retained the body heat. Picking up on the idea, he took leave and travelled to London, to Robinson & Cleaver, where he had a flying suit made for him to his design. The suit had three layers, a thin lining of fur, a layer of airproof silk, and an outside layer of light Burberry material, all made into a one-piece suit, just like his overalls. Robinson & Cleaver were asked to register the design on behalf of Cotton and the flying suit took its name from the inventor and was called the Sidcot suit (SIDney COTton).
Los 29
An aerial supply/weapons container fitted with a container parachute the body painted green and with white stencilling, 15C/190 red Type C, maximum load 350lb *The container was developed during the Second World War to carry additional supplies to be dropped with Paratroopers and for later resupply purposes. Initially named the CLE after the Central Landing Establishment, it could contain various weapons, ammunition, rations, medical equipment, radios and even the small Welbike motorcycle. Later it was officially named the Container Light Equipment. Initial variants were canvas bags with internal supports, but the chosen design consisted of a metal tube with large access doors. It was attached via a trestle to the aircraft, usually a Dakota (and later Hastings) and several could be carried on each flight. The CLE parachute was contained in a canvas bag atop the container and the parachutes themselves were colour coded, depending on contents and the operation, and could range from khaki through to red (weapons) blue, yellow, red and white. The collapsible crash pad dome at the base of the container was designed to take the impact of the landing. The CLE was produced in 3 main types: CLE MK 1 was a cylindrical shape with metal supports and wooden panels. Internally it could be divided into sections by the use of removable wooden dividers. It was opened via 3 latches. It weighed approximately 46 kg and up to 159 kg fully laden. It was 1.70 m long with a diameter of 40 cm. CLE MK 1T was almost identical to the MK 1, but was of all metal construction. Empty it weighed 61.5 kg and, again, 159 kg fully laden. CLE MK III was of metal construction and 1.80 m long. It used both the MK 1 and Type C parachute. It had 2 latches instead of the three of the earlier models. There was a lighting system used on the CLE for identification during night drops consisting of 4 small lamps mounted on a frame and powered by a battery. There were also experiments with smoke generators to highlight containers in the daytime. Most were painted in light colours, such as white, to aid recovery.
Los 9
A W & G light II canvas gas mask, shoulder bag and gas mask along with two further canvas gas masks bags, a brown salt glazed ointment anti gas jar, a canteen, a one and three quarter ounce foot powder flask by R & C Ltd along with a foot powder container by boots, a further canvas bag, two enamel dishes, a size one field bandage and further bandages (qty)
Los 1
Amarna Period, 18th Dynasty, 1353-1336 BC. A rectangular limestone relief fragment depicting a profile head facing left with full lips, heavy jawline and lentoid eyes, hatched ties to the rear, six rays terminating in elongated hands extending from the upper edge, the upper part of a frieze of lotus flowers beneath. 7 kg, 56cm overall (22"). Fine condition; repaired. Property of a London gentleman; acquired Bonhams, New Bond Street, London, UK; 1 May 2008, Lot 43; with a print-out of the catalogue entry and a copy of the purchase invoice. The head is that of Nefertiti, queen and Great Royal Wife, of the Pharaoh Akhenaten, and whose name means the beautiful one is here. Nefertiti and her husband were known for a religious revolution, in which they worshipped one god only, Aten, or the sun disc. Akhenaten and Nefertiti were responsible for the creation of a whole new religion which changed the ways of religion within Egypt. With her husband, she reigned at what was arguably the wealthiest period of Ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband's death and before the accession of Tutankhamun. Her husband abandoned the old royal capital of Thebes due to its association with the old gods, particularly the state deity Amun. Akhenaten issued a ban on the worship of the gods and had the temples closed down, thus marginalising the wealthy and powerful priesthood. As part of his religious revolution Akhenaten built a new capital several miles north of Thebes at a site called Akhetaten, meaning the Horizon of the Aten, now modern Amarna. The new capital had a number of important open air shrines dedicated to the Aten which were profusely decorated with scenes depicting the royal family making offerings to the sun disc. The