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23175 Los(e)/Seite
Los 2258
A British World War One 1907 pattern Wilkinson bayonet complete with leather scabbard.Note: You must be over 18 to purchase this item. Collection must be made in person or by arrangement with a delivery company that provides an age verification service. We do not provide a shipping service for bladed items.
Los 2249
An 1897 Pattern Infantry Officers Sword by Henry Wilkinson No. 16601silver wire bound fish skin grip, 81.5cm blade, with metal scabbard, Hilt and scabbard with oxidization and 1845 Pattern Victorian Officers Sword by Pulford & Co. with wire bound fish skin grip, 82cm blade, with metal scabbard.Oxidization to the scabbardNote: You must be over 18 to purchase this item. Collection must be made in person or by arrangement with a delivery company that provides an age verification service. We do not provide a shipping service for bladed items.
Los 10
An Egyptian pink granite sarcophagus fragment with the head of Anubis or WepwawetNew Kingdom, circa 1550-1069 B.C.24cm high, 20cm wide, 8cm deepFootnotes:Provenance:J.R. Norman collection, early 20th Century (old label affixed to piece).Resandro collection, Europe, primarily formed late 1960s-1997 (R-247).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.69, no. R-247.The jackal-headed god depicted here is likely either Anubis or Wepwawet. Canine deities were a central feature of Egyptian religion from the Predynastic Period onwards; Wepwawet is already depicted on one of the standards preceding the Pharaoh on the Narmer Palette, and is attested by name from the 3rd Dynasty. Jackal-headed gods were primarily associated with the afterlife. Before the rise of Osiris, Anubis was the most important funerary god, and in funerary texts Wepwawet led the deceased through the afterlife in his role as 'Opener-of-the-Ways' (R.H. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, London, 2003, pp. 186-192). The J.R. Norman named on the old collection label may refer to the Mr J.R. Norman (1898-1944) who was an Assistant Keeper of Zoology at the British Museum (now the Natural History Museum), ichthyologist, and author; he was close friends with, and wrote a biography of, Dr Charles Davies Sherborn, another noted academic closely affiliated with the Natural History Museum and a prolific collector of a wide array of objects, including Egyptian antiquities.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 13
An Egyptian bronze cow-headed goddess, likely HathorLate Period, circa 664-332 B.C.12.5cm high Footnotes:Provenance:with Ron and Noele Mele, New York.Resandro collection, Europe, primarily formed late 1960s-1997 (R-470).Published:I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.159, no. R-470.The goddess depicted here is most likely Hathor, though the lack of cow's horns or an identifying inscription means that this is not certain. Hathor was revered as one of the greatest and most powerful goddesses. The goddess carries an ankh in her lowered right hand, and her head is surmounted by a moon disc resting on the crescent moon, which could invoke her function as the personification of the night sky (see R.H. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, London, 2003, p. 140). Amongst her many functions, Hathor was 'often described as the 'beautiful one' and was inextricably associated with love, and female sexuality as well as with motherhood' (ibid., p. 141). As such, she played the role of mother or wife of the king, and was closely associated with royal wives from the New Kingdom onwards.Cf. another bronze statuette of cow-headed Hathor in the Brooklyn Museum, acc. no. 37.356E.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 16
A small Egyptian steatite theophorous figure, holding a seated statuette of ImhotepLate Period, 27th-30th Dynasty, circa 525-332 B.C.9.5cm highFootnotes:Provenance:Ernest Brummer (1891-1964) collection, Paris.The Ernest Brummer Collection of Egyptian & Near Eastern Antiquities and Works of Art; Sotheby's, London, 16-17 November 1964, lot 93.The Ernest Brummer Collection, Vol. II; Spink & Son and Galerie Koller, Zurich, 16-19 October 1979, lot 522. Resandro collection, Europe, acquired at the above sale (R-414 (HP 6)).Published:D. Wildung, Imhotep und Amenhotep, Gottwerdung im alten Ägypten, Münchner Ägyptologische Studien (MÄS) 36, Berlin, Munich, 1977, p.40, no. 18, pl. 4,3.S. Schoske and D. Wildung, Entdeckungen, Ägyptische Kunst in Süddeutschland, Munich, 1985, p.125, p.128, no. 107.S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, 1992, Mainz am Rhein, 1992, pp.188-189, no. 122.I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.145, no. R-414.Exhibited:Munich, Staatliche Sammlung Ägypischer Kunst, Entdeckungen, Ägyptische Kunst in Süddeutschland, 30 August-6 October 1985.Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen zu Berlin; Munich, Staatliche Sammlung Ägyptischer Kunst Munchen; Hamburg, Museum für Kunst und Gewerbe Hamburg, Gott und Götter im Alten Ägypten, 1992-1993.The term 'theophorous', 'god bearer' in Greek, is used to describe a sculpture in which the subject carries a small figure of a deity, indicating the dedicant's reverence for, or personal relationship with, the god. Here, the male figure, who wears an animal skin across one shoulder, presents a seated statuette of the god Imhotep, as identifiable by the hieroglyphic inscription on the papyrus scroll that he holds in his lap; the hieroglyphic text faces the viewer, as though the god is declaring himself to the spectator.Imhotep was a notable high official during the 3rd Dynasty of the Old Kingdom, who was deified and revered from the Late Period onwards, some 2000 years after his death. During his lifetime, Imhotep was a noted scholar, vizier to King Djoser, priest of Ptah, high priest of the sun god, Ra, and possibly the architect of Djoser's Step Pyramid complex at Saqqara, the first Egyptian pyramid. He was further recognised as a patron of medicine, writing and learning, hence he was commonly depicted as a scribe, with a skull-cap or shaven head, and holding a papyrus scroll. It is likely that this sculpture was a votive offering at a temple or sanctuary dedicated to the god; R.H. Wilkinson notes that Imhotep's 'cult centres were places of pilgrimage for sufferers who prayed and slept there in the hope that the god would heal them or reveal remedies to them through inspired dreams' (The Complete Gods and Goddesses of Ancient Egypt, London, 2003, p. 113).For the type, see Egyptian Sculpture of the Late Period, 700 B.C.-A.D. 100, New York, 1973, pl. 35, 43 and 45 for fragmentary examples. See also a statue of the priest Wennefer, holding a figure of the deity Khonspakherd and dated to the 30th Dynasty, at the British Museum, London, acc. no. EA 55254.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 112
Matched set of four silver salts chased with floral decoration and each standing on three mask and paw feet: a provincial Georgian pair with sponsor's marks of John Mitchison, Newcastle, and a later Victorian pair, sponsor's marks of Henry Wilkinson & Co, Sheffield 1859, together with a set of four Albert pattern salt spoons, sponsor's marks of Elizabeth Eaton, London 1841/1849, 785g approx
Los 79
A Great War ‘Third Battle of Ypres’ D.C.M. awarded to Sergeant, later Second Lieutenant, T. C. Wilkinson, Honourable Artillery Company Distinguished Conduct Medal, G.V.R. (3144 Sjt :T. C. Wilkinson. 2/H.A.C.) nearly extremely fine, scarce to unit £1,000-£1,400 --- One of only 26 D.C.M.s awarded to the Honourable Artillery Company during the Great War. D.C.M. London Gazette 4 March 1918: ‘For conspicuous gallantry and devotion to duty when he took charge of the remnants of his company after all he officers had become casualties and leading them through heavy fire to their final objective, which he consolidated, sending out patrols to either flank.’ Thomas Charles Wilkinson was born in London on 7 February 1896 and was educated at Battersea Grammar School. He attested for the Honourable Artillery Corps for the duration of the War on 17 February 1915, and was promoted Corporal on 4 December 1915. He served with the 2nd Battalion during the Great War on the Western Front from 2 October 1916, was promoted Sergeant on 21 July 1917, and was awarded the Distinguished Conduct Medal for his gallantry during the Third Battle of Ypres on 9 October 1917 (Battalion War Diary confirms). Proceeding to the Italian Front on 26 November 1917, he was appointed Company Sergeant Major on 27 January 1918. Returning home on 18 July 1918, he was commissioned Second Lieutenant on 16 March 1919. He relinquished his commission on 25 July 1921, retaining the rank of Second Lieutenant. Sold with copied research.