architects employed a new way of constructing and decorating the temples by using small stones that were carved with sections of the larger friezes, which are known today as talatat, of which this is an example. The scene on this relief depicts Nefertiti standing before an altar table, the top part of which is visible as a line, and offering lotus flowers to the Aten. The Aten was depicted as a disc from which descend beams of light that end in hands; these hands hold the ankh, hieroglyph for life to the noses of the royal family. In scenes found on the talatat, Nefertiti appears almost twice as often as her husband. She is shown appearing behind her husband the Pharaoh in offering scenes in the role of the queen supporting her husband, but she is also depicted in scenes that would have normally been the prerogative of the king. After the death of Akhenaten it is believed that Nefertiti may have started the process of abandoning the worship of the Aten and a return to the old gods, a move that was essential for the political stability of Egypt that had started to disintegrate under the rule of her husband, particularly diplomatic contacts with neighbouring kingdoms. This scene clearly displays the so-called Amarna style in art which broke with long-established Egyptian conventions. Unlike the strict idealistic formalism of previous Egyptian art, it depicted its subjects more realistically. These included informal scenes, such as intimate portrayals of affection within the royal family or playing with their children, and no longer portrayed women as lighter coloured than men. The art also had a realism that sometimes borders on caricature, but which had a lasting effect on Egyptian art.
Los 34
Ptolemaic Period, 332-30 BC. A pale blue glazed composition openwork plaque formed as the eye of Horus supported by the feather of Ma'at, a papyrus stalk, a uraeus and an eye; black pigment to the pupils and brow; pierced for attachment. 11 grams, 49mm (2"). Very fine condition. From an old British private collection; formed between 1975 and 1985. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, plate 46a for a similar example in the British Museum, accession number EA 29222. The sun and moon were mythically imagined to be the eyes of the god Horus and the term eye of Horus is believed to refer to the moon originally. Over time the cult of Horus became associated with that of the sun god Ra, whose eye was also conceived as having special powers. Both the eye of Horus, and that of Ra, were believed to fight the enemies of light, order and justice. The association between the eye of Horus and that of Ra led to it being called Wadjet, who was also a cobra goddess resident in the city of Buto on the Nile delta. The eye of Ra was believed to have left his body and taken the form of the fire spitting cobra goddess, and it is this goddess that is seen on the brows of the Pharaohs and gods in the form of the uraeus. On this amulet both the eye of Horus, here winged to reinforce its connection to Horus and Ra, and the uraeus cobra, are together to give added power and protection to the wearer of the amulet.
Los 63
Late Period, 664-332 BC. A large finely carved lapis lazuli scarab with detailed carapace, mouth parts and legs; plain underside. 55 grams, 41mm (1 3/4"). Very fine condition. Property of a London gentleman; acquired before 1970. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, pp. 50-60, for a discussion on scarab amulets. The sacred scarab beetle was a symbol of self-creation for the ancient Egyptians as it was believed that it came into being of itself from a ball of dung. It was worshipped under the name of Khepri, which means he who came forth from the earth and was considered a manifestation of both the creator god Atum and the sun god Ra as he rose from the underworld at dawn. The beetle pushes a ball of dung before it, and therefore it was believed that Khepri rolled the solar orb across the sky. The sun beetle giving warmth and light became a popular amulet and was used by both the living and the dead as a symbol of new life.
Los 690
Neolithic, 5th-4th millennium BC. A finely polished axe with oval section, tapered sides, rounded butt and convex cutting edge; the butt showing impact from use as a 'strike-a-light' for fire-making; in a varigated, possibly volcanic, pale brown stone. 290 grams, 13cm (5"). Found near Maxey, Peterborough, Cambridgeshire, UK, in 1980. See Evans, Sir John, The Ancient Stone Implements, Weapons and Ornaments of Great Britain, London, 2nd edition, 1897, figure 58 for a very similar example. Recorded with the Portable Antiquities Scheme with reference number CAM-5EAB98; accompanied by a print out of the PAS report. Very fine condition.