Los 409
Three cases containing a collection of 69 mainly 18th and 19th century copper penny and half penny tokens including 1813 Christopher Jennett of Stockton, 1801 Stafford penny, John Wilkinson 1792 half penny, 1796 Blackington half penny, 1794 Chichester and Portsmouth half penny, Robert Blake Norwich token, Flint Leadworks 1813 penny and numerous others etc
Los 1028
A Clarice Cliff Fantasque Gardenia pattern octagonal plate. Circa 1930, printed Wilkinson mark, diameter 22cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024
Los 1004
A Clarice Cliff Fantasque Sunrise pattern fruit bowl. Circa 1929, hand painted, printed Wilkinson pottery marks, height 9cm, diameter 20.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024
Los 38
'Southalls' Sanitary Towels For Ladies Dispenser, "Southalls SANITARY TOWELS, SOUTHALLS BIRMINGHAM, SINCE 1820,". Tongue-and-groove construction with celluloid plaques. Manufactured by Lockerbie & Wilkinson (Birmingham) Ltd, Tipton, Staffs. Height 71.5cm, width 16.5cm, depth 11.5cm. In good original condition, original glass with minor chip to top right.
Los 27
Johann Joseph Zoffany (Frankfurt-am-Main 1733-1810 Strand-on-the-Green)The Flower Girl; and The Watercress Girl a pair, oil on canvas91.2 x 70.8cm (35 7/8 x 27 7/8in). and 89 x 71.1cm (35 1/16 x 28in). (2)Footnotes:ProvenanceJacob Wilkinson (c.1722-1799) presumably acquired the paintings from the artistThomas Wilkinson (1762 - 1837), son of the aboveJane Anne Brymer (1804-1870), daughter of the aboveWilliam Ernest Brymer (1840-1909) of Ilsington HouseWilfred John Brymer (1883-1957), son of the aboveConstance Mary Brymer (1885-1963), sister of the aboveJohn Hanway Parr Brymer (1913-2005), nephew of the above, and by descent to the present ownersExhibitedLondon, Royal Academy, 1780 (Girl with Water-cresses)LiteratureM. Webster, Johan Zoffany, London, 1976, exh. cat., pp.70-1, under cat. nos. 89 and 90 (as present whereabouts unknown)M. Postle, Angels & Urchins, The Fancy Picture in 18th-Century British Art, London, 1998, p.17, The Watercress Girl; p.18, The Flower Girl, ill., fig. 36; pp.79-80 under cat.no. 57, The Watercress Girl (the mezzotint)P. Treadwell, Johan Zoffany, Artist and adventurer, London, 2006, pp.391-2, ill, pl.1 and 2P. Treadwell, Johan Zoffany, Artist and adventurer, London, 2009, pp.313-16, ill. pp.312, 314M. Webster, John Zoffany, New Haven and London, 2011, pp.399-401M. Postle (ed.), Johan Zoffany RA Society Observed, New Haven and London, 2011, p.34, ill., fig. 28, p.228, under cat.no.52EngravedJohn Raphael Smith, 1780, mezzotint (The Watercress Girl)John Young, 1785, mezzotint (The Flower Girl and The Watercress Girl)John Raphael Smith's mezzotint of 1780 identifies the model for The Watercress Girl as a girl by the name of Jane Wallis. She may have been a relative of Albany Wallis (circa 1713-1800), lawyer and good friend to the actor David Garrick, and as Zoffany was a close friend of Garrick it supports this possibility. Martin Postle suggests alternatively that she may in fact be the actress Tryphosa Jane Wallis, who trod the boards at Covent Garden from 1789, but who was known to have been working in Dublin and London as a child actress. Zoffany's model is indeed very young, as well as being very pretty, and when Girl with Water-cresses was exhibited at the Royal Academy in 1780 a critic wrote in A Candid Review of the Exhibition that 'The artist has been very fortunate in a choice of a most beautiful Girl for his subject and he has copied nature so exactly, that it is not easy to determine whether it is real life or a painting'.This pair of paintings must have been painted soon after Zoffany's return from Italy where he had spent six years from 1773-79, the last of which was in Parma; back in London he took a townhouse in Albermarle Street and rented a rural retreat at Strand on the Green. Taste in London had changed in the years since he left, public taste embracing 'fancy' pictures, a type of genre painting that came from France and the Low Countries which depicted low-life figures in a somewhat sanitised and romanticised way. Zoffany will also have seen works by North Italian genre painters such as Giacomo Ceruti and Giacomo Francesco Cipper while he was in Parma and his Florentine fruit stall in Tate Britain and La Scartocchia now in the Pinacoteca di Parma (both painted in the late 1770s) reflect their somewhat prettified realism. As an acclaimed painter of portraits and conversation pieces he was responding to this shift in taste when he exhibited Girl with Water Cresses at the Royal Academy in 1780. He was also no doubt demonstrating his versatility as an artist, as one of the other two paintings he exhibited at the Academy that year was The Tribuna of the Uffizi now in the Royal Collection Trust. Why he exhibited only one of the present pair is not known, but they were presumably painted more or less contemporaneously. The atmosphere in Britain was ripe for the burgeoning market in fancy pictures in the late 18th Century; the slow decline of the court coincided with the rise of private enterprise, and pleasure became a focus of society at the cost of morality. Trades people, maids and street vendors selling consumable goods became typical subjects for artists. The majority of these subjects were women and there was often an intentional insinuation by the artist that these alluring girls were proffering more than just the goods in their baskets. In truth this notion had more to do with fantasy than reality, since as Martin Postle observed in his book Angels and Urchins, 'the back-breaking labour of selling perishable goods on the streets of London left little time for the average street-trader to indulge in sex with her customers'. The appeal of fancy pictures was as strong with the middle classes as it was with the aristocracy, and the diffusion of these images by way of prints – such as the mezzotints of the present works published by Smith in 1780 and Young in 1785 - made them accessible to a very wide public. We know from the inscription on Young's 1785 mezzotints of the paintings that their owner at that date was Jacob Wilkinson, one of Zoffany's most significant supporters. Wilkinson was a successful businessman, originally from Berwick-upon-Tweed, who made his fortune as a merchant in London and subsequently became MP for Berwick in 1774. From 1782-3 he was a Director of the East India Company and it was he who sponsored Zoffany's application to travel to India; he sailed there in 1783 and remained there for a number of years. Wilkinson commissioned Zoffany to paint his portrait which now hangs at Chequers: it shows a man of both economic and physical substance whose confident gaze is directed out of the picture to the left rather than at the viewer. Given the close relationship between Zoffany and Wilkinson we can surmise that The Flower Girl and The Watercress Girl were sold to him direct from the studio. On Wilkinson's death they passed to his son and executor Thomas and descended in the family to the present owners. They have not been shown in public during that period although Manners and Williamson erroneously recorded them as having been exhibited in Paris in 1908 and 1909, lent by Thomas Baring (see V. Manners and G.C. Williamson, John Zoffany, R.A., his Life and Works, London, 1920, pp.229, 283. These were presumably copies, one having appeared on the market in 1988 at Sotheby's (17 February, lot 252) with the Baring provenance and sold as 'Studio of Zoffany'.For further information on this lot please visit Bonhams.com
Los 3218
ANTIQUE REFERENCE. – Gene HESSLER. The Engraver’s Line. Ohio: B.N.R. Press, 1993. First edition, signed by the author, 8vo (253 x 174mm.) Photographic illustrations. (Mild toning.) Original cloth, dust-jacket (small tear to upper panel). – And a further eight volumes, mostly related to paper money (including Gene Hessler’s ‘The International Engraver’s Line’, signed by the author, 2005, 8vo, and Rupert Cannon’s ‘The Bolt Court Connection’, signed by the author, 1985, 8vo). Provenance: Nigel Alan Dow, Master Banknote Engraver to Bradbury Wilkinson and the Bank of England (9).