Los 77
Mid-2nd millennium BC. A carved haematite amulet of a hippopotamus-head modelled in the round. 25 grams, 29mm (1 1/4"). Very fine condition. From an old British private collection; formed between 1975 and 1985. Cf. Andrews, C. Amulets of Ancient Egypt, London, 1994, p.8 for discussion. The hippopotamus had an ambivalent role in Egyptian religion, being regarded as both a destroyer and protector. During the period of the Old Kingdom in Lower Egypt there was a festival in which the Pharaoh slaughtered a white hippopotamus to symbolise his power of order over the destructive power of chaos as represented by the animal. This would seem to re-enact the myth in which Horus, the upholder of cosmic justice and order, kills his uncle Set, the murderer of Osiris, who takes the form of a hippo. Reliefs on the walls of the temple of Edfu depict this moment of order overcoming chaos in the form of Horus in a boat spearing a hippo, as does the gilded wooden statue from the tomb of Tutankhamun that depicts the king on a boat with a harpoon in his hand, thus equating the king with Horus. The hippopotamus was also viewed in a positive light in that it took the form of the goddess Taweret who protected pregnant women and young children from harm and was a potent symbol of female fertility. Hippo heads can be found decorating furniture, especially beds, and which again offer protection as well as fertility powers.
Los 808
Qing Dynasty, 1616-1911 AD. A substantial bronze Xunde Lu incense burner vessel with three stub feet, waisted neck, flat rim, two loop handles to the shoulders, copying a Ming Dynasty (1426-1435 AD) type and with the square imperial seal of the emperor Hsuan-te (Xuan De) to the underside; a domed stand with three radiating petals to the upper face, central boss, three scrolled feet. 4.9kg total, 19.5cm including stand (7 3/4"). Property of Kent, UK lady; by inheritance. [2, No Reserve] Fine condition, light wear. Rare.
Los 811
19th-20th century AD. A gilt-bronze figurine of the Bodhisattva Vajrapani on a lotus-flower base within a nimbus of scrolling flames, wearing the crown of five skulls, bearing the vajra in his extended right hand and a rope in his left hand. 3.6 kg, 29cm (11 1/2"). From a London, UK, collection, formed in the 1970s. Vajrapani is one of the earliest-appearing bodhisattvas in Mahayana Buddhism. He is the protector and guide of Gautama Buddha and rose to symbolise the Buddha's power. The Golden Light Sutra titles him great general of the yakshas. Vajrapani is extensively represented in Buddhist iconography as one of the three protective deities surrounding the Buddha. Each of them symbolises one of the Buddha's virtues: Manjushr? manifests all the Buddhas' wisdom, Avalokiteshvara manifests all the Buddhas' compassion and Vajrapani manifests all the Buddhas' power. Fine condition.
Los 812
19th century AD. A hollow-formed parcel-gilt bronze figure of Amitabha Buddha sitting cross-legged with vase in his folded palms, hair piled in a top-knot with curlicue above; plate to the underside with incised rosette. 4.2 kg, 34.5cm (13 1/2"). From the Cheuk family collection; acquired before 1990. Amitabha is one of the most popular Buddhist deities whose name means immeasurable light. He is one of the five Dhyani Buddhas that arose from the primeval Buddha and are believed to dwell in a particular part of the cosmos. Amitabha dwells in the west in a paradise called Sukhavati, and entry to his kingdom is allowed to all who believe in him, and who call out to him at the moment of death. Fine condition.
Los 872
2nd-4th century AD. A carved schist head of Buddha with neatly dressed hair; mounted on a custom-made stand. 5.2 kg, 30cm including stand (11 3/4"). From the private collection of Brigadier Watts, Defence Attache to Islamabad, 1982-1985; acquired in London prior to 1990. The facial features of this head show a high degree of Hellenistic influence through the soft features and treatment of the hair which show similarities to busts of Apollo. The urna, between the eyebrows, symbolising spiritual light, is recessed for the inlay of a precious stone. The topknot of hair is known as the ushnisha, and symbolises supreme wisdom. The long earlobes are a reference to the days when the Buddha wore heavy earrings when he was a prince in the court of his father at the royal palace in Kapilavastu, India. Fine condition.
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534325 Los(e)/Seite