Los 235
Twelve (12) Warwickshire copper Halfpenny and Farthing tokens, including 1791 County, Shakespeare, woman with cornucopia (DH 45); 1792 Shakespeare, Vulcan (DH 49); Birmingham, H Biggs, Samuel Johnson, W Hampton or Litchfield (DH 71a); similar; 1792 Birmingham Mining and Copper Company, seated woman, (DH 84-102); 1792 Coventry, Lady Godiva, Robert Reynolds (DH 231); similar (DH 231); 1797 Coventry, Trinity Church, with period (DH 265); 1787 Shropshire, John Wilkinson, man at forge (DH 352); 1790 Shropshire, Wilkinson, Vulcan (DH 426); 1791 Birmingham, Copper Company, plain (DH 476a); and Birmingham, Lutwyches coins & medals (DH 482).
Los 96
AN INDIAN DECORATED SWORD WITH BLADE BY WILKINSON, PALL MALL, LONDON, NO. 9240 FOR 1858 with Victorian etched blade of regulation type, decorated with the crowned imperial cypher 'VRI' and foliage on each face, white metal hilt cast and chased with foliage against a punched ground over the greater part of its surface, comprising a pair of quillons, integral grip and rounded pommel, in a velvet-covered wooden scabbard with large white metal mounts decorated with bold designs of scrolls and foliage, with two rings for suspension, 78.2 cm blade
Los 321
Under the Starry Plough recollections of the Irish Citizen Army by Frank Robbins. 1977. fine copy of a scarce study; Life of Erskine Childers by Wilkinson; The Riddle of Erskine Childers by Boyle; With Wooden Spoon. Francis Sheehy-Skeffington Militant Pacifist and Eamon De Valera by Longford and O’Neill. 5 hardbacks, all in djs
Los 158
BRITISH 1892 PATTERN OFFICERS SWORD. British 1892 Pattern Officers Sword, straight, single fullered steel blade etched with crowned royal cypher, maker 'Henry Wilkinson, Pall Mall, London' to ricasso, inscription to blade reads 'Presented to Major C.J. Stoddart, J.P. On His Promotion to Major, by the Members of his B Comp.y 1894', serial number 32865 to spine, brass gothic hilt with cypher of Queen Victoria, chequered brass handle with faux wire detail, held in brass scabbard with 2 suspension rings, blade length 82 cm.
Los 164
PATTERN 1822/45 INFANTRY OFFICERS SWORD. Pattern 1822/45 Infantry Officers Sword by Wilkinson, slightly curved single fullered plain steel blade with makers details to ricasso, no serial number to spine, three bar gothic hilt in gilt brass bearing royal cypher of Queen Victoria, folding guard, wire bound shagreen grip, held in brass scabbard with two suspension rings, blade 82 cm.
Los 113
WW1 PERIOD OFFICERS PRIVATE PURCHASE HOLSTER. First World War period officers brown leather private purchase holster for wear with the Sam Browne equipment, marked with the makers name 'Wilkinson, Pall Mall' to the inside of the flap, together with a brown leather carrying case for an item of optical equipment, ink stamp to the lid 'A10, 5 X 1', length of case 38 cm.
Los 499
WW1 Canadian Ross Bayonet and 1907 Pattern Bayonet. Ross M1910 bayonet with unmodified blade housed in leather scabbard and frog. The bayonet remains in clean condition the leather scabbard with age wear ... British 1907 pattern bayonet, this made by Wilkinson in 1918. Ordnance stamps to the forte of the blade. Housed in scabbard. Clean condition. (2 Items)
Los 485
Worcestershire Yeomanry1908 Pattern Cavalry Troopers Sword. A good example of the pattern which has been nickel plated for parade use. The straight blade with cutler's stamp of Wilkinson and to the back of the blade is stamped "WORCS YEO 143". This indicating Worcestershire Yeomanry Sword number 143. Complete with matching plated scabbard and fitted with white buff sword knot. Overall good bright condition, some minor age wear.
Los 598
A Sarawak Military sword by Henry Wilkinson of Pall Mall, the fullered blade numbered 29154, wirebound fishskin grip and brass guard, steel scabbard with two suspension loops, the blade 84cm long; Together with a George V 1897 pattern Royal Marines officer's sword retailed by Gieves, Portsmouth, London, Edinburgh and Devonport, the 83cm straight fullered blade numbered 108336 and etched with the regimental motto "Per Mare, Per Terram" and the battle honour "Gibraltar" surmounting the Royal Marines globe device, as well as the George V cypher, leather scabbardProvenance:Harry Melville Arbuthnot Day, GC, DSO, OBE (1898 – 1977) and thence by decent Day was born in Sarawak on Borneo on 3 August 1898, and grew up there. His grandfather had been a major in the 66th Foot before forming a private army for Charles Brooke, the second White Rajah of Sarawak. The army became known as the Sarawak Rangers. Day's father joined the Rajah's service and became a Sarawak resident, whilst Harry Day became a Royal Marine and later a Royal Air Force pilot during the Second World War. As a prisoner of war, he was senior British officer in a number of camps and a noted escapee. Together with Roger Bushell, he famously planned and executed the "Great Escape" from Stalag Luft on 24 March 1944.
Los 105
Rugby Pot-Pourri (Qty): Green silk lapel ribbon with 'Bok, 1970 Rugby, NZ in SA, 5" x 1.5"; FDC, Japan 1953; Cards: Irish Rugby Stamps, SA 1995; Rugby World Fixtures, 1987-8; white signed cards, Cliff Morgan & Rob Andrew; advertising, Z Brooke, J Wilkinson (3), Adidas (All Blacks); Millennium Stadium, Cardiff p/card; Sticker: oval, unused, Newport, WRU Cup Final 2001; huge J Wilkinson poster, RWC 2007, England; attractive pennant, Māori Wales tour 1982. Unusual items here, all VG
Los 193
Royal Artillery Officers Pre-WW1 Sword by Henry Wilkinson Pall Mall London No. 36495, regulation single edge signed blade 89cms etched and polished with owner’s initials W.S.L. Royal Arms, regimental badge and thunderflash amidst scrolling foliage (tip moderately pitted), regulation triple bar iron guard, silver wire bound fish-skin covered grip, in its leather covered field service scabbard. Good condition. Re-offered due to non-paying bidder.
Los 197
* An 1827 pattern Rifle officers sword of Captain Maurice Bazely White, 1st Rifle Brigade, severely wounded at Vlakfontein, by HENRY WILKINSON PALL MALL LONDON No.36524 (=1899CE) with PATENT SOLID HILT blade 82.5cms etched and polished with crowned GVR cypher, Royal Arms, strung bugle and M. B. WHITE 1st. BATTn. RIFLE BRIGADE, together with scrolling foliage, regulation plated guard with regimental badge, wire bound 2 piece chequered composition grips and chequered grip strap, leather dress knot, in its plated scabbard. Plating worn. The sword of Capt. Maurice Bazely White 1st Rifle Brigade, Lieut. 1900, severely wounded at Vlakfontein. Re-offered due to non-paying bidder. Please note that this lot has been imported from outside the United Kingdom and is subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Los 198
* An Edward 7th 1845 pattern Gurkha Rifles Officers sword of Captain Nigel Gresley Reginald Woodyatt, King’s Own Gurkha Rifles (The Sirmoor Rifles), died 8th March 1916 on active service, blade 83cms by HENRY WILKINSON PALL MALL LONDON No.42715 (=1910CE) etched with crowned Royal Arms, EVIIR cypher, crowned strung bugle and owner’s crest all within scrolling foliage, regulation iron guard with badge, wire bound fish skin covered grip, in its steel dress scabbard. The guard has a small irregular shaped piece missing from the edge, possibly battle damage. The sword of Capt. Nigel Gresley Reginald Woodyatt, King’s Own Gurkha Rifles (The Sirmoor Rifles), died 8th March 1916 on active service (Mesopotamia). Re-offered due to non-paying bidder. Please note that this lot has been imported from outside the United Kingdom and is subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Los 548
A QUEEN ELIZABETH II WILKINSON CEREMONIAL PRESENTATION SWORD20th century, engraved 'By APPOINTMENT TO HER MAJESTY QUEEN ELIZABETH II SWORD CUTLERS WILKINSON SWORD MADE IN ENGLAND' blade, 71.5cm Note: You must be over 18 to purchase this item. By bidding on this Lot you are declaring that you are 18 years of age or over.
Los 960
Fine George V Royal Artillery Officers' presentation sword by Henry Wilkinson (No. 50296) with finely etched blade retaining all its original polish, decorated with panel 'T.Storey 17th July 1915' Royal Arms, RA badges and floral scrolls in pigskin covered field service scabbard, original knot and leather sword bag - an excellent example
Los 1018
Fine George V 1st Gurkha Rifles officers sword by Henry Wilkinson, ( No.6007), with nickel plated Gothic guard, etched blade retaining all original polish and decorated with officer's initials 'C.H.D.B.' Royal Arms, Crowned GRI 1st Gurkha rifles badge and floral scrolls in black leather scabbard with nickel plated mounts
Los 306
A LEATHER PISTOL CASE FOR A WEBLEY-WILKINSON REVOLVER, probably for a .450 Pryse-type with 4 1/2in. barrel, external dimensions 11 1/4in. x 8in. x 2 5/8in., lined and compartmented in dark red baize with Wilkinson Sword Company Ltd trade label inside lid (ammunition tray absent, some compartments loose), complete with leather cross-straps and containing an oil bottle, turn-screw and cleaning rod.
Los 543
WILKINSON & SON, LONDON A GOOD 50-BORE PERCUSSION DOUBLE PARK or 'PEA' RIFLE, serial no. 5096, circa 1850, with browned fine damascus 30in. multi-grooved rifled barrels, the flat raised top-rib signed 'WILKINSON & SONS, GUN MAKER TO HER MAJESTY, PALL MALL LONDON', dove-tailed fore-sight, rear-sight of four flush-folding graduated leaves each with platinum line, scroll engraving to rib-end at breech, moulded blocks with platinum vented plugs, fully scroll engraved top-tang, border and scroll engraved locks signed on the bars 'WILKINSON & SONS', engraved hammers with bolted safes behind, figured walnut half-stock chequered at the wrist, (repaired crack below left lock), large iron rectangular patch-box to right side of butt with fully scroll engraved hinge and border engraved gamescene of a lion and lioness to the lid, border engraved iron heel-plate, the top-spur with scroll engraving and featuring a standing stag, engraved trigger guard and spurred lower tang, plain triggers, engraved and moulded ramrod throat, turned and moulded pipes and brass mounted ebony ramrod, fitted with eyelets for sling, an escutcheon behind the top-tang engraved with a gartered crest.
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23175 Los(e)/Seite